House-Museum Vasnetsov Victor Mikhailovich.It is not toy or fabulous, this house is in the center of Moscow, among the quarters of a new residential area. It is spacious and bright, it was convenient to live in it. Here everything is proportional to man. Logically combined simple volumes, corresponding to the main significant parts of the building, for example, a single-story residential part and a high workshop. Above the entrance there is a corner tower of dark logs with narrow windows.
Above the turret, a covered “keg”, – a high colored roof “in checkered”. Twisted window frames, resembling carved white stone ornaments, gray-blue tiles, going through the frieze, give the house a resemblance to the tower. In this house from 1894 to 1926 lived and worked Viktor Mikhailovich Vasnetsov, a native of the Vyatka region, he loved Moscow.
Perhaps no city was more in line with his spiritual state than the ancient capital, whose atmosphere he considered necessary for himself and for the Russian artist. Moscow attracted VM Vasnetsov with its quiet, patriarchal way of life, architectural monuments of antiquity. His close friends lived in Moscow-the families of the Mamontovs and Tretyakovs. Already a mature master, a well-known artist, a “historian a little on a fantastic scale,” at the age of 45, VM Vasnetsov was able to acquire a small piece of land in Moscow and build this house on his own project.
Everything in the house is Russian, familiar to the artist from childhood, which entered his flesh and blood even in his native village Ryabov. The interior is stern, simple and strict. It is sustained in dark brown and dark green colors. Log walls, thick ceiling beams darkened from time to time. A narrow wooden spiral staircase leads upward. The furnaces in the house are all different and all are made according to the drawings of VM Vasnetsov. They are decorated with glazed tiles with a convex floral ornament, reminiscent of tiles of the XVII century. A large pink oven in the dining room is like a tower with deep windows, a keeled white arch over the door and “white stone” decorations. The museum retains a sketch of this stove, where you can see how Vasnetsov walked to his favorite Old Russian decor from the non-typical decorative columns. Golden-brown majolica vases and ashtrays in the shape of a rook, ducks or brothers stand on solid, solid, like architectural structures, buffets.
The furniture was mainly made in the Abramtsevo workshops, in part by the drawings of VM Vasnetsov. It reflected the artist’s fascination with the past and the direct influence of folk decorative art. The furniture is decorated with a characteristic flat, then, on the contrary, juicy, relief carving, with garlands of fruits and flowers, with melons, balusters, meringue loops. Toned with black and brown-red, the cabinet on the wall is made according to the sketch of Elena Dmitrievna Polenova.
There are three memorial rooms in the house, where everything is left as it was under Viktor Mikhailovich. This is a hall, a dining room and a bedroom cabinet, or “light box,” as Victor Mikhailovich called it tenderly. In the hall and dining room hang portraits of relatives and friends of the artist people. In the “light”, every thing is a whole story from the life of Viktor Mikhailovich, telling about his interests, acquaintances, about his works. Here, for example, a relic is stored: a palette with the artist’s autograph, which he used, painting the Cathedral of Vladimir. VM Vasnetsov its very shore. All these objects, once surrounded by the master, help penetrate into his inner world, better understand creative aspirations.
On the second floor (door to the door with a “light”) – a spacious, high workshop, which for many years dreamed VM Vasnetsov. Having lived in Moscow since 1878, he managed to build a workshop that was convenient for work only in 1894. Here he wrote “The Snow Maiden”, “The Tsar of Ivan Vasilyevich Grozny”, his latest painting on the epic theme “Bayan”. Now here are exhibited paintings that reflect the artist’s last period of creativity, and his unfinished works. They are written on the subjects of Russian fairy tales. In those rooms, the decoration of which is not preserved, is a museum exposition. Here are some of the artist’s early genre works and paintings on historical subjects. With great spirits, the painting “Bryn Forest” (1884) was painted, where Viktor Mikhailovich proved himself to be a wonderful landscape painter. On the versatility of interests, the versatility of the artist’s talent is shown by the ornaments and sketches stored in the museum for monumental paintings, sketches and historical compositions, architectural designs, works in the field of book illustration. Exposition is not large. Huge historical canvases, a multi-meter frieze “The Stone Age”, occupying the hall of the State Historical Museum, painting and mosaic of the Vladimir Cathedral in Kiev, the facade of the State Tretyakov Gallery, in sketches, designs, variants – all this was reflected in the museum’s exposition.
The collection of the museum, which collected only a few pieces of a large heritage, is interesting in that it adjoins things that have preserved the warmth of the artist’s hands, things in which his tastes and attachments are imprinted. Objects of folk art, works of folk art somehow unobtrusively, modestly fill the house of Victor Mikhailovich, allowing deeper to feel the meaning of his entire life.
There are a few preserved corners on the earth that would allow such close contact with the inner world of the artist-creator, like this house, which stands in the former Troitsky lane. About him mentioned V. V. Stasov, F.I. Chaliapin wrote. The road here was well known and Maxim Gorky and AP Chekhov. There were also IE Repin, VD Polenov, VI Surikov, II Shishkin. And later, in the twenties, the younger brother Apollinar Mikhailovich came here with young artists of a different kind and direction. The house remembers both the creative rise and flowering of the artist’s talent, he remembers how the famous “Bogatyri” left the Tretyakov Gallery, remembers both the years of sunset and the hard days of losses, and July 23, 1926 – the day of the death of the artist.
In 1948, by the centenary of the birth of Viktor Mikhailovich, his daughter Tatiana Viktorovna Vasnetsova handed over the house, paintings and many personal belongings of the artist to the state, and in 1953 a memorial museum was opened here.
PORTRAIT OF APOLLINARY MIKHAILOVICH VASNETSOVA 1872 (?) Canvas, oil
VM Vasnetsov is known more as a historical painter and as the author of works on the subjects of the Russian bylina. The paintings of this genre are widely represented in the expositions of the State Tretyakov Gallery and the State Russian Museum. VM Vasnetsov also created many portraits. In his memorial museum there are many portrait works of the painter. Among them one of the earliest is the portrait of AM Vasnetsov’s brother. A young man in dark brown clothes with a white strip of collar, which sets off his face, is depicted on a neutral neutral background. The young, spiritualized face is thoughtful. VM Vasnetsov noticed early and encircled the subtle artistic nature of his younger brother, whose talent he carefully developed.
A. UNDERWATER KINGDOM 1884 Paper, watercolor
Like all the fairy-tale images created by VM Vasnetsov, the “Underwater Kingdom” is not so much a fruit of fantasy as a vividly observed and poetically imagined picture of nature. Underwater kingdom with its emerald shells, bizarre corals, all permeated with rays pouring from above the world, gives the impression of a transparent, unsteady environment. This is a sketch of the scenery for the opera
A. S. Dargomyzhsky “Mermaid”, the premiere of which took place in the Moscow private Russian opera by SI Mamontov on January 9, 1885.
“This watercolor has even a historical significance,” he wrote.
B. M. Vasnetsov A. G1. Langovo on January 14, 1908 – she was the beginning of an art production at the Private Opera, which greatly influenced in general the improvement of the artistic production of plays in theaters and, in part, even the most artistic theater. ”
PORTRAIT VOLODY, SON ARTIST 1899 Canvas, oil
VM Vasnetsov almost did not write portraits by order, but always depicted only people close to him, therefore all his portraits are imbued with a feeling of deep affection and sympathy. Volodya, who at that time was 10 years old, is written in a red theater costume of an archer with blue pads and gold buttons. He sits in a carved armchair against a motley background, with a multi-colored curtain pattern. Typically “vasnetsovskoe” elongated face with a straight nose, pensive serious eyes are wide open. The face is strict and focused. Brightness, decorative coloring meet the special atmosphere of the theater, in which the child is immersed.
Subsequently, Vladimir Viktorovich Vasnetsov (1889-1953) became one of the founders of the Ichthyology Department of the Biology and Soil Faculty of Moscow University.
PORTRAIT OLGA VASILYEVNY FLIGHTED 1912 Canvas, oil
Olga Poletaeva (died in 1961) is the son of the artist Mikhail Viktorovich Vasnetsov.
In the portrait the young grace and purity of the young woman were successfully transferred. Softly, smoothly outlined her whole figure, especially the plastic line of nlech and lowered arms. The predominant white-pink range of colors. A large high forehead, smoothly combed fair-haired hair, soft serious eyes, slightly elongated oval face, straight nose. In the portrait there is a warm relation of the painter to the model. This portrait completes a series of lyrical, inspired women’s images of VM Vasnetsov, the best of which are portraits – EA Prahovoy (1894), belonging to the Tretyakov Gallery, and VS Mamontova (1896), kept in the museum-estate “Abramtsevo” “.
SOLID TSAREVNA FRAGMENT 1900-1926 Canvas, oil
On the canvases of VM Vasnetsov, as in folklore, there is always a mixture of fantastic and real, fiction and life truth. The artist worked on the pictures for a long time, leaving them for the sake of new ideas and again returning to the interrupted work. The first sketch of “The Sleeping Tsarevna” the artist wrote back in 1882, during a period of great creative growth. Other museums store sketches of 1914 and 1920s. And yet the picture was not signed, unfinished.
In “Sleeping Princess” much comes from theatrical scenery, from the famous “Chambers of the Tsar Berendey” … It is felt in the composition, and in the use of architectural motifs, and in ornaments.
Against the background of the high ancient houses, surrounded by a magical dense forest, the princess sleeps. Her bed was adorned with intricate ornamentation of wild flowers. In the ornament are interlaced images of fantastic monsters, lions, mermaids. Around the princess guslyars and buffoons with a “goat”, guards, a nurse with a cat in her arms, hay girls-girlfriends. At the bed, with the head on the book, the girl is sleeping. Seven-year-old, little “Alyonushka.” Animals, heroes of many Russian household tales, guard the princess’s dream. Sleeping birds on the trees and fish in the pond. Nature lives; Through the floor of the house grew daisies and poppies, and around grew a huge forest in which the drowned, lost the magical kingdom.
The desire to convey light magical dreams determines the artist’s choice of color. Like a transparent bluish-green trickle, the princess’s veil flows. Gently pink, blue, warm-yellow tones create a general, very delicate, exquisite coloring of the picture. Only in some places bright color accents are given (red blouse Sevenlettes, clothes of buffoons). All this merges into a single pearl-emerald gamut. Like many paintings in the museum, the Sleeping Tsarevna was first exhibited at the posthumous exhibition of the artist, opened in the house of VM Vasnetsov in 1927.