March is the first month of spring. It is the most capricious and uncertain, because today the sun can shine outside the window, and tomorrow the weather will deteriorate and everything around will be gray and cloudy. However, without looking at this, we are well aware that soon the warm season - spring - will enter into its full possessions and everything around will forget about the cold and cold for a long time.
Talented artist I.E. Grabar noticed the moment when the ground is still covered with snow everywhere, however, it is no longer so formidable and cold. Snow can easily be called loose and stale. Will pass yet a little time, and this snow crust will disappear from the face of the earth, having nourished the earth with melt water!
A woman is depicted in the center of the painting "March Snow". She carries buckets of water. I think they are filled to the top, because the silhouette of the heroine makes it clear how heavy and uncomfortable her load is. It seems to me that the girl wants to quickly carry her burden and free herself from the burden. Most likely, her house is located near a water source. Otherwise, making frequent trips for water would be an unbearable ordeal.
I.E. Grabar conveys on his canvas the landscape of a real Russian village. The main character is dressed in warm and practical clothes that can keep her warm even in the most severe frosts. In the background, small village houses are depicted, which are shrouded on all sides in boundless natural spaces. In the foreground of the picture, our attention is drawn to the shadows from the trunks and branches of trees. The artist skillfully plays with light, with shades that are depicted in the snow.
Looking at the picture, I would somehow be transported to that clearing, I feel the cool, still frosty air. However, the first warm rays of the sun make it clear that spring is just around the corner. And very soon it will change the created landscape, dissolve the snow and awaken life.
24.01.2015
Description of the painting by Igor Grabar “March snow”
"March Snow" came out from under the brush of Igor Grabar in 1904, when he was visiting the artist N.V. Meshcherin, his friend, in the village of Churilkovo. Painting snow is a whole art, so here Grabar’s words sound in a special way that in “March Snow” he simply “thrown paints onto the canvas”, as nature sometimes does, sending them from the sky. The picture was already almost written out when, on the thawed path, Grabar saw a girl hurrying for water with a yoke and two buckets. Ten minutes later, her figure in a pink skirt and blue jacket was already decorating the picture. Speaking about the style of execution, we can say that this work of the artist is made in the style of divisionism - the decomposition of color, characteristic of impressionism. Snow and even dirt on the melted path are made with strokes of pure color, merging into one in the eyes of the viewer, and becoming white.
The March day in the village tends to evening, which is why the shadows from the trees are so long, stretching almost across the whole picture. The tree itself is not visible, it is as if behind the back of the viewer. Porous loose snow under the rays of the spring sun becomes more and more dark, saturated with water, heavy. This is exactly how Grabar conveyed it, who found a real symphony of colors in snowy tones under the rays of the sun. But his snow is not only in blue and blue tones. Here you can find a lot of pink and yellowish colors. There was no snow left on the roofs of the village huts that could be seen in the distance and on the trees. Everything indicates that spring is on the threshold, waiting in the wings. Russian nature, continuing to delight Igor Grabar, helped him create another portrait of its simplicity and perfection. No wonder the picture "March Snow" is called "a symphony of colors" - it really hears the music of our unique and beloved Motherland.
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Text content of presentation slides: Hike to the "Museum House" Today we will look at a reproduction of a painting by a famous Russian artist Igor Emmanuilovich Grabar "March Snow", which is currently on display at the State Tretyakov Gallery like a harbinger of spring. Time of painting 1904. Grabar Igor Emmanuilovich E. Grabar is an outstanding Russian artist and cultural figure, the author of many famous paintings. He was born in 1871 and died in 1960. Grabar lived long life and managed to do a lot for people, to bring a lot of joy to people. Questions for students What season is shown in the picture? (Spring.) What month? (The first days of March.) What mood does the picture exude? (Joy from the onset of warmth, abundance sunlight.) Where is the snow still bright white and untouched? (Where people do not go.) Where - with a lot of traces, darkened from the thaw? (On the road.) Where is the melted and reddened from the ground? (On the paths.) Is it possible, looking at the snow, to conclude that the sun is shining brightly outside? (Yes, shadows from trees are visible in the foreground; the objects depicted in the picture are illuminated in different ways.) What technique does the artist use to help us see this? (With the help of contrast.) Past which trees (coniferous or deciduous) does the villager go for water? What is the age of the villager: is she a young girl or an elderly woman? (She is young, as she is about to bring two buckets of water, she walks quickly, and she has the figure of a young girl.) What can you say about the gait of the village woman: does she walk slowly, sedately or quickly, swiftly? (She walks quickly and swiftly.) Do you think the buckets are empty or full? (They are still empty, as the young lady is walking quickly.) Do the depicted buckets help to see that the day is dazzlingly bright and sunny? (Yes, they have bright sun glare.) Description of the painting In the painting by I.E. Grabar depicts a March day. This rural landscape. In the foreground, a young girl hurries to fetch water, carrying a yoke with two buckets on one shoulder. Despite the fact that it is March outside, winter is in no hurry to give up positions - the girl is dressed quite warmly: a padded jacket, a floor-length skirt, and a scarf on her head. It is not for nothing that people say that when March comes, you need to put on two trousers. Indeed, despite the fact that it is getting warmer, especially in the sun, it is still damp outside. And this is especially felt in the evening. You can understand that it is getting dark by the blue shadows of the trees on the melting snow. Such a shadow can only be obtained in the red rays of the sunset. The snow has already melted on the paths. The path goes somewhere in the distance, and the girl, in order to get fresh water, needs to do more big way to the well. You can see several wooden huts. To the right are the trees, they have already thrown off their warm snow caps and are waiting for warmth. Only the earth is not yet in a hurry to shed its duvet of snow. We see in the picture all this snow thickness, which will not soon surrender to the rays of an ever-increasing March sun. But the snow had already become spongy, with icy, melted by the sun, lumps on top. But even this aged snow appears to the artist as something marvelous. Grabar caught that elusive blueness of the snow, which can only be seen in certain time day, more precisely, when the day is about to be replaced by twilight. There is peace on the street, so quiet and calm, and you can only hear the girl stepping, breaking the thin ice crust that has formed on the path. Only this crunch is heard in silence. The air already smells of spring, and to show this, the picture is painted softly and easily. The picture attracts the viewer with the simplicity of the plot, harmony and beauty. rural life. The artist depicted the everyday life of the villagers. But he saw in them an inimitable beauty. Grabar admires the awakening nature, admires the coming spring, trying to show the still hidden power of melt water, which is about to break into the village landscape in streams.
Igor Emmanuilovich Grabar - famous name in the history of Russian culture of the XX century.
Nature endowed I. E. Grabar with many talents, which, to the considerable surprise of those around him, he managed to realize. Became a significant artist, art critic, art critic, restorer, teacher, museum figure, a wonderful organizer, even an architect. At the same time, for almost sixty years, thanks to his violent temperament, he was one of the most active participants and leaders artistic life countries.
Self portrait with palette, 1934
In 1876, Grabar's parents, who were among the supporters of the Slavic liberation movement, settled in Russia. After graduating from the gymnasium, Grabar studied at the Moscow Lyceum (1882-89). He dreamed of painting, tried to be closer to artistic circles, visited all exhibitions, studied the collection of the Tretyakov Gallery and other collections in Moscow.
In the autumn of 1889, at the age of eighteen, almost penniless, Grabar went to St. Petersburg. He enters the university, studies there for four years at two faculties at once - legal and historical-philological - and stubbornly prepares to enter the Academy of Arts. At this time, he earns his living by composing humorous stories and illustrations for magazines. Grabar passed the stages of entering the Academy of Arts (1894) and the beginning of his studies there brilliantly and swiftly. Already in 1895, he found himself in the studio of I. E. Repin, who was very revered by him.
In the summer of 1895, on vacation, Grabar traveled to Berlin, Paris, Venice, Florence, Rome, and Naples. In Italy, he was so shocked by the works of the Renaissance masters, and in Paris - by the works of the Impressionists and Post-Impressionists, that Grabar during 1896-1900. travels around Europe "for the purpose of detailed and in-depth study world art and architectural education".
Lady at the piano, 1899
golden leaves,
1901
H., M., 78.5x88
Ufa
In 1900, Grabar returned to Russia, and here begins, according to the artist, his very " creative period". He again, after a long separation, falls in love with Russian nature, stunned by the beauty of the Russian winter, endlessly writes "a supernatural tree, a fairy tale tree" - a birch. His most famous works were created in the Moscow region: "September Snow" (1903), " white winter. Rook nests", " february blue", "March Snow" (all 1904), "Chrysanthemums" (1905), "Untidy Table" (1907) and others. Grabar writes on outdoors, taking into account the achievements french impressionists, but, not wanting to blindly imitate them, writes in Russian, loving "substantiality and reality."
Balustrade,
1901
Oil on canvas, 54x97
Nizhny Tagil
September snow
1903
Oil on canvas, 79x89.
Corner of the estate ( sun ray),
1901
Hm. 72x53
Smolensk
sun beam,
1901
H., M., 42.5x79
State Tretyakov Gallery
Winter evening
1903
Hm. 54.3x74
1904 February blue. H., M. 90x72 Minsk
"February Blue"
1904
Canvas, oil. 141 x 83 cm
State Tretyakov Gallery
"February Blue" is a majestic "portrait" of a birch. We look at it from the bottom up, from a deep trench in the snow, which the author dug and in which he worked, despite the severe frosts, overflowing with joy from "the chimes and echoes of all the colors of the rainbow, united by the blue enamel of the sky." The landscape is written in pure colors, strokes are laid in a dense layer.
"March Snow"
1904
Canvas, oil. 80 x 62 cm
State Tretyakov Gallery
"March Snow" - "a brightly impressionistic thing in concept and texture" - the artist also wrote in the open air "with such enthusiasm and excitement that he threw paints onto the canvas, as if in a frenzy, without thinking too much and weighing, trying only to convey the dazzling impression of this cheerful major fanfare". In these works, Grabar managed to create another, new (after Russian landscape painters 19th century), a generalized image of Russian nature.
afternoon tea
1904
H., M., 79x101,
Ivanovo
Behind the samovar
1905
Hm. 80x80,
State Tretyakov Gallery
The painting "Behind the Samovar" (1905) was painted at the hour when daylight turns into blue twilight. This late evening lighting gave a special life to picturesque effects - the smoldering flame of a samovar, the brilliance of its metal surface, the play of blue reflections in crystal glass. Yes, and the girl sitting with a cup by the samovar is included in this picturesque element - the last ray of light gilded her hair and cheek. Here we see for the first time future wife the artist and the heroine of many of his portraits, eldest daughter artist Mikhail Mikeshin Valya.
"White winter. Rook nests»
1904
Canvas, oil. 102 x 48 cm
State Tretyakov Gallery
snowdrifts
1904
Canvas, oil. 71x80
Lvov.
"Pavilion in Kuzminki"
1904
Canvas, oil. 80.5 x 103 cm
Saratov State Art Museum them. A.N. Radishcheva
spring stream
1904
Hm. 70x89
State Russian Museum
Flowers and fruits on the piano
1904
Hm. 79x101
State Russian Museum
Jar with jam and apples
1904
Hm. 48x49
Uzhgorod
Among the first successful still lifes was the sketch "Jar of Jam and Apples" (1904), which captures the artist's peculiar manner and his attitude to what is called "dead nature". Clinging to each other, objects stand and lie on the table. Their close group, with all the still-life immobility, seems to be carried in a whirlwind of unidirectional strokes. The fusion of objects, the lack of space between them enhance the impression of movement. At the head of this family of objects is a jar of jam; it concentrates the light in the picture due to the transparency of the glass and the magical color of its contents. Picturesque reflexes, as if shadows running from object to object, a paper wrapper swirling around apples, the edges of paper covers taking off like a breeze - everything is subordinated to the idea and form of the impressionistic “stream of life”, which benefits even more from the contrast of meanings: “dead nature” appears more alive than it is customary to see and portray.
"Chrysanthemums"
1905
Canvas, oil. 98 x 98 cm
State Tretyakov Gallery
As in the landscapes of this time, Grabar's still lifes embody "purebred" impressionism - these are "Lilacs and forget-me-nots", "Chrysanthemums" (both - 1905). About the painting “Lilacs and Forget-Me-Nots”, Grabar wrote: “I saw a basket on the piano, ... densely filled with forget-me-nots that looked like some kind of plush, marvelous turquoise color matter. Nearby stood a bouquet of white and purple lilacs in a white jug. I threw another lilac branch on the piano nearby and began to write ... ”The still life was a huge success with everyone who saw it.
Lilac and forget-me-nots
1905
H., M., 80x80
Yaroslavl
Apples
1905
H., M., 71x89
Saratov
May evening, 1905
Frosty morning. pink rays
1906
H., M. 106.7x98.2
private collection
"Winter morning"
1907
Canvas, oil. 80 x 80.5 cm
Sevastopol Art Museum. P.M. Kroshitsky
blue tablecloth
1907
H., M., 81x80
"Into the Ice"
1908
Canvas, oil. 107 x 108 cm
The greatest stimulus in painting was the artist's love for winter. He himself admitted that with the end of winter, the landscape became less attractive to him and the pictures of nature successfully replaced the still life. In 1905-1908 winter theme acquired a certain stable line - the image of frost became its leading motive. "Under the sign" of frost passed January 1906 and 1907. Why did this very local winter motif acquire such significance in Grabar's work? According to him own words, work on hoarfrost woke up his "picturesque enthusiasm." “There are few moments in the world that are as stunning in their colorful polyphony as a sunny day of hoarfrost, where the color gamut, changing every minute, turns into the most fantastic shades, for which there are not enough colors on the palette.” One of the main tasks in the development of this motif was the combination of graphic and pictorial effect, the expression of one through the other - this is what creates the most impressive feature of frost, which is difficult to convey in art. Grabar wrote frost "in every way" - its various types, in the morning and evening hours, in the sun and on a sunny day. This was done in the form of small colored sketches, as the paint quickly hardened in the cold. Grabar has accumulated about a hundred such sketches - "there was no frost effect during the day, which I would not have recorded in this collection." In the workshop, the sketches began to turn into compositions that made up the suite of paintings "The Day of Hoarfrost" (1907-1908).
"Frost"
1905
Canvas, oil. 122.4 x 160.3 cm
Yaroslavl Art Museum
Luxurious frost
1904 Hoarfrost
Kirov
Frost
1907-1908
Hm. 102.5x102.5
Kyiv MRI
Fairy tale of frost and rising sun. 1908
Located at the Russian Embassy in the UK, London
Canvas, oil. 85 x 125 cm
Private collection
Frost. 1918
Cardboard, oil. 48 x 60 cm
Astrakhan State Art Gallery them. P.M. Dogadina
Winter evening
1903
Hm. 54.3x74
State Russian Museum
"Last Snow"
Canvas, oil. 95 x 78.5 cm
State Museum fine arts Kyrgyzstan
"Uncleaned table"
1907
Canvas, oil. 100 x 96 cm
State Tretyakov Gallery
"Delphinium"
1908
1910-23 the artist called the period of departure from painting and passion for architecture, art history, museum activities, protection of monuments. He conceives and carries out the publication of the first "History of Russian Art" in six volumes (1909-16), writes the most important sections for it, publishes monographs on V. A. Serov and I. I. Levitan.
Pears on a blue tablecloth, 1915
"Pock"
1915
Canvas, oil. 50 x 73 cm
State Tretyakov Gallery
"Morning Tea (In the Alley)"
1917
Canvas, oil. 77 x 87 cm
State Museum of Fine Arts of the Republic of Tatarstan
Red apples on a blue tablecloth
1920
Hm. 82x82
Private collection
"Radiant Morning"
1922
Canvas, oil. 73 x 104 cm
State Historical, Artistic and Literary Museum-Reserve "Abramtsevo"
"Oaks"
1923
Canvas, oil. 100 x 134 cm
Far Eastern Art Museum
For twelve years (1913-25) Grabar headed the Tretyakov Gallery, significantly changing the principles museum work. After the revolution, he did a lot to protect cultural monuments from destruction. In 1918, on the initiative of Grabar, the Central Restoration Workshops were created, with which he would be associated all his life and which now bear his name. Many works of ancient Russian art were discovered and saved here.
"Rowan"
1924
Canvas, oil. 91 x 75 cm
State Museum-Reserve "Rostov Kremlin"
From 1924 until the end of the 1940s. Grabar again paints a lot and is especially fond of portraiture. He portrays his loved ones, paints portraits of scientists and musicians. The artist himself called the best "Portrait of a Mother" (1924), "Svetlana" (1933), "Portrait of a Daughter against the Background of a Winter Landscape" (1934), "Portrait of a Son" (1935), "Portrait of Academician S. A. Chaplygin" (1935 ). Two self-portraits of the artist are also widely known ("Self-portrait with a palette", 1934; "Self-portrait in a fur coat", 1947). He also addresses thematic picture- "V. I. Lenin at the direct wire" (1933), "Peasant walkers at the reception of V. I. Lenin" (1938). Of course, he continues to paint landscapes, still preferring snow, the sun and the smile of life: "The Last Snow" (1931), "Birch Alley" (1940), "Winter Landscape" (1954), a series of paintings on the theme "Frost Day" .
"On the lake"
1926
Canvas, oil. 75.5 x 88 cm
State Russian Museum
"Clarified"
1928
Canvas, oil. 67 x 77 cm
State Russian Museum
"Moscow courtyard"
1930
Canvas, oil. 68 x 80 cm
State Russian Museum
Never ceasing to be an artist, Igor Emmanuilovich Grabar continued to love and bless his work in his later life. He believed that "an artist is more sensitive and flexible than an art critic, his eyes are not so hopelessly closed with blinders, his brain is not so treacherously loaded with history, theory and all sorts of biases ..." - and even to him, who combined these two hypostases, could have judged it better than anyone else. In a friendly caricature by Kukryniksy, made in 1951 for the eightieth anniversary of Grabar, he is depicted at a desk, which is also a palette, his brush is connected to a pen, and paints to ink.
And in the choice of landscape motifs, Grabar retained his former picturesque temperament. Again and again he turned to winter motifs, to the inexhaustible theme of hoarfrost - from year to year he writes Luxurious Hoarfrost and Hoarfrost Day (both 1941), Hoarfrost (1952), Hoarfrost at Sunrise (1955) . In "Winter Landscape" (1954), the freshness of the embodiment of the natural motif is still subject to the artist. He captures the subtlest echoes of the blue sky in the blue shadows on the snow. Grabar found the plastic "key" of the landscape motif in the juxtaposition of the dense prickly greenery of young fir trees and the transparent lightness of birch trees, as if growing out of spruce thickets and dissolving with their pinkish crowns in the blue expanse. Along with the snow, he was still attracted by the sun - in one of his letters from Abramtsevo in 1956, Grabar wrote: “Unfortunately, rainy weather really interferes with work, and my tasks, as a sin, are all sunny ...” Last work Grabar - "Birch Alley" (1959), written in Abramtsevo, became the last tribute of the old artist to the nature of the Moscow region, his favorite landscape image - the Russian birch.
Abramtsevo. Wattle"
1944
Canvas, oil. 64 x 80 cm
Samara Art Museum
Delphiniums, 1944
"In the garden. A bed of delphiniums»
1947
Canvas, oil. 79.3 x 102 cm
Kursk State Art Gallery. A.A. Deineki
Grabar works in the traditions of Russian realistic painting late XIX century, remaining, as in other areas of its activity, the custodian of Russian culture. " Best holiday there is a change of work, "the artist said. If he did not paint, then he taught, performed, prepared exhibitions or was engaged in art history research. Death caught him at work on a new multi-volume edition of the History of Russian Art." "It must be considered happiness for Russian art, that such a person really existed, "S. V. Gerasimov said about him.
Portrait of Valentina Mikhailovna Grabar, the artist's wife,
1931
self-portrait
The painting by the famous Russian artist Igor Emmanuilovich Grabar “March Snow”, which is currently on display at the State Tretyakov Gallery, is like a harbinger of spring. Time of painting 1904.
The spring month of March stands outside, but in Russia it is very insidious: it will enchant you with warmth, it will encourage you with frost, or it will sprinkle with new snow. And this is especially noticeable in countryside. So Grabar decided to capture a March day against the backdrop of a rural landscape.
The girl hurries with a yoke and buckets to the source for water. She is warmly dressed: a scarf is tightly tied, a short fur coat and a long colored skirt. It can be seen that this girl is not averse to fashioning. After all, young people always gather near the source, and each of them tries to outdo their girlfriends and neighbors, as if on a bride.
In the picture March snow, village outbuildings are visible, but the houses themselves are not visible. This means that the heroine has already moved away from the village and is on her way to the well. It is clear that the sun is already going down, as a result of such a natural effect in the picture, the author shows such long blue shadows from tall tree, which we cannot see, on the already melted gray-blue snow with a pinkish tint.
Bare trunks of trees and shrubs are depicted on the sides. They have already shed their beautiful winter snow outfit and in a couple of weeks swollen buds will appear on them. There is still snow all around, no longer as fluffy and sparkling as in winter, but heavy, swollen with water, in some places you can even see the ground. Only a path has been trodden that leads to the well.
Depicting a spring sunny day in his favorite style of impressionism, Grabar uses many light shades. This is especially noticeable in the foreground of the picture. Here the colors are white, and yellowish and light pink, and of course all shades from blue to blue.
When you peer at the canvas, it seems that everything here breathes calmness and tranquility. But, we understand that this is not for long, a few more days and the air will be filled with cries of rooks who have returned from distant lands and are hotly discussing a place to build a nest.
The canvas fascinates with its simplicity and harmony. It depicts an ordinary everyday spring day in the village of Churilkovo, where Grabar, visiting his friend, often admired nature, admired it, tried to show its beauty.
The painter “covered” the entire space of the canvas with snow, only adding a genre scene to the picture: a young peasant girl goes for water with a yoke. But in this charming figurine moving in space, the artist, as if on purpose, collects all the tones that are used in the palette of the work, thus giving the heroine a special significance.
Grabar's painting March Snow was created according to all the canons of impressionism. Here is a whole symphony of various reflections of color, and bluish shadows on a white-gray snow cover, and a decrease in color intensity from the bottom of the canvas to the top.
Rural discreet landscape is a portrait of beautiful Russian nature. The artist deeply felt her charm and wonderfully conveyed this in his paintings, which attract with naturalness and inner charm.
