GOLOVIN Alexander Yakovlevich, Russian stage designer, painter and graphic artist, full member of the St. Petersburg Academy of Arts (1912), People's Artist of the Republic (1928). Studied at MUZhVZ (1881-90) under V. E. Makovsky, V. D. Polenov, I. M. Pryanishnikov; in Paris - at the Academy of F. Colarossi (1889) with J. E. Blanche and in the workshop of Vitti with R. Collin and L. O. Merson (1897). Participant of exhibitions of the "World of Art" (since 1899; member of the association since 1902), member of the Union of Artists (since 1903). He worked in the theater from 1898, designed the performances of the Moscow Bolshoi Theater (Ice House by A. N. Koreshchenko, 1900, together with K. A. Korovin; Francesca da Rimini by S. V. Rachmaninov, 1906, etc.).
Alexander Yakovlevich Golovin.
Sketch of the scenery for the opera by A. N. Koreshchenko "Ice House".
1900.
In 1901-17 he was the chief decorator of the imperial theaters in St. Petersburg (in 1907-17 he worked in collaboration with V. E. Meyerhold).
One of the largest reformers of Russian and world theatrical and decorative art, Golovin created original style scenography, based on the pictorial unity of all design elements (backdrops, backstage, curtains, props, costumes, light), a holistic spatial vision of the performance. Sophisticated decorativism, the emotional sound of finely crafted colors are common to all the best works Golovin. Decorator for Mariinsky Theater(“Ruslan and Lyudmila” by M. I. Glinka, 1904, together with Korovin; “Carmen” by J. Bizet, 1908; “Orpheus and Eurydice” by K. V. Gluck, 1911, etc.), Alexandrinsky Theater(including "Don Giovanni" by Moliere, 1910; "Masquerade" by M. Yu. Lermontov, 1917, - last performance imperial stage, marked by excessive luxury), as well as the court theaters in Gatchina and Tsarskoye Selo, the Maly Theater in Moscow.
Alexander Yakovlevich Golovin.
Seville street. Set design for G. Bizet's opera "Carmen".
1908.
Alexander Yakovlevich Golovin.
Temple of Eros. Scenery for K. V. Gluck's opera "Orpheus and Eurydice".
1911.
Alexander Yakovlevich Golovin.
Village by the sea. Set design for J.B. Molière's comedy Don Giovanni.
1910.
Alexander Yakovlevich Golovin.
Masquerade hall. Sketch of the scenery for the 2nd picture of the drama "Masquerade" by M. Yu. Lermontov.
1917.
Central Theater Museum. A. A. Bakhrushina (Moscow).
Alexander Yakovlevich Golovin.
Kremlin Square. Sketch of scenery for the first act of M. Mussorgsky's opera "Boris Godunov".
1911.
The scenery for the ballet The Firebird by I. F. Stravinsky (1910) created for the same enterprise became one of the best creatures Golovin, having influenced the development of European scenography: the delicate patterning of the grandiose backdrop (panel), the mysterious shimmer of colors are inextricably linked with the coloristic sophistication of ballet music.
Alexander Yakovlevich Golovin.
Kashchei. Costume design for I. F. Stravinsky's ballet The Firebird.
1921.
According to Golovin's sketches were performed theater curtains for the Mariinsky Theater (1914 and 1917) and the Odessa Opera and Ballet Theater (1925). After 1917, he continued to work in theaters in Petrograd (ballet Solveig to music by E. Grieg, 1922, GATOB, etc.) and Moscow (The Marriage of Figaro by P. Beaumarchais, 1927, Moscow Art Theater, director K. S. Stanislavsky).
Alexander Yakovlevich Golovin.
Wedding. Set design for the ballet "Solveig".
1922.
Alexander Yakovlevich Golovin.
Bedroom of the Countess. Set design for P. Beaumarchais's comedy Crazy Day or The Marriage of Figaro.
1927.
The style of picturesque panels, close to Russian Art Nouveau, was successfully used by Golovin in decorative landscapes and still lifes, as well as in portrait painting: a series of "Spanish women" (1902-08), portraits of artists - F. I. Chaliapin in the role of Mephistopheles (1905, Museum-apartment of I. I. Brodsky, St. Petersburg), Demon (1906, Bolshoi Theater Museum), Holofernes ( 1908, State Tretyakov Gallery) and Boris Godunov (1912, State Russian Museum); N. K. Roerich (1907, State Tretyakov Gallery), M. N. Kuznetsova-Benoit as Carmen (1908, State Central Museum of Contemporary Art), M. A. Kuzmina (1910, IRLI RAS, St. Petersburg), K. A. Varlamova (1914, National Museum, Stockholm), V. E. Meyerhold (1917, Theater Museum, Saint Petersburg); self-portraits (1904 and 1912, State Tretyakov Gallery).
Alexander Yakovlevich Golovin.
Spaniard.
1902.
Alexander Yakovlevich Golovin.
Portrait of Fyodor Ivanovich Chaliapin as Mephistopheles in Charles Gounod's Faust.
1905.
Museum-apartment of I. I. Brodsky, St. Petersburg.
Alexander Yakovlevich Golovin.
Portrait of F. I. Chaliapin in the role of Holofernes.
1908.
Alexander Yakovlevich Golovin.
Portrait of F. I. Chaliapin in the role of Boris Godunov (in a suit designed by I. Ya. Bilibin) from opera of the same name M. P. Mussorgsky.
1912.
State Russian Museum.
Alexander Yakovlevich Golovin.
Portrait of the artist Nicholas Roerich.
1907.
State Tretyakov Gallery.
Alexander Yakovlevich Benois.
Portrait of Maria Nikolaevna Kuznetsova-Benois as Carmen.
1908.
GTsTM.
Alexander Yakovlevich Golovin.
Portrait of the poet and composer Mikhail Aleksandrovich Kuzmin.
1910.
IRLI RAS, St. Petersburg.
Alexander Yakovlevich Golovin.
Portrait of Vsevolod Emilievich Meyerhold.
1917.
Theater Museum, St. Petersburg.
Alexander Yakovlevich Golovin.
Self-portrait.
1912.
State Tretyakov Gallery.
He was engaged in design (decoration of the handicraft department of the Russian pavilion at the World Exhibition of 1900 in Paris, together with K. A. Korovin) and arts and crafts (a sketch of the majolica frieze of the Metropol Hotel in Moscow, 1900, together with M. A. Vrubel), illustrating books and magazine graphics.
Cit.: The role of the artist in the theater // Theatrical and decorative art in the USSR. 1917-1927. L., 1927; Encounters and experiences. Letters. Memories of Golovin, L .: M., 1960.
Lit.: Gollerbach E. F. A. Ya. Golovin. Life and art. L., 1928; "Masquerade" by Lermontov in theatrical sketches by A. Ya. Golovin. M.; L., 1941; Kogan D.Z. Golovin, M., 1960; Bassehes A. I. Theater and painting Golovin. M., 1970; Almerdinger B. Golovin and Chaliapin. Night under the roof of the Mariinsky Theatre. L., 1975; Onufrieva S. A. Golovin. L., 1977; Hoffman I. M. Golovin is a portrait painter. L., 1981; Pozharskaya M. N. A. Golovin: The path of the artist. Artist and time. M., 1990. ( V. A. Kulakov)
Biography of Alexander Golovin
(1863-1930)
Alexander Yakovlevich Golovin was born in Moscow on March 1, 1863, in the family of a priest. Three years later, the family moved to Petrovsko-Razumovskoye.
N. I. Zheleznov, an outstanding Russian botanist and agronomist, was the first to notice the talent of the future artist. With the help of academic professors, the boy was placed in the most prestigious educational establishments Moscow. He studied at the Katkovsky Lyceum, and after the death of his father, in 1878, he transferred to the Polivanovsky Gymnasium.
Such famous poets as V. Bryusov, Andrei Bely, M. Voloshin and many others studied here. There was a certain cult of Shakespeare in Polivanov's gymnasium. It was here that Golovin fell in love with the theater.
In 1881 Golovin entered the architectural department of the Moscow School of Painting, Sculpture and Architecture. He soon realized that architecture did not inspire him, and he soon transferred to the painting department.
During his studies at the school, Golovin met Levitan, Korovin, Arkhipov, Ostroukhov, Nesterov. It was Nesterov who introduced Golovin to Vrubel. Young artists were brought together by joint participation in "drawing and watercolor" evenings.
After the death of his mother in 1884, the young artist was left without a livelihood. In the first years after graduating from college, he worked as an apprentice with the decorator A. Tomashka, painted flowers on satin to order. The artist was not shy about any work.
In 1889 he went to Paris for the World Exhibition. Golovin was captivated by the latest french painting. For some time he studied in a French workshop, where he realized that everything he had previously done was not what he should have done.
In September 1897, Golovin married Maria Konstantinovna Kotova. Soon they had two daughters - Elena and Maria, and then a son, Alexander. But, unfortunately, their union was short-lived. Golovin suffered. The suffering was compounded by the loss closest friend and adviser - E. D. Polenova.
A strong passion for art helped him get out of this state. He worked hard and hard.
In 1898, Golovin was appointed to the post of decorator of the Imperial Theatres. He designed the performances of the Bolshoi Theater in Moscow, in particular the operas by A. N. Koreshchenko "The Ice House", N. A. Rimsky-Korsakov's "Pskovite".
In 1901 the artist moved to St. Petersburg. There, since 1902, Golovin served as chief decorator of the Imperial Theaters and consultant to the directorate on artistic issues. He created his works for the Alexandrinsky and Mariinsky theatres.
He comes up with sketches of costumes and scenery for the operas "Orpheus and Eurydice" by K. V. Gluck; "Stone Guest" by A. S. Dargomyzhsky; performances "At the gates of the kingdom", K. Hamsun; "Thunderstorm" by A. N. Ostrovsky, "Masquerade" by M. Yu. Lermontov; "The Song of the Nightingale" by I. F. Stravinsky and many others.
From 1899 Golovin was permanent member exhibitions of the World of Art, and since 1902 he was a member of the association and one of the employees of the magazine World of Art. In 1903 he joined the Union of Russian Artists.
In the period from 1906 to 907, the artist creates a cycle of scenery for the opera Carmen by Jean Bizet. One of the sketches - for the first act of the performance - gives a complete picture of what kind of artist imagined Spain.
For the opera, the artist also created a cycle of portraits of Spanish women, which became rather a separate cycle of the artist's works, rather than just variants of characters and costumes for a specific theatrical production.
His theatrical landscapes are so realistic that you involuntarily become a participant in a theatrical performance.
From 1908 to 1917, he collaborated with V. E. Meyerhold, designed the productions of Diaghilev's entreprise Russian Seasons in Paris.
Together with N. K. Roerich and D. S. Stelletsky, he created costumes and scenery for the operas “Boris Godunov” by M. P. Mussorgsky, as well as scenery for the ballet “The Firebird” by I. F. Stravinsky.
In 1912 Golovin became a full member of the Academy of Arts. At the same time, he showed the first signs of a serious heart disease, and the doctors advised the artist to leave the capital. From 1913 until his death, Golovin lived in Tsarskoye Selo.
After 1925, Golovin practically did not leave Tsarskoe Selo. But before that, the artist managed to meet with Stanislavsky in Odessa. The result of this was the joint work on The Marriage of Figaro by Beaumarchais.
In 1927 in Art Theater The premiere of the performance was a resounding success. The artist himself, due to illness, could not get to the premiere.
In 1928 the artist was awarded the title of " National artist RSFSR".
(1863 – 1930)
Brilliant theater artist, outstanding portrait painter, master of landscape and still life. Alexander Golovin also worked as an interior designer and in applied art, in book graphics. Everything touched by the hand of this true virtuoso bears the stamp of a bright originality.
Alexander Yakovlevich Golovin was born on February 17 (March 1), 1863 in Moscow in the family of a priest. He is a true child of the Moscow school of painting, a graduate of MUZhVZ, where Golovin studied with such masters as Illarion Pryanishnikov, Vladimir Makovsky, Vasily Polenov. The most important stages in the development of his work there were visits to the Polenov circle, work in the Abramtsevo workshop. The art of Alexander Golovin is spectacular, he is characterized by theatrical elation and showiness. Reality appears from his canvases as if seen through the prism of the theater, cleansed of everyday dullness.
Therefore, it is no coincidence that Alexander Golovin turned to theatrical art, where he found his calling and fame. From 1902 to 1917, Golovin was the chief decorator of the Imperial St. Petersburg theatres, a consultant to the directorate on artistic issues, and designed the performances of the Alexandria and Mariinsky theaters. He also collaborated with such giants as Vsevolod Meyerhold (1908) and Sergei Diaghilev (he designed the performances of the Russian Seasons in Paris in 1909-1910). The brightest event in the art of late Golovin was his work with Konstantin Stanislavsky at the Moscow Art Theater.
His theater sketches are genuine masterpieces of painting that go beyond the narrow tasks of decoration. Alexander Golovin creates a deeply moving image of his time, expressing his attitude to the events of reality through the prism of painting. A virtuoso colorist, excellent in color and linear rhythm, he created works that amaze with the generosity of colors and the sophistication of the pattern. The idea of exquisitely beautiful and festively elevated art is associated with the name of Alexander Golovin.
1. Golovin Alexander “Annunciation. The wings of the royal gates. Maria" 1894 Iron, oil 89x49.5 Kostroma State Art Museum 2. Golovin Alexander “Transformation. Composition based on sketches by A.A. Ivanov 1894 Oil on canvas 169x244 State Tretyakov Gallery
3. Alexander Golovin “Christ and the Samaritan Woman. Composition based on sketches by A.A. Ivanov 1894 Oil on canvas 176x173 State Tretyakov Gallery 4. Alexander Golovin Portrait of E.N. William 1890-1895 Oil on canvas 146x136 State Tretyakov Gallery
13. Golovin Alexander “Cleopatra. Sketch for majolica» Watercolor on paper 23х62 Museum-estate of VD Polenov 14. Alexander Golovin «Scenery. Sketch of scenery for the opera by A.N. Koreshchenko "Ice House" 1900 Cardboard, tempera 43x50 State central museum theatrical art named after Bakhrushin, Moscow15. Golovin Alexander “Svetlitsa. Morning. Set design for N.A. Rimsky-Korsakov’s opera The Maid of Pskov 1901 Cardboard, gouache 54х95 The State Tretyakov Gallery
Self-portrait. 1912
Alexander Yakovlevich Golovin was born in Moscow on March 1, 1863, in the family of a priest. Three years later, the family moved to Petrovsko-Razumovskoye.
N. I. Zheleznov, an outstanding Russian botanist and agronomist, was the first to notice the talent of the future artist. With the help of academic professors, the boy was assigned to the most prestigious educational institutions in Moscow. He studied at the Katkovsky Lyceum, and after the death of his father, in 1878, he transferred to the Polivanovsky Gymnasium. Such famous poets as Valery Bryusov, Andrei Bely, Maksemilian Voloshin studied here. There was a certain cult of Shakespeare in Polivanov's gymnasium. It was here that Golovin fell in love with the theater.
In 1881 Golovin entered the architectural department of the Moscow School of Painting, Sculpture and Architecture. He soon realized that architecture did not inspire him, and transferred to the painting department. During his studies at the school, Golovin met Levitan, Korovin, Arkhipov, Ostroukhov, Nesterov. It was Nesterov who introduced Golovin to Vrubel. Young artists were brought together by joint participation in "drawing and watercolor" evenings.
The Tretyakov Gallery is preparing an exhibition of Alexander Golovin
Golovin repeatedly admitted to his contemporaries that he "tenderly adores Apollo and beauty ancient world!" To match his ancient Greek idol, the artist himself was distinguished by his expressive appearance. Already in his youth, while studying at the Moscow School of Painting, Sculpture and Architecture, Vasily Dmitrievich Polenov would call the young Golovin a "dandy", and fellow student Konstantin Korovin would later write the following lines: "A handsome young man, blond, with a combed parting of curly hair - with a parting carefully smoothed even at the back of his head - he surprised the shaggy students of our School. The figure, excellent height, elegant dress, refined manners (he was a lyceum student), of course, made up a sharp contrast with the poorly dressed students of the School. And besides, there was a ring on Golovin's little finger - with a diamond!
IN adulthood his attractive appearance and aristocratic behavior delighted those around him, giving him a reason to call him "lordly Golovin", as he appears in his "Self-portrait" in 1912.
"Handsome, beautifully built, with noble face English lord, clean-shaven, but with a light blond mustache and a strand of hair beautifully falling on his forehead, with anxious, nervous eyes, refined manners and a very special, pleasant impetuous speech, with hints and understatements, always talented and fascinating "- Prince Shcherbatov recalled Golovin.
Telyakovsky, son of the director of the Office of the Imperial Theaters and his younger friend he remembered "lightly perfumed, almost always in a dark blue suit, with a bow tie, with a handkerchief in the side breast pocket.<…>Restrained, always polite to everyone, young and old, he never lost his temper - even when he was very upset. A refined man, he possessed an extremely fine taste and breadth of vision.
Golovin, as recalled in his entourage, "Extremely liked women. They spread their wings of their charms in front of him and inspired him in his work."
After the death of his mother in 1884, the young artist was left without funds. In the first years after graduating from college, Golovin worked as an apprentice with the decorator Tomashka, painting flowers on satin. He was not shy about any work.
In September 1897 Golovin married Maria Konstantinovna Kotova. Soon they had two daughters - Elena and Maria, and then a son, Alexander. But their union was short-lived. Golovin worked hard and hard.
In 1889 Alexander Golovin went to Paris for the World Exhibition.Hewas captivated by the latest French painting. some timeGolovinstudied in a French workshop and realized that everything he did was not what he should do.
In 1898 Golovin was appointed to the post of decorator of the Imperial Theatres. He designed the performances of the Bolshoi Theater in Moscow, in particular Koreshchenko's opera The Ice House, Rimsky-Korsakov's The Maid of Pskov.
Set design for the opera "Boris Godunov"
In 1901 the artist moved to St. Petersburg. There, from 1902, Golovin served as chief decorator of the Imperial Theaters and consultant to the directorate on artistic issues. He created his works for the Alexandrinsky and Mariinsky theatres.
Set design for Molière's comedy Don Juan
He created sketches of costumes and scenery for the operas Orpheus and Eurydice by Gluck; "Stone Guest" Dargomyzhsky; to the performances "At the gates of the kingdom", Hamsun; "Thunderstorm" by Ostrovsky, "Masquerade" by Lermontov; "Song of the Nightingale" by Stravinsky.
Set design for the ballet "The Firebird"
Golovin was a regular participant in the exhibitions of the World of Art, and since 1902 he was a member of the association and one of the employees of the World of Art magazine. In 1903 he joined the Union of Russian Artists.In the period from 1906 to 907, the artist creates a cycle of scenery for Bizet's opera Carmen.His theatrical landscapes are so realistic that you involuntarily become a participant in a theatrical performance.
From 1908 to 1917, he collaborated with Meyerhold, designed the productions of Diaghilev's entreprise Russian Seasons in Paris.
N. K. Roerich
Together with N. K. Roerich and Stelletsky, Golovin created costumes and scenery for the opera "Boris Godunov" by Mussorgsky, scenery for the ballet "The Firebird" by Stravinsky.
In 1912 Golovin became a full member of the Academy of Arts. At the same time, he showed the first signs of a serious heart disease, and the doctors advised the artist to leave the capital. From 1913 Golovin lived in Tsarskoye Selo.
Despite the vastness of theatrical, literary and artistic acquaintances, Golovin remained a closed personality for everyone, as if "buttoned up". His closeness, alienation sometimes contributed to the formation of the reputation of "an exceptionally original person", a recluse who rarely descended from the workshop under the ceiling of the Mariinsky Theater.
From the observations of a contemporary: “Golovin led a strange, secluded lifestyle. Nobody knew anything about his private life. door. He did not like to visit people and avoided contact with artists. "
This closeness, sometimes unsociableness, was noted by many. Moreover, Golovin, "a man hidden in himself," suffered from great suspiciousness and even, to some extent, persecution mania.
Self-portrait in front of a red scarf. 1919
After 1925, Golovin practically did not leave Tsarskoe Selo. But before that, the artist managed to meet with Stanislavsky in Odessa. The result of this was the joint work on The Marriage of Figaro by Beaumarchais.
In 1927 at the Art Theater with resounding success premiere of the play. The artist himself, due to illness, could not get to the premiere.
In 1928 the artist was awarded the title of People's Artist of the RSFSR.
Few people guessed Golovin's weakness - his love for sweets, which he always carried with him in his pocket. Only Good friends, who became guests of the house, knew about his hobby - breeding flowers. Throughout his life, Golovin grew them in his gardens - first at a dacha in Volosovo near St. Petersburg, then - in Tsarskoye Selo, where he moved in 1913. flower shops Holland tulip bulbs, lupin seeds, rose seedlings.
Only a few were admitted by the artist into the world of his "cute oddities and childish purity of soul", into the world of his deepest feelings and experiences. Only those close to him knew that he felt "persecuted and very lonely." Among those chosen close people was Hollerbach, the first biographer of the artist. Fascinated by the sincerity and refinement of Golovin's nature, he wrote a poetic "dedication" to the master:
What an enthusiastic and gentle genius
Owns your brush when
Of bizarre and iridescent visions
A sequence appears in front of you? ..<…>
bibliotekar.ru ›Alexander Golovin
March 28, 2014V Tretyakov Gallery on Krymsky Valwill openexhibition of Alexander Yakovlevich Golovin
London. Sotheby's auction.
Painting by Alexander Golovin.
November 28, London, Sotheby's "Important Russian Art" auction.
Self-portrait in front of a red scarf. 1919
November 28, 2011 a painting by Russian artist Alexander Yakovlevich Golovin will be put up for sale at Sotheby's auction.
Lot No. 13 "Design of scenery for the opera by N.A. Rimsky-Korsakov The Pskovite". Estimated 30000 - 40000 GBP.
Theater suite artist
Biography and work of Alexander Yakovlevich Golovin (1863 - 1930)
Golovin studied at the Moscow School of Painting, Sculpture and Architecture (1881 - 1889). His teachers were I.M. Pryanishnikov, V.E. Makovsky and V.D. Polenov, who played a very significant role in creative development artist.
Annunciation. The doors of the royal gates. Mother of God. 1894
Cleopatra. Sketch for a decorative milikovo panel for the Metropol Hotel in Moscow. 1898
Golovin initially performed with historical easel compositions, in which both a sense of style and decorativeness appeared. In the 1890s, he became close to the Abramtsevo (Mammoth) circle, in 1898 - 1899 he performed a number of works of arts and crafts in the spirit of the national folk tradition for world exhibition in Paris in 1900. In 1898, the artist entered as a decorator in Grand Theatre and lived in Moscow until 1901, and then worked in the imperial theaters of St. Petersburg, was among the largest decorators.
Swamp thicket. 1917
The artist used almost exclusively tempera and gouache, sometimes resorted to pastel pencils. Often strokes turn into flowing streams of paint. So Golovin painted theatrical scenery and some easel works, For example decorative landscapes(“Marsh thicket”, tempera, 1917, State Tretyakov Gallery).
In the mountains. Sketch of scenery for the opera Carmen by G. Bizet. 1908
Landscapes of Golovin - decorative panel. They can also be considered as a kind of material for theatrical scenery.
Village by the sea. Set design for the comedy by J.-B. Moliere Don Juan. 1910
Stuffy Kashcheevo kingdom. Sketch of scenery for I.F. Stravinsky's ballet The Firebird. 1910
Kremlin Square. Stage design for the first act of Mussorgsky's opera Boris Godunov. 1911
On islands
Boring Garden. 1910s
Ravine. 1916
Autumn. 1920s
Landscape with a blue pavilion. View in the park. 1910
Scenery. Pavlovsk. 1910
Pond in the thicket. 1909
Silver willows. 1909
Sicilian village. Set design for the comedy by J.-B. Moliere Don Juan. 1910
Street in Seville. Sketch of scenery for the opera Carmen by G. Bizet. 1908
Golovin's portrait works most often depict people of art, prominent artists, writers, painters, but also modest stage workers. He painted portraits of F.I. Chaliapin, M.N. Kuznetsova-Benoit, V.E. Meyerhold in those costumes that he created for their roles.
Portrait of Maria Nikolaevna Kuznetsova-Benois as Carmen. 1908
Work on portraits of F.I. Chaliapin began in 1900, and the following year he created a portrait study for his own costume as the Demon. This was followed by portraits of Chaliapin in the role of Mephistopheles (cardboard, glue painting, pastel, 1905, museum-apartment of I. I. Brodsky, St. Petersburg), Holofernes (canvas, tempera, pastel, 1908, State Tretyakov Gallery) and Boris Godunov (canvas, tempera, 1912 , timing).
Portrait of Fyodor Ivanovich Chaliapin as Mephistopheles in C. Gounod's opera Faust. 1905
Portrait of F. I. Chaliapin in the role of Holofernes in A. N. Serov's opera Judith. 1908
Portrait of F.I. Chaliapin in the role of Boris Godunov. Study for a painting. 1912
The original search for a compositional nature affected the portrait
V.E. Meyerhold (tempera, pastel, 1910s). Mirror reflection allows you to see the face both in front and in profile, which is why the portrait acquires the fullness of the characteristic and conveys the spiritual complexity of the model.
Portrait of Vsevolod Emilievich Meyerhold. 1917
The group portrait of three men (pastel, 1906, State Tretyakov Gallery) - head of lighting of the Mariinsky Theater L.V. Kalinov, head of lighting at the Alexandrinsky Theater V.D. Shchegolev and the head of the textile dyeing workshop A.B. Salnikov. The artist's sense of respect for these ordinary people transmitted to the audience.
group portrait employees of the St. Petersburg Imperial Theaters (A.B. Salnikov, L.V. Kalinov, V.D. Shchegolev). 1906
Democratic and numerous images of Spanish women. They were written during a period of intense work on the scenery and costumes for Bizet's opera Carmen. Chorus girls of the Mariinsky Opera or workers of theater workshops served as models.
Spaniard in green. 1906–1907
Spaniard in a red shawl. 1906
Spaniard in a black shawl. 1908
Spaniard on the balcony 1911
Spaniard with a bouquet yellow flowers. 1907
A remarkable suite is Golovin's self-portraits, which also includes a self-portrait of 1912 (paper, tempera, State Tretyakov Gallery). All of them are approximately the same size, executed in the artist's favorite tempera, differ little from each other in composition, the facial expression changes somewhat, but basically it is always deeply concentrated, calm, even cold.
Still life. Phloxes. 1911
The text is partly from the book “History of Russian Art. Art second half of XIX century”, edited by M.G. Neklyudova, M. " art", 1980.
