Portrait n.YU. Stanyukovych

The artist is Borisov -Musatov

Stanyukovych (nee Ryzhkova) Nadezhda Yuryevna (1876–1905) – wife of Vladimir Konstantinovich Stanyukovich (1874–1939), art historian, employee of the Russian Museum, author of the first monograph on B. E. Borisov-Musatov, published in 1906. Both of them were close friends of the artist.

The image of Nadezhda Stanyukovych Borisov-Musatov compared with the image of Simonetta Vespucci-the legendary “model” Botticelli, whose genius bowed. A contemporary recalled her: “It was an amazingly tender, fragile, beautiful soul woman. Young artists from the Musatovsky environment in the presence of a cheerful and simple Stanyukovych Robel, her opinions and assessments were perceived with reverence ”, devoted their works to her. In the hope of Yuryevna Musatov, he found not only the model corresponding to his aesthetic requests, but also a spiritually close person. She, her husband, military officer and writer in. To. Stanyukovich, and musician m. E. Bukinik – this is the core of Musatov’s communication in 1903, the Saratov English Clobe half -jokingly designated by him. “No one was so fiery, subtly felt art as it,” the artist wrote about Stanyukovych. He portraited it repeatedly. “We are sitting all day at home and draw from Nadezhda Yuryevna. She poses perfectly in a suit of great -grandmothers “. There is a photograph of n. YU. Stanyukovych, made by Musatov to work on a future portrait, in general terms the preceding his composition. Nadezhda Yuryevna was surprised why, by nature, “cheerful”, “living morals”, Musatov always portrayed a sad, sad. “You don’t know yourself,” the artist answered these questions. Their acquaintance was short -lived – only about three years. N. YU. Stanyukovich died in fact in the hands of the artist. Her death was preceded by a short -term work by a sister of mercy on the Manchu Front, where she followed her husband, and returned “broken and shocked”, completely sick. Before her death, she did not recognize anyone except Musatov: “I only believe him”. The artist was not much survived by his model, but managed to sing it, his “Simonett”, in his last work “Requiem”. (T. H.).

Russian portrait. XX century: St. Petersburg, 2001. With. 87.

The portrait is not over. A slender lady is depicted in a strict white dress, in a wide -brimmed fashionable hat, with a white umbrella in his hand. She stands in the garden under the canopy of the weighty crown of the tree. The face of the lady, framed by blond curls, sadly, mournfully raised eyebrows, tightly squeezed lips, light gray eyes look thoughtfully and detached. The silhouette of an elegant, almost ethereal figure is clearly drawn against the background of delicate summer greenery, closing the space. It seems that a woman took refuge from the vain surrounding life in a secluded corner of the deserted old garden, the sad atmosphere of which harmonizes with her spiritual state. The smooth slow rhythm of lines, wrexed, as if melting paints, weightlessness of the most picturesque texture, create the impression of instability, peacefulness of the image, enhancing the general elegic mood of the picture. This appears in the unfinished portrait a friend of the artist, n.YU.Stanyukovich, man, spiritually consonant to the author.

Stanyukovych (nee. Ryzhkova) Nadezhda Yuryevna (1876–1905) – a friend of the artist.

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