Vrubel [antikvár]

The inspired work of Mikhail Vruhel marks one of the brightest pages of Russian art. Vrubel's artistic activity embraces the last two decades of the nineteenth and the í'irst fovv years of the twentieth century -a period of revolntionary forment in Russia and of a brilliant and vigorous flourishing of llto arts. The role Vruhel played in the artistic life of his time can he appreciated from Nicholas Roerich's homage: "His is a dazzling personality: there is much sunlight about him-much of what we need." The tarn of the century was bringing forth new problems. Tendencies were appearing towards pictorial monumentality that drew on the traditions of early Russian art. New principles of using the decorative qualities of colour residted in striking achievements in the field of coloration. More and more often art tackled the philosophic problems of the relationship beetween man and the surrounding world - a tlieme profoundly important in Vrubel's work too. At times this tragic tlieme can he heard in Skriabin's music, which is consonant with the art of Vruhel. Tolstoy, Chekhov, Blok and Briusov in literature, Skriabin and Rakhmaninov in music - the very existence of stich a brilliant galaxy of writers, poets, nmsicians and painters was proof of a high upswing in the artistic life of Russia. Among the outstanding painters, active at about this time, are Surikov, whose historical pictures and portraits possess a rare dynamic quality and epic power; Kustodiev, a celebrated portrait painter, who showed an unfailing interest in Russian folk art; Korovin, who was responsible for bringing about a revolution in theatrical design; Maliavin, who sang the beauty and grace of the Russian peasant woman; and Borisov-Musatov, absorbed in elegiac dreams. During this period Russian art won wide recognition in Europe. The Diaghilev Ballet acquainted the world not only with stich brilliant dancers as Karsavina, Pavlova and Nizliinsky, but alsó with the works of the Russian theatrical artists who had replaced the stage-designers of an earlier tradition. Whereas before the backcloth had been a mere decorative background, it now became an integrál part of the production. This modern trend in Russian stage-design was connected with the name of Savva Mamontov, a proniinent patron of the arts and a man of versatile talent, who had established in Moscow the first Russian priváté opera company. Its repertoire ineluded the operas of Dargomyzhsky, Mussorgsky, Borodin and Rimsky-Korsakov, and the scenery and stage settings were done by such famous painters as Korovin, V. Vasnetsov, Polenov and Vrubel. Mikhail Vrubel was born into an officer's family in the town of Omsk on March 5th (old style) 1856. His father took a deep interest in his son's artistic inclinations. His motlier died wlien he was three years old. His stepmother was a pianist and she fostered a love for music in the boy. After