Composition based on the painting: A. G. Venetsianova "Girl in a headscarf".
Alexei Gavrilovich Venetsiaonov is a master of portrait painting. But in 1819 he refuses to paint portraits to order in the future and leaves to live in the countryside. There he paints pictures about peasant life and the life of the simple Russian people.
On his canvases, peasant women resemble fabulous beauties. They live a single life with the outside world. It is the beauty of the nature surrounding it and the people working on the earth that A.G. draws. Venetsianov. The painting "Girl in a headscarf" is slightly different from other canvases.
The painting depicts a young girl with a blue checkered scarf over her head. The girl has bright bright eyes. They amaze with some depth, mystery. Her gaze is open. She has not yet experienced sorrow and sorrow. Childishly plump lips give the face of a young peasant woman naivety and touching. She seems to want to smile, but natural modesty restrains her impulse. The whole face of the girl glows with purity and spirituality. Hair neatly combed. They are separated by a straight line. It can be assumed that on her back are two thick braids, decorated with ribbons.
The young beauty is modest. Her hand is holding the handkerchief to keep it from slipping off her head. She looks at the artist, but as soon as the master carefully looks at his model, her fluffy eyelashes bashfully cover her eyes. She lowers her gaze to immediately look with her clear gaze at the person drawing her.
Drawing a portrait of a girl in a headscarf, A.G. Venetsianov believes that such a face was created for happiness, that the troubles and sorrows of a difficult peasant life will bypass the girl. I would like to believe in this and the viewer, who peers into young features, admires their virginal purity.
Description of the painting by A. G. Venetsianov "Girl in a headscarf".
On the reverse side of the picture there is neither a date nor the name of the depicted girl. Mysterious "Girl in a headscarf"; in most reference books it is dated conditionally. There is no mention of this painting either in Venetsianov's correspondence or in the stories of his relatives. Did the author not take his work seriously, did not share his impressions about it with other artists? A modest portrait of a girl, clearly of peasant origin, painted in a short period of time. However, the birth of this painting marked the beginning of the everyday genre in Russian painting.
Alexei Gavrilovich Venetsianov was an ordinary St. Petersburg official, and in his free time he was fond of painting. Copied Rubens and Rembrandt in the Hermitage, painted portraits to order. He became more popular than some artists with the title of "academician of painting";. Venetsianov, according to contemporaries, was a modest decent man. The "painting official", as he was called at the St. Petersburg Academy of Arts, has long developed his own style of writing and personal idea of painting.
In 1823, already an academician of painting, Venetsianov decided to move from St. Petersburg to his village of Safonkovo. The artist does not rejoice at his freedom, his life has since been divided into two parts. Under his brush falls the life of the peasants, scenes from village life, the peasants themselves.
In the painting "Girl in a headscarf"; the artist painted a young peasant woman in an everyday blue headscarf. The eyes of the girl, alive and deep, did not yet know tears and troubles. The look is open, but modest at the same time. Beautiful features, small mouth, plump lips. Hair is parted in a straight parting. The face radiates light and purity. She is still just a child, the artist seems to want to protect her from the future hardships of peasant life. Venetsianov considers people from the people to be beautiful, for him ordinary people are the embodiment of the true beauty of Russian mother nature.
Drawing "Girl in a headscarf", Venetsianov wanted to emphasize not only the external beauty of the peasant woman, but also her beautiful, pure inner world, simplicity and modesty.
Alexey Gavrilovich Venetsianov.
Painter, lithographer. Master of domestic genre, portrait painter, landscape painter. Born into the family of a poor merchant. Studied in a private boarding school. From childhood, he discovered the ability and love for drawing, but information about his initial artistic training has not been preserved. He showed particular interest in portraiture.
In 1807 Venetsianov entered the service in St. Petersburg. At the same time, he seriously took up painting: he took lessons from V.L. Borovikovsky, copied old masters in the Hermitage.
For "Self-Portrait" (1811, Russian Museum) he received the first academic title "appointed", for "Portrait of K.I. Golovachevsky, Inspector of the Academy of Arts" (1812, Russian Museum) he was recognized as an academician.
In addition to portraiture, he was successfully engaged in graphics. During the Patriotic War of 1812, together with I.I. Terebenev and I.A. Ivanov published satirical leaflets of military-patriotic content, made in the technique of etching. He willingly turned to lithography, which had just been invented at that time. Venetsianov was one of the members of the legal organization of the Decembrist Union of Welfare - the Society for the Establishment of Schools by the Method of Mutual Education, the purpose of which was to spread literacy among the common people.
In 1818, Venetsianov left the service and began to live for a long time in his Tver estate Safonkov, embodying new artistic aspirations in painting.
After the success of the painting "The Barn", bought from the artist for a significant amount, he decided to use the proceeds "to train poor young people" according to a new method. The master's students, in some cases serfs, lived and studied with him free of charge. The school functioned alternately in Safonkovo and in St. Petersburg, receiving some support from the Society for the Encouragement of Artists. The pedagogical system of the master was reduced to the development in the student of the ability to see and depict the world around him in its immediate reality, outside of predetermined norms and canons.
Official academic circles disapproved of Venetsianov's activities. Pupils of Venetsianov did not copy, like academicians, other people's originals or special tables depicting individual parts of the body. They comprehended the laws of form, perspective, color on real objects, moving from simple tasks to more complex ones.
During the twenty-year existence of the school, material difficulties increased, and Venetsianov unsuccessfully sought funds for its maintenance. Attempts to get a teaching position at the Academy of Arts or at the Moscow School of Painting and Sculpture ended in failure.
Venetsianov died suddenly, from an accident on the road - a sleigh that overturned at a sharp turn dealt him a mortal blow.
about PVPTPFOPK UFPTPOE IPMUFB OE HLBBOP OY FPYuOPK DBFSCH, OH YNEOY FFK DECHHYLY. h LBFBMPZBI tHUULPZP NHES, B FBLTSE PE CHUEI URTBCHPYUOSCHI YODBOYSI Y NPOPPZTBZHYSI DBFYTPCHBO RPTFTEF HUMPCHOP - 30th ZPDSC, Y OBCHBOYE UFPMSh TSE HUMPCHOPE - "DECHHILB CH RMB FLE "YMY" DECHHILB CH LMEFYUBFPN RMBFLE. OE CHUFTEYUBEFUS HRPNYOBOYK PV LFPN RPTFTEFE OY CH RYUSHNBI IHDPTSOYLB, OY CH CHPURPNYOBOYSI EZP VMYELLYI. nPCEF VSHCHFSh, b. h. CHOEEGYBOPCH OE RTYDBCHBM VPMSHYPZP OBBYUEOYS LFPK TBVPFE, OE PYUEOSH-FP DPTPTSYM EA? ULTPNOSHK FAAD, UDEMBOOSHK U LTEUFSHSOULPK DECHHYLY, RP-CHYDYNPNKH, VSHCHUFTP, CH PDYO-DCHB UEBOUB. NECDH FEN UBNB CHPЪNPTSOPUFSH RPSCHMEOYS EZP ABOUT UCHEF VSCHMB CH OELPFPTPN TPDE UPVSCHFYEN CH YUFPTYY THUULPK TSYCHPRYUY.
h REFETVKhTZULPK BLBDENY IHDPTSEUFCH CHEOEGEGBOPCHB OBSCCHBMY "TYUKHAEYK YUYOPCHOYL".
UOBYUBMB PO UMKhTSYM CH LBOGEMSTYY DYTELFPTTB RPYUF, BLFEN CH MEUOPN DERBTFBNEOFE ENMENETPN, B H UCHPPVPDOPE PF UMHCVSCH CHTENS CH TNYFBTSE LPRYTPCHBM RBUFEMSHA THVEOUB Y tenVTBOFB , RTYOYNBM BLBSHCH ABOUT RPTFTEFSHCH Y CHULPTE UFBM RPMSh'PCHBFSHUS Y'CHEUFOPUFSHHA ZPTBDP VPMSHYEK, YUEN OELPFPTSCHE BLBDENYLY TSYCHPRYUY. yuEMPCEL - PE CHUSLPN UMHYUBE CHOEYOE - PO VSCHM FYYIK, CH URPTSCH OILPZDB OE CHUFHRBM, UMBCHPK OE LYUYMUS, PF RPLTPCHYFEMSHUFCHB NBUFYFYFSHCHI TSYCHPRYUGECH OE PFLBBSCHCHBMUS. LFP VSC NPZ RPDHNBFSH, YuFP LFPF "TYUKHAEYK YUYOPCHOYL" DBCHOP HCE UPUFBCHYM "UPVUFCHEOOPE UCHPE RPOSFIE P TSYCHPRYUY" Y FPMSHLP DP READING OE FPTPRYFUS BSCHMSFSH P UEVE?
b. h. CHEOEGIBOPCH. deCHHILB CH RMBFLE.
dBCE DPUMHTSYCHYUSH DP YUYOB FYFHMSTOPZP UPCHEFOILB Y RPMHYUCH JSCHBOYE BLBDENYLB TSYCHPRYUY, BY CHUE EEE TsDBM UCHPEZP YUBUB. bMELUEA zBCHTYMPCHYUKH CHEOGYBOPCHKH YURPMOYMPUSH UPTPL YUEFSHCHTE ZPDB, LPZDB ABOUT PVPTPFE RPTFTEFB n. n. zhYMPUPZHPCHPK (LFP RPMPFOP OBIPDYFUS CH FTEFSHSLPCHULPK ZBMETEE) BY UDEMBM OBDRYUSH: "CHEOEGEGBOPCH CH NBTFE 1823 ZPDKh UYN PUFBCHMSEF UCHPA RPTFTEFOHA TSYCHPRYUSH".
Y ON DEKUFCHYFEMSHOP RETEUFBEF RYUBFSH RPTFTEFSHCH RP BLBLBN, RPLYDBEF REFETVHTZ, RETEUEMSEFUS CH UCHPA DETECHEOSHLH UBZHPOLPP Y RYUSHNB RPDRYUSCHCHBEF: "CHEOEGEBOPC UBZHPPOLU" LIK". at FPK RPTSCH ON UBN DEMYF UCHPA TSJOSH LBL VSC ABOUT DCHE YUBUFY -PDOB, LPZDB ON VSCHM RTPUFP CHEOEGEYBOCH, Y DTHZBS, LPZDB ON UFBM CHEOEGEYBOPC-UBZHPOLPCHULYK. FERETSH, PVTEFS OYEBCHYUYNPUFSH, CHDBMY PF UHEFOSHCHI BLBYUYLPCH, RTYDYTYUYCHPK BLBDENYY, IHDPTSOIL NPZ FCPTYFSH OB UCHPPVPDE, RTEDPUFBCHMEOOSHK UBN UEVE, THLPCHPDYNSCHK M YYSH UPVUFCHEOOOSCHNY ULMPOOPUFSNY Y TSEMBOISNY. lTBUPFB PLTHTSBAEEZP NYTB RETERPMOSMB EZP TBDPUFSHHA.
CHPF LTEUFSHSORB RP RECHPK VPTPDE CHEDEF RPD HJDGSCH MPIBDEK. pF EEE OE RTPZTEFPK ЪENMY RPDOYNBEFUS MEZLIK RBT, Y LBCEFUS, VHDFP LTEUFSHSORB RMSHCHCHEF CH FFK DSHCHNLE, EME LBUBSUSH ЪENMY VPUSHNY OPZBNY. rTELTBUOP VSCHMP OE UFP-FP PFDEMSHOPE, CHSKFPE UBNP RP UEVE -NPMPDSCHE MYUFPYULY YMY VPUPOPPZBS LTEUFSHSOLM, BOEUFP, UPEDYOSCHIE YI CH PDOP GEMPE. rTELTBUOPK VSCHMB UBNB TsYOSH ENMY, RTELTBUOSCHN shShMP YUHCHUFCHP, LPFPTPE TPTSDBMPUSH CH EZP ZTHDY Y UPEDYOSMP U FFK YENMEK, U MADSHNY, TBVPFBAEINY OB OEK ("CHEUOB ABOUT RBYOE "). rTPKDEF EEE YEFCHETFSH CHELB, RTETSDE YUEN yuETOSCHYECHULYK RTPCHPYZMBUYF CH UCHPEK OBNEOYFPK DYUUETFBGYY: RTELTBUOPE - EUFSH TSYOSH, FEN UBNSCHN PFLTSCHCH OPCHA RPMPUH CH YUFPTYY YUFEFYUEULPK NSHCHUMY, CH UBNPN IPDE TBCHYFYS THUULPZP YULKHUUFCHB. b RPLB UFP ULTPNOSHCHK IHDPTSOIL, RPYUFY VECHSHCHEDOP TSYCHHEYK CH UCHPEK DETECHEOSHLE, CHDPIOPCHEOOP TBVPFBEF, RTPLMBDSCHCHBS RHFY FFK YUFYOE, DPCHETSSUSH UPVUFCHEOOOSCHN YUKHCHUFCHBN Y UCHPENKH RPOYNBOYA TSYOEOOOSCHI SCHMEOYK.
"OYYUEZP OE YЪPVTTBTSBFSH YOBYUE, YUEN CH OBFKHTE SCHMSEFUS, Y RPCYOPCHBFSHUS EK PDOPC VE RTYNEUI NBOETB LBLPZP-MYVP IHDPTSOILB, FP EUFSH OE RYUBFSH LBTFYOH a la Rybens, a la Rem brandt Y RTPU., OP RTPUFP LBL VSC ULBBFSH a la obFHTTB" - FBL DKHNBM CHEOEGEYBOPCH Y FBL OBUFBCHMSM UCHPYI HYUEOILPCH, CHULPTE RPSCHYCHYIUS X OEZP. yI PO YULBM Y OBIPDYM UTESH VEDOPZP MADB Y LTERPUFOSHCHI, CHETHS, UFP, "YDHYUY UIN OPCCHCHN RHFEN", POY RTYVMYJSFUS L RTBCHDE Y LTBUPF CHETOEE, YUEN FE, LFP ZPDBNY LPRYTHEF TYNULY E Y ZTEYUEULYE PVTBGSHCH, YJHYUBEF LMBUUYYUEULYE RPMPFOB, BLFCHETSYCHBEF RTBCHYMB, RTYPVTEFBEF OCHSHCHLY , PUFBCHBSUSH ZMHIYN Y UMERSHCHN RETED FEN NYTPN RPDMIOOPK LTBUPFSHCH, LPFPTHA SCHMSEF UPVPK RTYTPDB. UChPY RPMPFOB, UFP VSH POY OY YЪPVTTBTSBMY, IHDPTSOYL VPMSHIE OE OBSCCHCHBEF "RPTFTEF", "REKBTs", "TsBOTPCHBS UGEOLB", CHUE LFP "EFADSHCH CH VEIKHUMPCHOPN RPDTBTSBOY RTYTPDE".
yUBEE CHUEZP PO RYYEF LTEUFSHSOULIE MYGB. b RPULPMSHLKH ON RP UCHPENKH DHYECHOPPNKH OBUFTPA RPF, FP CHUEZDB TsBTsDEF CHEYUBFMEOYK, LPFPTSCHE RPNPZMY VSC ENH HFCHEDYFSHUS H FFPN LBYEUFCHE. CHUFTEFYF PO CH RPME NPMPDH UCHEFMPZMBKHA LTEUFSHSOLCH, HUBDIF EE RETED NPMShVETFPN, VTPUYF EK ABOUT LPMEOY VHLEF CHBUYMSHLPC Y U FTEREFPN OBVMADBEF, LBL UCHEFYFUS EE MYGP, LBL ZP MHVEAF ZMBB. th RTYUFBMSHOP CHZMSDSHCHCHBEFUUS H FP RTEPVTBTSEOOPE MYGP. OP RPLFH YUBEE CHUEZP RTYIPDYFUS PFUFHRBFSH RETED TEBMYUFPN, LPFPTSCHK OE REFINERY OE UBNEFIFSH CHSHTBTSEOIS RPLPTOPK HUFBMPUFY, LPFPTPE DEMBMP MYGP LTEUFSHSOLY BUFSHCHCHYYN, LBNEOOCHN. BY VSHCHM UMYYLPN YuEUFEO, UFPVSCH RYUBFSH FP, UFP ENH IPFEMPUSH VSC CH OEK HCHYDEFSH, B O FP, UFP VSCHMP ABOUT UBNPN DEME. th RPMPFOP ЪBREYUBFMECHBMP UHFKhMSHCHE RMEYUY, VPMSHYYE, OBFTKHTSEOOSCHE THLY Y CHZMSD, CH LPFPTPN VSCHMP UFPMSHLP RTYDBCHMEOOPUFY, VETB’MYYUYS LP CHUENKH ABOUT UCHEFE (“dechkhylb U Ch BUYMSHLBNY").
RPPF YMY TEBMYUF ЪBUFBCHMSM CHEOEGEGBOPCHB VTBFSHUS ЪB LYUFSH, YUFPVSH RYUBFSH "TSOYGH", "LPTNYMYGH U TEVEOLPN", "LTEUFSHSOLCh fCHETULPK ZKHVETOY"? ULPTEE CHUEZP, RPLF, RPFPNKh SFP CHUE LFP RPTFTEFSHCH LTBUBCHYG. rTBCHDB, OY CH PDOPN UBMPOE, OY CH PDOPC ZPUFYOPK LFYI LTEUFSHSOPLOE OBCHBMY VSH LTBUBCHYGBNY, POY LTBUICHSHCH RP OBTPDOSHN, "NHTSYGLYN" RTEDUFBCHMEOYSN: TXNSOSCH, FP, UFP GENERAL EFUS "LTPCHSH U NPMPLPN", YI ZHYZKhTSCH DSHCHYBF UDPTPCHSHEN Y UYMPK-U MAVPK TBVPFPK URTBCHSFUS, MAVBS FTHDOPUFSH YN OYRPYUEN. ChZMSDSCCHBSUSH CH YI MYGB, NSC RPOINBEN, UFP UOPCHB RPPF PFUFHRBM RETED FTEJCHCHN OBVMADBFEMEN. iHDPTSOYL UFBTBMUS VSHCHFSH OBUFPMSHLP FPYUOSCHN, UFP RP EZP RPMPFOBN HYUEOSCHE NPZHF YЪHUBFSH FIR MYGB FCHETULPK LTEUFSHSOLY-OEU-LPMSHLP ULHMBUFPE, YTPLP TBUUFBCHMEOOOSCHE ZMB ЪB, CHSHCHUPLYK ZMBDLYK MPV, CHPMPUSCH, CHUEZDB RPLTSCHFSHCHE RPCSHLPK, RPCHPKOILPN, LPLPYOYILPN YMY RMBFLPN. sing DBCE RPIPTSY DTHZ ABOUT DTHZB, LBL RPIPTSY LTBUBCHYGSCH CH ULBLBI, CH OBTPDOSHHI REUOSHI.
YЪPVTBTSBS UCHPYI LTEUFSHSOPL, IHDPTSOYL LBL Vshch PFTELBMUS PF FEI RPOSFYK, RTEDUFBCHMEOYK P TSEOUULPK LTBUPFE, LPFPTSCHE UHEE-UFCHPCHBMY H EZP CHTENS. UMHYUBMPUSH Y FBL, UFP CH URPTE RPPFB Y TEBMYUFB PVB RTYIPDYMY L UZMBOYA. i FPZDB RPSCHMSMYUSH FBLIE RPMPFOB, LBL "DECHHILB CH RMBFLE". yFP MYGP CHSHDEMSEFUS CH ZBMETEE CHEOEGEGBOPCHULYI TSEOEIO. h OEN OEF OYYUEZP BUFSHCHCHYEZP, POP NYMP UCHPEK PDHIPFCHPTEOOPUFSHHA. LBL UMHYUMPUSH, YUFP TsYOSH, YURPMOEOOBS FTHDB Y MYYEOIK, RPEBDYMB LFP UHEEUFCHP, YMY FPMSHLP DP READING PVPYMB EZP UFPTPOPK? h DEFULY RTIRHIYYI ZHVBI LBL VHDFP FTEREEEF HMSCHVLB, CH ZMBBBI UFPMSHLP YUYUFPZP, SUOPZP UCHEFB Y FBLPE DPCHETYE L NYTH, LBLPE VSCCHBEF FPMSHLP H TBOOK AOPUFY. CHUE ZBTNPOYUOP CH YuETFBI HER MYGB, CHUE YURPMOEOP RTEMEUFY. YuEN VPMSHIE CHZMSDSHCHCHBEYSHUS CH HER MYGP, FEN VPMSHIE HCHETEOOPUFY, UFP LTBUPFB LFB DPUFPKOB UYBUFSHS, TPTsDEOB DMS UYUBUFSHS. iHDPTSOIL LBL VHDFP PFDSHIBM, TBVPFBS OBD LFYN RPMPFOPN, RTEDBCHYUSH NEYUFBN. pVTBJSCH LTERPUFOSHCHI LTEUFSHSO RPSCHMSMYUSH CH THUULPK TSYCHPRYUY Y DP CHEOEGEGBOPCHB - X bTZKHOPCHB, vPTCHYLPCHULPZP Y DTHZYI IHDPTSOYLPCH, OP FPMSHLP CH EZP FCHPTYUEUFCHE NYT LTEUFSHSOU LPK TSOYOY Y LTEUFSHSOULYI RPOSFIK UVBOPCHYFUS ZMBCHOPK FENPC, PRTDEDEMSEF UBNHA UHEOPUFSH EZP YULKHUUFCHB, EZP RTEDUFBCHMEOYK P LTBUPFE.
The painting "Girl in a checkered scarf" belongs to the pen of the artist A.G. Venetsianov. The artist, who did not receive an art education, became a master of the portrait genre, he was awarded the title of academician of the Russian Academy of Arts. Many portraits were painted by A.G. Venetsianov on orders, including for obtaining the title of academician. But the moment came when he left the service, city life in St. Petersburg and moved to live in the village of Safonkovo. Venetsianov himself divides the periods of his life in the city and in the village, signing works, papers, adding the pseudonym Safonkovsky.
Living in a rural wilderness, he gives himself to his beloved work with all his heart. Write how you want and who you want. The sitters were simple peasants, their children. Drawing the scenes of uncomplicated rural life with the participation of serfs, Venetsianov implemented his principle "to depict nothing other than what it is in nature ...". The artist managed to show the harmony of everyday peasant life, nature and man, to reveal the beauty of the Russian soul. The unity of the artist and the people he depicts is felt in every carefully drawn line of the face, the authenticity of the expression of the eyes, and the pronounced physical and spiritual strength. Venetsianov was able to convey the beauty of simple faces, different from that canonically depicted by the masters of the portrait genre of that time. Drawing representatives of the lower class at that time was considered bad form, but Venetsianov, neglecting the conventions, chose the faces of ordinary people that he liked for nature. Depicting the peasants, the artist masterfully selected colors, used the play of light and shadow.
He could not help but reflect the weariness visible in these people from overwork, the expression of resignation to fate on their faces. There are no laughing or even smiling faces. Therefore, among the portraits by A. Venetsianov, the "Girl in a checkered scarf" stands out.
There is no information left about who posed for the artist, even the exact date of the portrait is unknown. She had to pose for the artist, simply throwing a blue-green checkered scarf over her head and holding it with her hand at her chin. A very young girl, rather a teenager, looks at the artist with humility. Sweet, clean, almost childish face. A high forehead, beautifully defined eyebrows, blue-gray and wide-set large eyes, a straight nose, childishly plump crimson lips. The triangular oval of the face, a very soft and pleasant chin give nobility to the girl's face. Her dark brown hair was parted in a peasant way and tucked under a handkerchief. It seems that the hair is braided in a thick braid.
The hand holding a handkerchief on her chest betrays a simple village girl. In a peasant way, she is wide, rather large, with strong fingers hesitantly presses her handkerchief to her chest.
The scarf thrown over the girl's head, new, similar scarves in a large cage, were worn by peasant women of that time. Probably, the artist bought this scarf especially for the girl and then presented it to her. The handkerchief is not made of coarse fabric, because reflections of light are clearly visible on it, as on a fabric made of silk or satin. The main color of the scarf changes depending on the lighting from blue to green, even the color of the cage pattern changes from white-yellow to yellow-red. All the folds of the scarf and even the fringe are carefully drawn by the author.
The girl is dressed in a simple shirt made of bleached linen. Probably, she is wearing a Russian sundress, but the artist did not write out the details of the clothes, focus on the external surroundings. The main thing was to accurately portray the girl's face, to show her external beauty, as well as a pure inner world. It seems that the girl, looking at the artist, wants to smile, but, not daring, restrains herself. A smile hides in the corners of the lips. Natural simplicity and modesty, innocence is visible in all her appearance. At the same time, in her bright living eyes there is a mystery, as in the eyes of any woman.
And everyone can see his own in them, guess what this lovely creature thinks about, what he dreams about. It is believed that the hardships and hardships of life have not yet touched her, the outgoing childhood and the coming youth are not overshadowed by the difficulties and sorrows of the peasant lot. I want her and her life to remain bright, not overshadowed by any troubles.
Thanks to the works of the artist Venetsianov, we can see what ordinary peasants looked like at the beginning of the 19th century, how their daily life was arranged, noticed and accurately captured by the wonderful master on his canvases. Great is the historical significance of the paintings as a true source of information about that period of time. Although in the paintings of A.G. Venetsianov, there is a resemblance to icons due to a certain flatness of the image, they captivate with their truthfulness, sincerity of the author's gaze. The magnificent portrait painter Venetsianov lovingly selected nature for his paintings, so we can still see and admire such paintings as “The Girl in a Checkered Scarf”. Looking at this portrait, for some reason it seems that we have a young Madonna from the canvases of medieval artists.
The painting is stored in the State Russian Museum in St. Petersburg.
The picture shows
Beauty from a Russian fairy tale -
Both innocent and humble.
Deep, mysterious and tender,
And the girl's gaze is sincere;
The swelling of the lips touches us;
And the hair is parted
Hairstyles smooth separates;
And a scythe runs down the back
With an elegant ribbon woven.
The peasant woman is a young beauty!
And the viewer, amazed by it,
Hope they get around
Side of trouble and sadness,
That the days of happiness await the girl,
And the days of misfortune are hardly! ..
Haven't had any worries yet! -
We see it in the picture
Where is the blue checkered handkerchief
Throw a hand over the head.
The face glows with warmth
Smiling takes a rush
But modesty and purity
She will cover herself shamefully!..
Reviews
Thank you very much, dear Lenochka! About the reference to the poem. When you open it, the link that appears at the top can simply be copied and pasted into the text. After exiting the text input or editing mode, this link will allow you to immediately go to the poem by clicking. All the best! With love and tenderness,
The daily audience of the Potihi.ru portal is about 200 thousand visitors, who in total view more than two million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.
Probably, beautiful people have always attracted the attention of artists. Through its power, beauty has ruled the world, entire civilizations and cultures. But there is beauty of the highest grade. When it is not the proportions of the face and forms that attract special attention, but the qualities of the personality that catch the eye. I think that's why A.G. got the idea. Venetsianov to paint a portrait of a girl in a headscarf. Who was this girl? What role does the portrait play in our time?
The girl depicted in the painting by A.G. Venetsianova, at first glance, not rich, but her inner world is full of mystery and tenderness, sensitivity and sensuality. Hair, simply styled with a parting in the middle, ordinary clothes, a meek look, everything in her speaks of simplicity and her belonging to a modest class. But this is not the focus of the artist. The expression of her beautiful eyes, that's what first caught my eye. She seems to be laughing, looking at me, and at the same time, her gaze is affectionate. The scarf is not tied, but simply thrown over the head. It is clear that she is only posing in front of the artist. Indeed, an ordinary scarf adorns the appearance of this unknown girl so much that as soon as she matured. Take off her handkerchief, so she will look thirteen or fifteen years old. Still quite young. But the scarf makes her look feminine and charming. The lips are also slightly tucked into a smile, clean and welcoming. In general, the image turned out to be somehow bright and pleasant, like the sun on a warm May day!
It immediately seemed to me, as soon as the portrait "Girl in a headscarf" caught my eye, that in front of me was a Slavic copy of the "Gioconda". The same enigmatic smile, the same turn of the head, tender lips that do not know until the end whether to join them in a smile with the eyes. Only the hand that holds the handkerchief showed the inexperience of nature, unlike her Italian great-grandmother.
