#art #fineart #artstream #artreview #artdiscussion #artcritique #arttalk #russianpainting #russianart #russianartist #nicolaifechin #fjjma #patricksaunders #patricksaundersfinearts #saundersfinearts #representationalart #realistart #portraitpainting #MuseumTourTuesday
hello everyone, my name is multifruit vamp! this is my first post🐣 nice to meet you. i’m a russian traditional/digital artist, also i am a writer. usually i draw my oc, rarely draw some characters, but i really like transformers❤️🩹 i speak rus/eng/chn
hope we become friends
#russianartist
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This pastel portrait depicts Nadezhda Yuryevna Stanyukovich (Надежда Юрьевна Станюкович), who, according to the Tretyakov Gallery, was the “muse” of Russian artist Viktor Borisov-Musatov (Виктор Эльпидифорович Борисов-Мусатов). The young woman is seated front-facing but turned slightly to our left, her gaze lowered as if listening or thinking. She has fair, softly modeled skin and dark brown hair gathered up, with long ringlets falling beside her cheeks. Her expression is calm and distant with eyelids half lowered for the feeling of quiet concentration. She wears a historical, bronze-gold dress with a fitted bodice and full skirt. Pale lace trims the neckline and bands across the chest, and a small jewel-like ornament fastens at the center. Over the dress lies a cool silvery blue shawl, brushed with hints of pink and blue that catch the light like worn silk. Her hands rest gently in her lap, fingers relaxed, holding a thin cord that drops toward the hem. Behind her, a large wall tapestry shows a dreamlike park of bluish trees and misty architecture, plus a white swan at the right edge. The whole surface is velvety and grainy, as if the figure and the landscape are woven from the same soft dust of color. Her gown is not simply decorative. Nadezhda wears an inherited “great-grandmother” outfit, and the artist wrote with delight that she “posed wonderfully in her great-grandmother’s costume.” The backdrop is equally intentional because Borisov-Musatov turns the painting into a portrait-within-a-tapestry, letting the paper’s ribbed texture hold pastel pigment like threads held in cloth, so the image feels stitched rather than painted. The swan and distant estate are symbols of longing and fragile beauty, while her downward gaze makes the scene tender, private, and time-suspended. The portrait’s sense of luminous, fleeting presence feels even deeper learning Nadezhda tragically died in a wartime hospital during the Russo-Japanese War less than 2 years later in 1905.
“Дама у гобелена (Lady at the Tapestry)” by Viktor Borisov-Musatov (Russian) - Pastel on paper / 1903 - State Tretyakov Gallery (Moscow, Russia) #WomenInArt #ViktorBorisovMusatov #ВикторБорисовМусатов #BorisovMusatov #TretyakovGallery #art #artText #Третьяковскаягалерея #RussianArt #RussianArtist
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Russian artist Mikhail Aleksandrovich Vrubel (Михаил Александрович Врубель) completed this work in 1900 while immersed in stage design for Nikolai Rimsky-Korsakov’s opera “The Tale of Tsar Saltan,” adapted from Alexander Pushkin’s fairy tale. The Swan Princess’s part was created for Vrubel’s wife, the celebrated singer Nadezhda Ivanovna Zabela-Vrubel (Надежда Ивановна Забела-Врубель), and the painting carries the aura of performance including costume, spotlight, and spell without becoming a straightforward portrait. The pale-skinned young Nadezhda with a soft, feminine presentation turns to look back over her shoulder, meeting us with large, luminous gray-blue eyes. Dark hair frames her face beneath an extravagant crown-like kokoshnik encrusted with pearls and blue-green stones. A sheer veil and silvery embroidered fabric wrap her head and shoulders as one hand gathers the gauze at her neck in a protective, almost private gesture. Around her, enormous swan wings billow and fold like a living cape in layered strokes of white, gray, and blush-pink that are feathers and facets at the same time. The wings fill most of the canvas, curving forward so she seems both sheltered and enclosed by her own transformation. Behind her stretches a cool, dusk-blue shoreline and water, with a thin band of light on the horizon and a dark, rocky form at the edge. Vrubel’s paint alternates between misty, softened passages and crisp, mosaic-like planes, so jewels sparkle, lace glints, and feathers feel air-light yet weighty. The overall mood is hushed and watchful like a suspended moment between human and bird where wonder and caution share the same gaze. The wings act like a threshold of protection and power as well as tenderness and distance at the instant of metamorphosis. Soon after completion, this painting was acquired by collector Mikhail Morozov and was gifted in 1917 by Margarita Morozova to the Tretyakov Gallery (Государственная Третьяковская галерея).
“Царевна-Лебедь (The Swan Princess)” by Михаил Врубель / Mikhail Vrubel (Russian) - Oil on canvas / 1900 - State Tretyakov Gallery (Moscow, Russia) #WomenInArt #MikhailVrubel #МихаилВрубель #Vrubel #TretyakovGallery #Третьяковскаягалерея #RussianArt #art #artText #artwork #DanceArt #RussianArtist
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#realistart #portraitpainting#russianpainting #russianartist #patricksaunders #patricksaundersfinearts #saundersfinearts
pov me:
Run, I'm crazy one / Бегите, я конченый
#pennywise #it #pennywisethedancingclown #digitalaritst #myart #art #fanart #originalart #digitalart #clown #blood #procreate #russianartist
Anany Alexeevich Verbitsky
Mid Century Croatian Coast with Sailboat Landscape
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#landscapepainting #coastalart #russianartist #oilonlinen
Anany Alexeevich Verbitsky
Mid Century Impressionist Autumn Rolling Hills Landscape
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#landscapepainting #oilpainting #framedart #impressionist #russianartist
Anany Alexeevich Verbitsky
Mid Century Industrial Scene and Church Ruins Russian Cityscape
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#fineartforsale #impressionistart #impressionism #russianart #russianartist #postwarart #oilpainting
Kandinsky at Galerie Karl Flinker - 1977 Exhibition Poster - in Ink on Paper
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#printmakingart #printmakingartist #printmaking #artgalleries #abstractart #abstractartist #abstractartwork #russianart #russianartist #abstractgeometric #abstractgeometricart #abstractgeometry
Zinaida Nikolayevna Gippius (Зинаи́да Никола́евна Ги́ппиус) was a Russian poet, playwright, novelist, editor, and religious thinker. She is considered one of the major figures in Russian symbolism. Gippius treated her poetry as something intimate, calling her verses “personal prayers.” Dealing with the darker side of the human soul and exploring sexual ambiguity and narcissism, many of those “prayers” were considered blasphemous at the time. Detractors called Gippius a “demoness,” the “queen of duality,” and a “decadent Madonna.” Enjoying the notoriety, she exploited her androgynous image, used male clothes and pseudonyms, shocked her guests with insults (“to watch their reaction,” as she once explained to Nadezhda Teffi), and for a decade remained the Russian symbol of “sexual liberation;” holding high what she in one of her diary entries termed as the “cross of sensuality.” In 1901, all this transformed into the ideology of the "New Church" of which she was the instigator. This “gathering for free discussion,” focusing on the synthesis of culture and religion, brought together an eclectic mix of intellectuals and is now regarded as an important, if short-lived attempt to pull Russia back from the major social upheavals for which it was headed. Gippius together with her husband, poet Dmitry Merezhkovsky, opposed autocracy as well as conservatism. She denounced the 1917 October Revolution and, in early 1920, the Merezhkovskys emigrated to France. Russian painter Léon (Lev) Samoylovich Bakst (Russian: Леон (Лев) Самойлович Бакст), born Leyb-Khaim Izrailevich Rosenberg, sketched Gippius with reddish curly hair, dressed in aristocratic men’s clothing: black jacket over a lighter-colored waistcoat, a crisp white jabot at the neck, tight black trousers, and narrow black slip-on shoes. She casually reclines on a small white stool with her hands in her pants pockets and legs comfortably stretched out conveying a sense of relaxed confidence.
“Portrait of Zinaida Gippius” by Léon Bakst (Russian) - Pencil & chalk on paper & cardboard / 1906 - Tretyakov Gallery (Moscow, Russia) #WomenInArt #art #artwork #ArtText #TretyakovGallery #ZinaidaGippius #LéonBakst #Bakst #LeonBakst #Womensart #portraitofawoman #RussianArtist #JewishArtist #style
In 1891, a Russian sculptor visiting the monastery convinced him to relocate to St. Petersburg, where he was able to study painting under the great Ilya Repin.
#art #fineart #artstream #russianpainting #russianart #russianartist #filippmalyavin #patricksaunders #patricksaundersfinearts #artreview
In 1873, Russian artist Ilya Repin, as a graduate of the Imperial Academy of Arts, traveled to Paris, France where he studied realism. This painting of an idealized "African Woman" was heavily influenced by that trip. The work shows Repin’s interest in the creative styles of the talented Spanish academic artist Mariano Fortuny. Repin created an expressive "exotic" image of a dark-skinned woman, adorned in opulent gold jewelry and traditional clothing, sitting serenely on a richly patterned rug, near a hookah and a coffee set, creating an atmosphere of quiet dignity and cultural richness. Repin displays mastery in depicting sparkling golden decorations, shimmering fabrics and the brilliant hookah. He used a variety of painting techniques from smooth strokes to dense brushwork that is seen in the accessories. The young woman wears a long, loose-fitting, off-white outfit plus baggy pants with vertical stripes of muted colors and floral patterns as she relaxes cross-legged. Her expression is unrelenting and and direct as she gazes steadily at the viewer, giving the painting an air of quiet strength and self-awareness. She is adorned with gold jewelry including a heavy necklace of large gold medallions, several gold bracelets on her wrists, and long golden earrings. The light reflecting off the jewelry contrasts beautifully with her gorgeous dark skin. The setting is rather dark, a moody but warm palette of browns and reds dominating the background. The woman sits on a rug with intricate designs in muted reds, oranges, and browns. Behind her, a richly ornamented divan is visible, echoing the intricate patterns of the rug. To the left, a water pipe (hookah) sits on an ornate wooden stand with intricate inlaid details. The hookah itself is also exquisitely decorated. A long, dark-green hose is coiled onto the floor. Near her feet are a pair of slippers plus a coffee pot and small cup on a tray. The overall atmosphere is one of contemplation and understated luxury.
African Woman by Ilya Repin (Russian) - Oil on canvas / 1875-1876 - State Russian Museum (Saint Petersburg, Russia) #WomenInArt #ArtText #IlyaRepin #Repin #ИльяРепин #art #oilpainting #portraitofawoman #womensart #orientalism #RussianArtist #StateRussianMuseum #осударственныйРусскиймузей #artwork
Russian artist Natalia Sergeevna Goncharova depicts herself as an autonomous artist not seeking the viewer’s approval. Her self-confidence was characteristic of the Russian avant-garde, which featured a remarkable number of prominent women artists, including Zinaida Serebriakova and Lyubov Popova. With the traditional red headscarf and the red embroidery on white cloth on the left side, the painter demonstrates her cherished “Russianness.” Van Gogh-esque brushstrokes and the absence of a defined spatial setting; however, reveal her training in Paris. In the background, Goncharova renders her own painting, with a stooped peasant woman, to signify her professionalism. The artist probably gave this Self-Portrait its signature and date (1904) a while after its completion, but some believe its style and background motif indicate creation around 1907. One reason for a false date may have been her wish to demonstrate that Russia was not a follower but a precursor of the European avant-garde. Goncharova's lifelong partner was fellow Russian avant-garde artist Mikhail Larionov. She was a founding member of both the Jack of Diamonds (also called Knave of Diamonds or Бубновый валет), Moscow's first radical independent exhibiting group, and the more radical Donkey's Tail (Ослиный хвост), and with Larionov invented the abstract art style Rayonism. She was also a member of the German-based art movement Der Blaue Reiter. Born in Russia, she moved to Paris in 1921 and lived there until her death in 1962 as one of the leading figures in the avant-garde in France.
Self-Portrait by Natalia Goncharova (Russian) - Oil on canvas mounted on board / 1904 - Mead Art Museum at Amherst College (Massachusetts) #womeninart #womanartist #art #femaleartist #womensart #portraitofawoman #MeadArtMuseum #oilpainting #RussianArtist #artwork #mead #NataliaGoncharova #Goncharova
Nikas Safronov Reveals the Trump Portrait That Was Gifted by Putin
#TrumpPortrait #PutinGift #RussianArtist #NikasSafronov #DiplomaticArt #TrumpArt #PutinAndTrump #TrumpCampaign #PoliticalArt #ArtAndPolitics #Trump2024 #PutinRelations #WhiteHouseArt #PoliticalPortrait #TrumpHistory #ArtExhibit
Victor Borisov-Musatov (14 April 1870 - 26 October1905) Russian painter, prominent for his unique Post-Impressionistic style that mixed Symbolism, pure decorative style and realism. Self-portrait with his sister, 1898, Russian Museum
#BornOnThisDay #Self-Portrait #RussianArtist
French-born American diarist, essayist, novelist, and writer of short stories and erotica Anaïs Nin wrote about female identity and sexuality in a style that was both explicit and poetic. Her most significant work, a diary spanning six decades, recounts her transformative experiences in Paris from 1926 to 1939. At first, Nin felt intimidated by the French capital’s competitive literary scene. She hid her insecurity behind “original, striking clothes which distinguish me from other women.” She was delighted when a blue velvet coat she had made was mistaken for a design by the eminent couturier Jeanne-Marie Lanvin. It appears in this portrait by the Russian artist Natashia Troubetskoia, who admired Nin’s eccentric style. In between portrait sittings, Nin was writing her first book -- a study of the writer D.H. Lawrence. Published in 1932, its shocking sexual candor marked her distinctive literary voice. As she wrote in her diary, she no longer needed clothing to express her uniqueness. “I have other things to do.” Troubetskoia was reportedly a princess who fled to Paris after the Bolshevik revolution. She met Nin in January 1929 and painted several portraits of her including this one in 1932. She also used Nin as a model for other paintings, and Nin used the Princess's studio as a mailing address and meeting place in Paris. In the painting, we see Nin elegantly dressed in a long royal blue velvet robe with gray fur trim, sitting regally on an ornate chair with her legs crossed and head slightly cocked to her right while exuding an air of quiet confidence and sophistication. She is striking with dark, shoulder-length wavy hair, extremely fair skin, and dark eyes that hold a direct gaze at us. She wears a dark pendant necklace and her hands, adorned with rings, rest gracefully on the arms of the chair. She wears white stockings and dark pointy shoes with delicate straps. Her pose is one of relaxed yet controlled dignity making her as memorable as her writings.
Anaïs Nin by Natashia Troubetskoia (Russian) - Oil on canvas / c. 1932 - Smithsonian's National Portrait Gallery (Washington DC) #womeninart #femaleartist #womanartist #portraitofawoman #womensart #art #oilpainting #smithsonian #AnaisNin #AnaïsNin #NatashiaTroubetskoia #Troubetskoia #RussianArtist
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#fineartfriday with this beauty, "Flying Carpet," by Viktor Vasnetsov 1880
#faf #viktorvasnetsov #russianpainter #russianartist
Favorite #artist & #artwork from the JustMad Madrid #Artfair
artist : Mutto Matto
title : Sand Figure, 2023
#oiloncanvas #painting
#gallery : g.gallery Barcelona
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В марте 2023 бросила свою карьеру в журналистике.
В марте 2024 начала учиться рисованию.
В марте 2025 поздравляю себя с моей первой полноценкой
♡⸜(˶˃ ᵕ ˂˶)⸝♡
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Born in 1862, Arkhipov studied at the Moscow School of Painting and the Imperial Academy of Arts in Saint Petersburg.
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