Свидание с сыном

• Ink, sepia, nib. 39,5 х 33
• State Tretyakov Gallery
• инв. 4397

Чтение сказки

• Paper, , nib. 20,4 x 30 (очерчен)
• The State Russian Museum
• Р-507

Крестьянин-лирник

• 1881
• Paper, , nib. 21,4 x 13,3
• The State Russian Museum
• Р-13471

Собака

• 1881–1882
• Paper, , graphite pencil. 45,8 x 22
• The State Russian Museum
• Р-524

Античное панно

• 1881–1882
• Paper, watercolours, , nib, graphite pencil. 49 x 34,5
• The State Russian Museum
• Р-13476

Betrothal of the Virgin Mary to Joseph

• Study for an academic programme
• 1881
• paper mounted on cardboard, watercolours, ink, sepia, nib, graphite pencil. 69,7 x 61,7
• The State Russian Museum
• Р-13464

Обручение Святой Девы Марии с Иосифом

• 1881
• Paper, watercolours, graphite pencil. 23,3 x 15,7
• The State Russian Museum
• Р-55057

Head of a Girl

• 1882
• Paper, watercolours. 22,8 х 13,3
• State Tretyakov Gallery
• инв. 5731

Italy. A Scene from Ancient Life

• Curtain design for Savva Mamontov’s Russian Private Opera
• 1882
• Watercolours, graphite pencil. 28,5 х 49,6
• State Tretyakov Gallery
• инв. 5648

Male Artist’s Model

• 1882–1883
• Canvas, oil. 67 x 52
• The State Russian Museum
• Ж-1842

Male Head

• 1882–1883
• Canvas, oil, graphite. 29 x 24,5
• The State Russian Museum
• Ж-1845

Portrait of Zinaida Stuckenberg

• 1882
• Paper, watercolours. 16,4 x 12,7
• The State Russian Museum
• Р-13474

Self-Portrait

• 1882–1883
• Paper, watercolours. 12,5 x 8,6 (верхние углы срезаны)
• The State Russian Museum
• Р-56520

Женский портрет

• 1882–1883
• Paper, watercolours. 26,2 x 17,7
• The State Russian Museum
• Р-13475

Женский портрет (правая половина лица)

• 1882–1883
• Paper, sepia, nib. Дм — 14,8
• The State Russian Museum
• Р-2443

Натурщик в саамском костюме

• 1882–1883
• Paper, watercolours. 16,8 x 8,8
• The State Russian Museum
• Р-498

Натурщица в черной мантилье

• 1882–1883
• Paper, watercolours, сharcoal . 9,8 x 6,9
• The State Russian Museum
• Р-496

Портрет неизвестной

• 1882–1883
• Paper, ink, nib. 9,2 x 9,2
• The State Russian Museum
• Р-2444

Портрет студента

• 1882
• Paper, watercolours. 21,5 x 14,8
• The State Russian Museum
• Р-13479

Старик-крестьянин в шляпе

• 1882
• Paper, watercolours. 10 x 8,2
• The State Russian Museum
• Р-13460

Vrubel Mikhail Alexandrovich

Painter, draughtsman, theatrical designer, applied artist, portraitist, writer of philosophical Symbolist compositions. Studied law at St Petersburg University (1874-79) and art under Pavel Chistyakov at the Imperial Academy of Arts (1880-84). Academician of painting (1905). Member of the Abramtsevo circle (from 1889). Contributed to exhibitions (from 1891). Contributed to the exhibitions of the Moscow Fellowship of Artists (1895, 1899, 1904), Exhibition of Russian and Finnish Artists (1898), World of Art (1900-03, 1906; member from 1900, 1911), 36 Artists (1901, 1902), Union of Russian Artists (1903-10; founding member), Exposition Universelle in Paris (1900; gold medal) and the International Exhibitions in Vienna (1901) and Venice (1907). Designed for Sawa Mamontov\'\'s Russian Private Opera (1890-1901).

Male Artist’s Model

• 1882–1883
• Canvas, oil. 67 x 52
• The State Russian Museum
• Ж-1842

Male Head

• 1882–1883
• Canvas, oil, graphite. 29 x 24,5
• The State Russian Museum
• Ж-1845

Hamlet and Ophelia

• Unfinished
• 1884
• Canvas, oil. 120 x 89
• The State Russian Museum
• Ж-1839

Гамлет и Офелия

• Cardboard, oil. 32,7 x 23,8
• State Tretyakov Gallery
• инв. 5292

Portrait of Pyotr Konchalovsky

• 1890–1891
• Canvas, oil. 86 х 69
• State Tretyakov Gallery
• инв. Ж-431

The Demon (Seated)

• 1890
• Canvas, oil. 116,5 х 213,8
• State Tretyakov Gallery
• инв. 5600

Сумерки (Римский мотив)

• Wood, oil. 23,9 x 33
• State Tretyakov Gallery
• инв. 5329

The Judgement of Paris

• Triptych
• 1893
• Canvas, oil. 317 х 132,5; 317 х 133,8; 317 х 132
• State Tretyakov Gallery
• инв. 6126; инв. 6127; инв. 6128

Venice

• Decorative panel
• 1893
• Canvas, oil. 319 x 134 (rectangle with a rounded top part)
• The State Russian Museum
• Ж-1829

The subjects of many of his works were inspired by his own memories of his stay in Italy in 1884–1885. There M.A. Vrubel studied medieval mosaics and stained-glass windows of San Marco and the Church of St. Mary. In this beautiful country he became acquainted with the works of such masters of the early Renaissance as Carpaccio, Giovanni Bellini, Cima de Conegliano.

The panel was created for the house of K.G. and E. D. Duncker in Moscow, but was rejected by the commissioners and purchased by K. D. Artsybushev.

Spain

• 1894
• Canvas, oil. 248 х 89
• State Tretyakov Gallery
• инв. 24887

Остров Эльба Тирренское море

• Wood, oil. 9,4 x 21,6
• State Tretyakov Gallery
• инв. 11058

The Fortune Teller

• 1895
• Canvas, oil. 135,5 х 86,5
• State Tretyakov Gallery
• инв. 1458

Принцесса Греза

• Canvas, oil. 640 x 1620
• State Tretyakov Gallery
• Ж-434

Фауст. Триптих

• Canvas, oil. 640 x 1620
• State Tretyakov Gallery
• инв. 10989; инв. 10990; инв. 10991

The Flight of Faust and Mephistopheles

• 1896
• Canvas, oil. 290 х 240
• State Tretyakov Gallery
• инв.10992

Morning

• 1897
• Canvas, oil. 261 x 447
• The State Russian Museum
• Ж-1834

Vrubel dreamed about combining art and life in his creative work and searched for a high monumental style and a special national form that was expressed in ornamental and rhythmic patterns characteristic for his works. His style was close to the stylistics of art nouveau that is known for its rapid transitions from statics to movement and from serenity to sudden agitation. The artistic features of art nouveau include flowing lines, oblong figures, expressive contours, and the use of floral motifs. Stems, leaves, and flowers of faded exotic plants intertwine and create a complicated pattern in which one can see female figures or fantastic beasts.

Art nouveau artist were keen on allegories, and this tendency is vivid in the Spring panel. The awakening nature is symbolized by four mermaids. A naked female figure emerges from the mystical entwinement of giant trees, dense grass and fantastic flowers. The woman looks at the light of dawn – the “Beam”, as the artist calls it. It is embodied by another woman’s figure with a strangely bent body. The woman longs from the grass to the sky. The third “Fairy” comes out of the grass and marsh wilds. She represents the awakening – her face is motionless, her big dark eyes have just opened and her first morning thoughts float in them as the remains of her night dreams. The forth figure in the right is depicted only fragmentarily – we see a woman’s face with the expression of fear and despair. When asked about the meaning of this figure, Vrubel answered: “It’s a fairy tale”. Four female figures amplify the general emotional tone of the landscape, its poetry and music. The images created by the artist have multiple meanings and may arise various emotions. The use of various shades of green gives the feeling of early morning freshness when the sun is about to rise above the horizon. This panel is a part of a decorative and monumental triptych called Times of Day that was created by Vrubel for the interior of S.T. Morozov’s house in Moscow (designed by the Moscow art nouveau architect F.O. Schechtel).

Portrait of Konstantin Artsybushev

• 1896–1897
• Canvas, oil. 101,5 х 136,7
• State Tretyakov Gallery
• инв. 9121

Portrait of Maria Artsybusheva

• Unfinished
• 1897
• Canvas, oil. 124,9 х 80,2
• The State Russian Museum
• инв. 9120

Portrait of Savva Mamontov

• 1897
• Canvas, oil. 187 х 142,5
• State Tretyakov Gallery
• инв. 5622

Farewell of the Sea King and Princess Volkhova

• 1898
• paper mounted on cardboard, gouache, , pastel, lacquer. 60 х 152
• State Tretyakov Gallery
• инв. 11056

Свидание с сыном

• Ink, sepia, nib. 39,5 х 33
• State Tretyakov Gallery
• инв. 4397

Чтение сказки

• Paper, , nib. 20,4 x 30 (очерчен)
• The State Russian Museum
• Р-507

Крестьянин-лирник

• 1881
• Paper, , nib. 21,4 x 13,3
• The State Russian Museum
• Р-13471

Собака

• 1881–1882
• Paper, , graphite pencil. 45,8 x 22
• The State Russian Museum
• Р-524

Античное панно

• 1881–1882
• Paper, watercolours, , nib, graphite pencil. 49 x 34,5
• The State Russian Museum
• Р-13476

Betrothal of the Virgin Mary to Joseph

• Study for an academic programme
• 1881
• paper mounted on cardboard, watercolours, ink, sepia, nib, graphite pencil. 69,7 x 61,7
• The State Russian Museum
• Р-13464

Обручение Святой Девы Марии с Иосифом

• 1881
• Paper, watercolours, graphite pencil. 23,3 x 15,7
• The State Russian Museum
• Р-55057

Head of a Girl

• 1882
• Paper, watercolours. 22,8 х 13,3
• State Tretyakov Gallery
• инв. 5731

Italy. A Scene from Ancient Life

• Curtain design for Savva Mamontov’s Russian Private Opera
• 1882
• Watercolours, graphite pencil. 28,5 х 49,6
• State Tretyakov Gallery
• инв. 5648

Portrait of Zinaida Stuckenberg

• 1882
• Paper, watercolours. 16,4 x 12,7
• The State Russian Museum
• Р-13474

Self-Portrait

• 1882–1883
• Paper, watercolours. 12,5 x 8,6 (верхние углы срезаны)
• The State Russian Museum
• Р-56520

Женский портрет

• 1882–1883
• Paper, watercolours. 26,2 x 17,7
• The State Russian Museum
• Р-13475

Женский портрет (правая половина лица)

• 1882–1883
• Paper, sepia, nib. Дм — 14,8
• The State Russian Museum
• Р-2443

Натурщик в саамском костюме

• 1882–1883
• Paper, watercolours. 16,8 x 8,8
• The State Russian Museum
• Р-498

Натурщица в черной мантилье

• 1882–1883
• Paper, watercolours, сharcoal . 9,8 x 6,9
• The State Russian Museum
• Р-496

Портрет неизвестной

• 1882–1883
• Paper, ink, nib. 9,2 x 9,2
• The State Russian Museum
• Р-2444

Портрет студента

• 1882
• Paper, watercolours. 21,5 x 14,8
• The State Russian Museum
• Р-13479

Старик-крестьянин в шляпе

• 1882
• Paper, watercolours. 10 x 8,2
• The State Russian Museum
• Р-13460

Моцарт и Сальери слушают игру слепого скрипача (Сцена I)

• Paper, charcoal pencil. 25,5 x 34 (очерчен)
• The State Russian Museum
• Р-55056

Сальери (Сцена I)

• Paper, charcoal pencil. 28,3 x 25,8 (очерчен)
• The State Russian Museum
• Р-55054

Античное панно

• 1881–1882
• Paper, watercolours, , nib, graphite pencil. 49 x 34,5
• The State Russian Museum
• Р-13476

Аллегорическая фигура для панно «Земля и воздух». Воздух

• 1883
• Paper, charcoal pencil, graphite pencil. 68 x 49
• The State Russian Museum
• Р-8024

Аллегорическая фигура для панно «Земля и воздух». Земля

• 1883
• Paper, charcoal pencil. 71 x 53
• The State Russian Museum
• Р-8023

The Virgin and Child

• Study for a life-size icon for the iconostasis of St Cyril’s Church in Kiev
• 1884–1885
• Paper, сharcoal , whiting. 193,2 х 73
• State Tretyakov Gallery
• инв. 5286

Мотив росписи наличника окна

• 1886
• Paper, watercolours, , graphite pencil. 12,6 x 5,4
• The State Russian Museum
• Р-5412

Мотив росписи панели

• 1886
• Paper, watercolours. 12,6 x 6,3
• The State Russian Museum
• Р-5411

Проект росписи церкви церкви в имении А. Н. Терещенко

• 1886
• Paper, watercolours, , lacquer, gouache. 21,4 x 11,1
• The State Russian Museum
• Р-5410

Надгробный плач

• Paper, . 11,5 х 19,2
• State Tretyakov Gallery
• инв. Р-137

The Resurrection

• Study for an unpainted fresco for St Vladimir’s Cathedral in Kiev
• 1889
• Paper, , sauce. 68 х 41 (очерчено; верх — полукруг)
• State Tretyakov Gallery
• инв. 10039

Head of an Angel

• Detail of the composition The Resurrection Study for an unpainted fresco for St Vladimir’s Cathedral in Kiev
• 1889
• Paper, watercolours, charcoal pencil, graphite pencil. 26,1 х 31
• State Tretyakov Gallery
• инв. 10033

Sleeping Guards

• Detail of the composition. The Resurrection Study for an unpainted fresco for St Vladimir’s Cathedral in Kiev
• 1889
• Paper, watercolours, charcoal pencil, graphite pencil. 40,8 х 64,3
• State Tretyakov Gallery
• инв. 5287

Орнамент с водяными лилиями

• 1889
• Paper, ink, nib, watercolours, . 18,1 x 11,4
• The State Russian Museum
• Р-57830

Орнамент с рыбами

• 1889
• Paper, , nib, watercolours, . 18,1 x 11,4
• The State Russian Museum
• Р-57829

Рождество Христово

• Graphite pencil. 35,8 х 33,5 (изображение переходит с бумаги на картон; очерчено; верх — полукруг)
• State Tretyakov Gallery
• инв. 24357

Christ Walking on Water

• Study for a mural
• 1890
• paper mounted on cardboard, watercolours, whiting, ink, nib, brush, . 59 х 66
• State Tretyakov Gallery
• инв. 3549

Venice

• Study for the decorative panel Venice for Konstantin and Elizaveta von Dunker’s mansion in Moscow
• 1892–1893
• Paper, watercolours, whiting, graphite pencil. 36,4 х 19,3
• State Tretyakov Gallery
• инв. 11512

The Judgement of Paris

• Triptych
• 1893
• Canvas, oil. 317 х 132,5; 317 х 133,8; 317 х 132
• State Tretyakov Gallery
• инв. 6126; инв. 6127; инв. 6128

Venice

• Decorative panel
• 1893
• Canvas, oil. 319 x 134 (rectangle with a rounded top part)
• The State Russian Museum
• Ж-1829

The subjects of many of his works were inspired by his own memories of his stay in Italy in 1884–1885. There M.A. Vrubel studied medieval mosaics and stained-glass windows of San Marco and the Church of St. Mary. In this beautiful country he became acquainted with the works of such masters of the early Renaissance as Carpaccio, Giovanni Bellini, Cima de Conegliano.

The panel was created for the house of K.G. and E. D. Duncker in Moscow, but was rejected by the commissioners and purchased by K. D. Artsybushev.

Spain

• 1894
• Canvas, oil. 248 х 89
• State Tretyakov Gallery
• инв. 24887

Свидание Ромео с Джульеттой. Монтекки и Капулетти. Смерть Ромео и Джульетты

• Watercolours, ink, brush, nib, graphite pencil. 30,5 х 7,3 (каждый; верх скруглен)
• State Tretyakov Gallery
• инв. 25195/1–4

Mask of a Lion

• Майолика, . 45,5 х 47,5 х 28
• The State Russian Museum
• ФС-1488

The work in the Abramtsevo Pottery Workshop greatly influenced the artist.

Vrubel immersed himself in the atmosphere of Ambramtsevo artistic life and took an interest in the idea of revival of national art and creation of a new Russian style. The foundation of Vrubel’s subjects are folktales, legends, songs and folklore images. The image of a lion became one of the favourites for Vrubel as a symbol of power and might. Having been brought from the East it occupied a worthy place in Russian symbolism. The soft and rounded lines, characteristic of majolica, made the wild animal appear kind and gentle. These depictions were used in the decoration of stove benches and benches in the Abramtsevo estate of the Mamontovs. The work is connected with the decoration of the gate of the Savva Mamontov’s house in Sadovaya-Spasskaya street in Moscow. The depiction of a lion mask figured in the letterhead of the Abramtsevo pottery workshop in the 1910s.

Sadko

• Half-figure
• By model 1899-1900
• Майолика, . 41 х 33 х 27
• The State Russian Museum
• ФС-1479

The Tsar of the Sea

• Model 1899-1900
• Майолика, . 57 х 44,6 (овал)
• The State Russian Museum
• ФС-475

In the1890s Mikhail Vrubel met the composer Nikolai Rimsky-Korsakov and this friendship influenced the creative work of the artist. He produced a number of sets and a series of sculptures in which one can see the motifs from the pieces of the composer. Among them there is the Tsar of the Sea, a character from the opera “Sadko”. The head of the lord of the sea appears as if from the deep.

The expression of the face of “Ancient Poseidon” is full of tenderness and sadness before parting with his daughter Volhova. The lively impressionist modelling enabled Vrubel to find such decorative representation that showed, in the atmosphere of the legendary subject, its musical qualities. Mostly thanks to this, the sculpture fits organically in the interiors of Art Nouveu style. It was exhibited at the World of Art exhibition and at the Lemercier Gallery in Moscow in 1915.

Tsar Berendey

• Model 1899-1900
• Майолика, . 46 х 33,2 х 18,5
• The State Russian Museum
• ФС-1288

The work in the Abramtsevo Pottery Workshop fascinated Vrubel with the idea of revival of national art and creation of a new Russian style. The foundation of Vrubel’s subjects are folktales, legends, songs and folklore images.

The wise tsar of the land of the Berendeyans from the fairy tale “Snow Maiden” by Alexander Ostrovsky is one the favourite images of the artist. The sorrowful death of the Snow Maiden and the awful death of her beloved Mizgir (he drowned himself in the lake) are sacrifices that makes the anger of Yarilo fade and the mythological Berendeyans would be rewarded with a happy life. The artist depicted Tsar Berendey in that moment when he took an uneasy but the only one right decision in his mind. Art historians suggest that the fairy-tale character bears some resemblance to the composer, the author of the opera “Snow Maiden”, Nikolay Rimsky-Korsakov with whom the artist was very friendly. “Tsar Berendey” was exhibited at all expositions of Vrubel’s majolica works starting from the exhibition “World of Art” in 1900.

Архитектурный изразец

• 1890-1900s
• Майолика, формовка, цветные глазури, цветные эмали. В.-26,0; Ш.-26,0
• The State Russian Museum
• ДФ-1100

Ваза «Египтянин»

• Майолика, полихромные глазури. 36 x 34 x 22
• The State Russian Museum
• ФС-1497

Ваза «Египтянин»

• Майолика, полихромные глазури. 34,6 x 35,6 x 26
• The State Russian Museum
• ФС-479

Ваза «Сирены»

• Майолика, цветные глазури с металлическим отблеском, восстановительный обжиг. 17,3 х 43,1 х 27,1
• The State Russian Museum
• ФС-483

Весна

• 1899–1900
• Майолика, цветная глазурь с золотистым отблеском, восстановительный обжиг. 34,8 x 47 x 23,5
• The State Russian Museum
• ФС-478

Девушка в венке («Снегурочка»)

• Майолика, цветная глазурь с металлическим отблеском, восстановительный обжиг. 33,3 х 24,2 х 21,2
• The State Russian Museum
• ФС-1268

Изразец печной «Василек»

• 1896–1900
• Clay, , , . 18 х 18
• The State Russian Museum
• Дф-1116

Изразец печной с изображением василька

• 1890–1900s
• Clay, , , . 26,7 х 17,8
• The State Russian Museum
• Дф-1107

Изразец-вставка «Богатырь»

• 1890–1900s
• Clay, , , , . 52 x 38,5
• The State Russian Museum
• ДФ-915

Изразец-вставка «Павлин»

• 1890–1900s
• Clay, , , . 41 х 33,5
• The State Russian Museum
• Дф-1123

Кронштейн «Ангел»

• 1890–1900s
• Clay, , . 36,5 x 10,5 x 18,5
• The State Russian Museum
• ФС-512

Морская царевна

• 1899–1900
• Майолика, цветная глазурь с металлическим отблеском, восстановительный обжиг. 60 x 30 x 24
• The State Russian Museum
• ФС-1478

Печные изразцы в форме капителей

• Clay, , , . 13,2 х 12,3 (каждый)
• The State Russian Museum
• Дф-1101, Дф-1108

Камин "Вольга и Микула"

• Майолика, . 246 х 295
• The State Russian Museum
• ФС-1287

Декоративное блюдо "Садко"

• 1899–1900
• Майолика, . 66 x 53 (овал)
• The State Russian Museum
• ФС-477

Декоративное блюдо «Садко»

• Майолика, рельеф, цветные глазури. 88 х 75 (овал)
• The State Russian Museum
• ФС-1461

Abramtsevo Pottery Workshop

Свидание с сыном

• Ink, sepia, nib. 39,5 х 33
• State Tretyakov Gallery
• инв. 4397

Чтение сказки

• Paper, , nib. 20,4 x 30 (очерчен)
• The State Russian Museum
• Р-507

Крестьянин-лирник

• 1881
• Paper, , nib. 21,4 x 13,3
• The State Russian Museum
• Р-13471

Собака

• 1881–1882
• Paper, , graphite pencil. 45,8 x 22
• The State Russian Museum
• Р-524

Античное панно

• 1881–1882
• Paper, watercolours, , nib, graphite pencil. 49 x 34,5
• The State Russian Museum
• Р-13476

Betrothal of the Virgin Mary to Joseph

• Study for an academic programme
• 1881
• paper mounted on cardboard, watercolours, ink, sepia, nib, graphite pencil. 69,7 x 61,7
• The State Russian Museum
• Р-13464

Обручение Святой Девы Марии с Иосифом

• 1881
• Paper, watercolours, graphite pencil. 23,3 x 15,7
• The State Russian Museum
• Р-55057

Head of a Girl

• 1882
• Paper, watercolours. 22,8 х 13,3
• State Tretyakov Gallery
• инв. 5731

Italy. A Scene from Ancient Life

• Curtain design for Savva Mamontov’s Russian Private Opera
• 1882
• Watercolours, graphite pencil. 28,5 х 49,6
• State Tretyakov Gallery
• инв. 5648

Male Artist’s Model

• 1882–1883
• Canvas, oil. 67 x 52
• The State Russian Museum
• Ж-1842

Male Head

• 1882–1883
• Canvas, oil, graphite. 29 x 24,5
• The State Russian Museum
• Ж-1845

Portrait of Zinaida Stuckenberg

• 1882
• Paper, watercolours. 16,4 x 12,7
• The State Russian Museum
• Р-13474

Self-Portrait

• 1882–1883
• Paper, watercolours. 12,5 x 8,6 (верхние углы срезаны)
• The State Russian Museum
• Р-56520

Женский портрет

• 1882–1883
• Paper, watercolours. 26,2 x 17,7
• The State Russian Museum
• Р-13475

Женский портрет (правая половина лица)

• 1882–1883
• Paper, sepia, nib. Дм — 14,8
• The State Russian Museum
• Р-2443

Натурщик в саамском костюме

• 1882–1883
• Paper, watercolours. 16,8 x 8,8
• The State Russian Museum
• Р-498

Натурщица в черной мантилье

• 1882–1883
• Paper, watercolours, сharcoal . 9,8 x 6,9
• The State Russian Museum
• Р-496

Портрет неизвестной

• 1882–1883
• Paper, ink, nib. 9,2 x 9,2
• The State Russian Museum
• Р-2444

Портрет студента

• 1882
• Paper, watercolours. 21,5 x 14,8
• The State Russian Museum
• Р-13479

Старик-крестьянин в шляпе

• 1882
• Paper, watercolours. 10 x 8,2
• The State Russian Museum
• Р-13460

Женская голова (Эмилия Прахова)

• Graphite pencil, oil. 43 х 32,2
• State Tretyakov Gallery
• инв. 26589

Male Artist’s Model with a Garland Holding a Thyrsus (Bacchus)

• 1884
• paper mounted on cardboard, watercolours. 20 x 16,8 (овал)
• The State Russian Museum
• Р-13468

The Virgin and Child

• Study for a life-size icon for the iconostasis of St Cyril’s Church in Kiev
• 1884–1885
• Paper, сharcoal , whiting. 193,2 х 73
• State Tretyakov Gallery
• инв. 5286

Портрет неизвестной (Елены Праховой?)

• 1884
• Paper, сharcoal . 28,9 x 19,5
• The State Russian Museum
• Р-55668

Церковь

• 1884
• Paper, watercolours. 6,5 x 8,5
• The State Russian Museum
• Р-2425

Male Artist’s Model in White Drapery

• Study for the icon of St Cyril of Alexandria painted in Venice for St Cyril’s Church in Kiev
• 1885
• Cardboard, watercolours, lacquer. 24 x 19,6 (овал)
• The State Russian Museum
• Р-13457

Portrait of Sergei Kostenko

• Mid-1880s
• Paper, watercolours. 14,2 х 11,9
• State Tretyakov Gallery
• инв. 9137

Итальянский рыбак

• 1885
• Paper, watercolours. 16,8 x 10,3
• The State Russian Museum
• Р-13470

Лаццарони (Старик-венецианец)

• 1885
• Paper, watercolours. 34,9 x 18,3 (углы скруглены)
• The State Russian Museum
• Р-13467

Священник в лиловой рясе

• 1885
• Paper, watercolours. 10 x 6,8
• The State Russian Museum
• Р-499

Букет сирени

• 1886–1887
• Cardboard, watercolours. 31,3 x 44,4
• The State Russian Museum
• Р-14998

Мотив росписи наличника окна

• 1886
• Paper, watercolours, , graphite pencil. 12,6 x 5,4
• The State Russian Museum
• Р-5412

Мотив росписи панели

• 1886
• Paper, watercolours. 12,6 x 6,3
• The State Russian Museum
• Р-5411

Персидский принц

• Paper, watercolours, lacquer. 24,5 х 16,3
• State Tretyakov Gallery
• инв. 3546

Портрет Николая Пимоненко

• Paper, graphite pencil. 32,5 х 24
• State Tretyakov Gallery
• инв. 15740

Проект росписи церкви церкви в имении А. Н. Терещенко

• 1886
• Paper, watercolours, , lacquer, gouache. 21,4 x 11,1
• The State Russian Museum
• Р-5410

Christ in the Garden of Gethsemane

• 1887
• paper mounted on cardboard, сharcoal . 140,5 х 52,5
• State Tretyakov Gallery
• инв. Р-3288

Надгробный плач

• Paper, . 11,5 х 19,2
• State Tretyakov Gallery
• инв. Р-137

Гамлет и Офелия

• Cardboard, oil. 32,7 x 23,8
• State Tretyakov Gallery
• инв. 5292

The Resurrection

• Study for an unpainted fresco for St Vladimir’s Cathedral in Kiev
• 1889
• Paper, , sauce. 68 х 41 (очерчено; верх — полукруг)
• State Tretyakov Gallery
• инв. 10039

«А. Мазини, или Коровин навеселе»

• 1890
• Paper, ink, nib. 24,2 x 15,7
• The State Russian Museum
• Р-502

Женщина в красном платье с веером

• Paper, graphite pencil, watercolours. 22,7 х 13,7
• State Tretyakov Gallery
• инв. 10438

Portrait of Pyotr Konchalovsky

• 1890–1891
• Canvas, oil. 86 х 69
• State Tretyakov Gallery
• инв. Ж-431

Galloping Horseman “Swift as a deer the horse is rushing”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 23,5 х 33,5
• State Tretyakov Gallery
• инв. 10041

Tamara and the Demon “Don’t weep, my child! No use in steeping…”

• Illustration for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• paper mounted on cardboard, , whiting, . 96 х 65
• State Tretyakov Gallery
• инв. 10032

Tamara and the Demon “I’ll soar or dive to seek thee treasure – / Oh, love me”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 66,5 х 50
• State Tretyakov Gallery
• инв. 5330

Tamara in Her Coffin “Like a sweet peri sleeping lightly / She lay inside her coffin now...”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 28 х 19
• State Tretyakov Gallery
• инв. 10036

The Demon at the Convent Walls “Around the high wall, brooding, pining, / He roamed…”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , sepia, whiting, brush, nib. 42,5 х 31,5
• State Tretyakov Gallery
• инв. 10042

Дуэль Печорина с Грушницким

• Paper, , whiting. 50 х 33,5
• State Tretyakov Gallery
• инв. 10043

Казбич и Азамат

• Cardboard, , whiting, graphite pencil. 31 х 42
• State Tretyakov Gallery
• инв. 5411

Княжна Мери и Грушницкий

• Paper, , whiting, ink, sepia, brush, nib, graphite pencil. 41,5 х 28
• State Tretyakov Gallery
• инв. 10028

Прощание Зары с Измаилом

• Paper, , whiting, ink, sepia, brush, nib, graphite pencil. 41 х 30,5
• State Tretyakov Gallery
• инв. 5412

Разграбленный караван («Затихло все… Теснясь толпой, / На трупы всадников порой / Верблюды с ужасом глядели…»)

• 1890-1891
• Cardboard, . 22,7 x 31,1
• The State Russian Museum
• Р-2440

Русалка и витязь («Но к страстным лобзаньям, Не знаю зачем, / Остается он хладен и нем…»)

• 1890-1891
• Cardboard, . 22,5 x 35
• The State Russian Museum
• Р-13484

Tamara Dancing

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 50 х 34
• State Tretyakov Gallery
• инв. 3547

Head of the Demon “Was left once more to his inflated / Arrogance, left there isolated / In all the world – no love, no hope!”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, watercolours, , graphite pencil. 23 х 35,6
• State Tretyakov Gallery
• инв. 10035

Демон (сидящий)

• Paper, watercolours, whiting, graphite pencil. 17 х 27
• State Tretyakov Gallery
• инв. 5634

Christ Walking on Water

• Study for a mural
• 1890
• paper mounted on cardboard, watercolours, whiting, ink, nib, brush, . 59 х 66
• State Tretyakov Gallery
• инв. 3549

The Demon (Seated)

• 1890
• Canvas, oil. 116,5 х 213,8
• State Tretyakov Gallery
• инв. 5600

Italy. Neapolitan Night

• Curtain design for Savva Mamontov’s Russian Private Opera
• 1891
• paper mounted on cardboard, watercolours, whiting, graphite pencil. 57,5 х 70
• State Tretyakov Gallery
• инв. 3550

Portrait of the Artist’s Son

• 1902
• Paper, watercolours, whiting, graphite pencil. 53 x 69,7
• The State Russian Museum
• Р-14995

Святой Михаил

• 1902
• Graphite pencil, , sanguine. 31,5 x 24,2
• The State Russian Museum
• Р-53939

Голова в шлеме

• 1902
• Graphite pencil, , sanguine. 31,4 x 23,6
• The State Russian Museum
• Р-53941

Голова с нимбом

• 1902
• Cardboard, graphite pencil, , watercolours. 23,6 x 20,6
• The State Russian Museum
• Р-53940

Portrait of a Boy

• 1903–1904
• paper mounted on cardboard, graphite pencil. 35,3 x 21,3
• The State Russian Museum
• Р-2445

Portrait of a Man with Folded Hands

• 1903–1904
• Paper, graphite pencil, . 26,9 х 17,8
• State Tretyakov Gallery
• инв. Р-256

Tree by a Fence

• 1903–1904
• Paper, graphite pencil. 24,9 х 35,7
• State Tretyakov Gallery
• инв. Р-262

Дворик зимой

• Paper, graphite pencil. 28 x 37,2
• State Tretyakov Gallery
• инв. Р-259

Куст под снегом

• 1903–1904
• Graphite pencil, oil, lacquer. 18,8 x 26,2
• The State Russian Museum
• Р-2414

Море. Камни. Крым

• 1903
• paper mounted on cardboard, watercolours, graphite pencil. 16,7 x 29
• The State Russian Museum
• Р-523

Портрет старика

• Paper, graphite pencil. 35,6 х 22
• State Tretyakov Gallery
• инв. Р-253

Почтовый чиновник

• 1903–1904
• Paper, graphite pencil. 35,3 x 21,9
• The State Russian Museum
• Р-13465

A Throw Blanket on a Chair

• From the Insomnia series of studies
• 1904
• Paper, graphite pencil. 22 х 17,5
• The State Russian Museum
• Р-2422

A Throw Blanket on a Chair

• From the Insomnia series of studies
• 1904
• Paper, graphite pencil. 24,5 x 16,2
• The State Russian Museum
• Р-13482

Bed

• 1904
• Paper, graphite pencil. 23 x 33
• The State Russian Museum
• Р-13483

Bed

• From the Insomnia series of studies
• 1904
• Paper, graphite pencil. 17 x 21,2
• The State Russian Museum
• Р-2420

Bellflowers

• 1904
• Paper, watercolours, graphite pencil, whiting. 43 х 35,5
• State Tretyakov Gallery
• инв. 5288

Bellflowers

• 1904
• Paper, graphite pencil. 12,7 x 18,1
• The State Russian Museum
• Р-529

Bellflowers

• 1904
• Paper, graphite pencil. 26 x 16,3
• The State Russian Museum
• Р-12145

Bellflowers

• 1904
• Paper, graphite pencil. 33,2 x 19,8
• The State Russian Museum
• Р-55822

Крестьянин-лирник

• 1881
• Paper, , nib. 21,4 x 13,3
• The State Russian Museum
• Р-13471

Head of a Girl

• 1882
• Paper, watercolours. 22,8 х 13,3
• State Tretyakov Gallery
• инв. 5731

Male Head

• 1882–1883
• Canvas, oil, graphite. 29 x 24,5
• The State Russian Museum
• Ж-1845

Portrait of Zinaida Stuckenberg

• 1882
• Paper, watercolours. 16,4 x 12,7
• The State Russian Museum
• Р-13474

Self-Portrait

• 1882–1883
• Paper, watercolours. 12,5 x 8,6 (верхние углы срезаны)
• The State Russian Museum
• Р-56520

Женский портрет

• 1882–1883
• Paper, watercolours. 26,2 x 17,7
• The State Russian Museum
• Р-13475

Женский портрет (правая половина лица)

• 1882–1883
• Paper, sepia, nib. Дм — 14,8
• The State Russian Museum
• Р-2443

Натурщик в саамском костюме

• 1882–1883
• Paper, watercolours. 16,8 x 8,8
• The State Russian Museum
• Р-498

Натурщица в черной мантилье

• 1882–1883
• Paper, watercolours, сharcoal . 9,8 x 6,9
• The State Russian Museum
• Р-496

Портрет неизвестной

• 1882–1883
• Paper, ink, nib. 9,2 x 9,2
• The State Russian Museum
• Р-2444

Портрет студента

• 1882
• Paper, watercolours. 21,5 x 14,8
• The State Russian Museum
• Р-13479

Старик-крестьянин в шляпе

• 1882
• Paper, watercolours. 10 x 8,2
• The State Russian Museum
• Р-13460

Автопортрет

• 1883
• Paper, watercolours. 13,3 x 10,1 (полуовал)
• The State Russian Museum
• Р-500

Задумавшаяся Ася

• 1883
• Paper, watercolours. 9,7 x 11,6
• The State Russian Museum
• Р-12147

Мужской портрет

• 1883
• Paper, watercolours. 10,6 x 8
• The State Russian Museum
• Р-501

Натурщик в карельском костюме

• 1883
• Paper, watercolours. 11 x 5,4
• The State Russian Museum
• Р-497

Портрет Валентина Серова

• Бумага, наклеенная на картон, итальянский карандаш. 17,8 х 12,6
• State Tretyakov Gallery
• инв. 5743

Портрет старушки Кнорре за вязанием

• Paper, watercolours, lacquer. 18,5 х 12,2 (углы срезаны)
• State Tretyakov Gallery
• инв. 27367

Автопортрет

• Paper, charcoal pencil, graphite pencil. 31,8 x 21,4
• The State Russian Museum
• Р-477

Женская голова (Эмилия Прахова)

• Graphite pencil, oil. 43 х 32,2
• State Tretyakov Gallery
• инв. 26589

Tamara and the Demon “Don’t weep, my child! No use in steeping…”

• Illustration for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• paper mounted on cardboard, , whiting, . 96 х 65
• State Tretyakov Gallery
• инв. 10032

Tamara and the Demon “I’ll soar or dive to seek thee treasure – / Oh, love me”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 66,5 х 50
• State Tretyakov Gallery
• инв. 5330

Tamara in Her Coffin “Like a sweet peri sleeping lightly / She lay inside her coffin now...”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 28 х 19
• State Tretyakov Gallery
• инв. 10036

The Demon at the Convent Walls “Around the high wall, brooding, pining, / He roamed…”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , sepia, whiting, brush, nib. 42,5 х 31,5
• State Tretyakov Gallery
• инв. 10042

Разграбленный караван («Затихло все… Теснясь толпой, / На трупы всадников порой / Верблюды с ужасом глядели…»)

• 1890-1891
• Cardboard, . 22,7 x 31,1
• The State Russian Museum
• Р-2440

Tamara Dancing

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, , whiting. 50 х 34
• State Tretyakov Gallery
• инв. 3547

Head of the Demon “Was left once more to his inflated / Arrogance, left there isolated / In all the world – no love, no hope!”

• Illustrations for Mikhail Lermontov’s Poem The Demon. 1890–1891. For the publication The Writings of Mikhail Lermontov (Moscow, 1891)
• 1890–1891
• Paper, watercolours, , graphite pencil. 23 х 35,6
• State Tretyakov Gallery
• инв. 10035

Демон (сидящий)

• Paper, watercolours, whiting, graphite pencil. 17 х 27
• State Tretyakov Gallery
• инв. 5634

The Demon (Seated)

• 1890
• Canvas, oil. 116,5 х 213,8
• State Tretyakov Gallery
• инв. 5600

Демон

• 1894
• Гипс раскрашенный. 50 x 58 x 22
• The State Russian Museum
• Ск-565

Flying Demon

• 1899
• Canvas, oil. 138,5 x 430,5
• The State Russian Museum
• Ж-1846

Like all other works by Mikhail Vrubel, Flying Demon is a profoundly sincere and confessional painting. The young Nietzschean hero cannot do evil, yet is unable to escape the chains of loneliness, the “inner dungeon” of his own making. Proud, melancholy and disdainful, he soars in the lifeless heights. Flying Demon was an extremely topical work. Combining the fin-de-siècle atmosphere with a strong element of autobiography, it expressed the moods of many Russians of that time.

The Fallen Demon

• Study variant for the painting of the same name (1902, State Tretyakov Gallery)
• 1901
• Paper, watercolours, graphite pencil, , nib. 14,7 x 28,3 (очерчен)
• The State Russian Museum
• Р-2437

The Fallen Demon

• Study for the first variant of the painting
• 1901 (?)
• Cardboard, watercolours, whiting, graphite pencil, , nib. 27,6 х 63,9
• State Tretyakov Gallery
• инв. 3554

The Fallen Demon

• Photograph of the first variant of the painting tinted by the artist
• 1902
• gouache, ink, , ink, brush, nib. 18 х 44,7
• State Tretyakov Gallery
• инв. Р-4999

Демон поверженный

• Canvas, oil. 139 × 387
• State Tretyakov Gallery
• инв. 1464

Italy. Neapolitan Night

• Curtain design for Savva Mamontov’s Russian Private Opera
• 1891
• paper mounted on cardboard, watercolours, whiting, graphite pencil. 57,5 х 70
• State Tretyakov Gallery
• инв. 3550

Hansel and Gretel. Portrait of Actresses Tatyana Lyubatovich and Nadezhda Zabela as Hansel and Gretel in Engelbert Humperdinck’s Opera of the Same Name

• Late 1895 – early 1896
• Paper, watercolours, charcoal pencil. 44,3 x 88
• The State Russian Museum
• Р-5858

Портрет Татьяны Любатович в роли Кармен

• Paper, watercolours. 37,1 х 23,2
• State Tretyakov Gallery
• инв. 5294

Farewell of the Sea King and Princess Volkhova

• 1898
• paper mounted on cardboard, gouache, , pastel, lacquer. 60 х 152
• State Tretyakov Gallery
• инв. 11056

The Sea Princess. Nadezhda Zabela-Vrubel as Princess Volkhova in Nikolai Rimsky-Korsakov’s Opera Sadko

• 1898
• Watercolours. 160,1 x 61,5
• The State Russian Museum
• Р-14997

Sadko

• Half-figure
• By model 1899-1900
• Майолика, . 41 х 33 х 27
• The State Russian Museum
• ФС-1479

The Tsar of the Sea

• Model 1899-1900
• Майолика, . 57 х 44,6 (овал)
• The State Russian Museum
• ФС-475

In the1890s Mikhail Vrubel met the composer Nikolai Rimsky-Korsakov and this friendship influenced the creative work of the artist. He produced a number of sets and a series of sculptures in which one can see the motifs from the pieces of the composer. Among them there is the Tsar of the Sea, a character from the opera “Sadko”. The head of the lord of the sea appears as if from the deep.

The expression of the face of “Ancient Poseidon” is full of tenderness and sadness before parting with his daughter Volhova. The lively impressionist modelling enabled Vrubel to find such decorative representation that showed, in the atmosphere of the legendary subject, its musical qualities. Mostly thanks to this, the sculpture fits organically in the interiors of Art Nouveu style. It was exhibited at the World of Art exhibition and at the Lemercier Gallery in Moscow in 1915.

Tsar Berendey

• Model 1899-1900
• Майолика, . 46 х 33,2 х 18,5
• The State Russian Museum
• ФС-1288

The work in the Abramtsevo Pottery Workshop fascinated Vrubel with the idea of revival of national art and creation of a new Russian style. The foundation of Vrubel’s subjects are folktales, legends, songs and folklore images.

The wise tsar of the land of the Berendeyans from the fairy tale “Snow Maiden” by Alexander Ostrovsky is one the favourite images of the artist. The sorrowful death of the Snow Maiden and the awful death of her beloved Mizgir (he drowned himself in the lake) are sacrifices that makes the anger of Yarilo fade and the mythological Berendeyans would be rewarded with a happy life. The artist depicted Tsar Berendey in that moment when he took an uneasy but the only one right decision in his mind. Art historians suggest that the fairy-tale character bears some resemblance to the composer, the author of the opera “Snow Maiden”, Nikolay Rimsky-Korsakov with whom the artist was very friendly. “Tsar Berendey” was exhibited at all expositions of Vrubel’s majolica works starting from the exhibition “World of Art” in 1900.

Весна

• 1899–1900
• Майолика, цветная глазурь с золотистым отблеском, восстановительный обжиг. 34,8 x 47 x 23,5
• The State Russian Museum
• ФС-478

Девушка в венке («Снегурочка»)

• Майолика, цветная глазурь с металлическим отблеском, восстановительный обжиг. 33,3 х 24,2 х 21,2
• The State Russian Museum
• ФС-1268

Морская царевна

• 1899–1900
• Майолика, цветная глазурь с металлическим отблеском, восстановительный обжиг. 60 x 30 x 24
• The State Russian Museum
• ФС-1478

Sadko on the Shore of Lake Ilmen

• Majolica plate design on a subject from Nikolai Rimsky-Korsakov’s Opera Sadko
• 1899
• Watercolours, , , graphite pencil. 51,8 х 65,9 (овал)
• The State Russian Museum
• Р-5413

Декоративное блюдо "Садко"

• 1899–1900
• Майолика, . 66 x 53 (овал)
• The State Russian Museum
• ФС-477

Декоративное блюдо «Садко»

• Майолика, рельеф, цветные глазури. 88 х 75 (овал)
• The State Russian Museum
• ФС-1461

Декоративное блюдо «Садко»

• 1899
• Майолика, рельеф, цветные глазури. 61 х 49 (овал)
• The State Russian Museum
• ФС-476

The Swan Princess

• 1900
• Wood, oil. 23 x 18,9
• The State Russian Museum
• Ж-1836

Two Sea Princesses. Nadezhda Zabela-Vrubel as the Sea Princess Volkhova in Nikolai Rimsky-Korsakov’s Opera Sadko

• Study
• 1904
• Cardboard, watercolours, graphite pencil. 33,5 x 27,7
• The State Russian Museum
• Р-2438

Русалка и витязь («Но к страстным лобзаньям, Не знаю зачем, / Остается он хладен и нем…»)

• 1890-1891
• Cardboard, . 22,5 x 35
• The State Russian Museum
• Р-13484

Hansel and Gretel. Portrait of Actresses Tatyana Lyubatovich and Nadezhda Zabela as Hansel and Gretel in Engelbert Humperdinck’s Opera of the Same Name

• Late 1895 – early 1896
• Paper, watercolours, charcoal pencil. 44,3 x 88
• The State Russian Museum
• Р-5858

Princess of Dreams

• On the subject of Edmond Rostand’s play of the same name. Study-variant for the panel in the art section of the All-Russian Industrial and Art Exhibition in Nizhny Novgorod in 1896
• 1896
• Watercolours, gouache, graphite pencil. 27,1 x 68,4 (в свету)
• The State Russian Museum
• Р-14992

Farewell of the Sea King and Princess Volkhova

• 1898
• paper mounted on cardboard, gouache, , pastel, lacquer. 60 х 152
• State Tretyakov Gallery
• инв. 11056

The Sea Princess. Nadezhda Zabela-Vrubel as Princess Volkhova in Nikolai Rimsky-Korsakov’s Opera Sadko

• 1898
• Watercolours. 160,1 x 61,5
• The State Russian Museum
• Р-14997

Bogatyr

• 1898–1899
• Canvas, oil. 321.5 x 222 (rectangle with triangular top)
• The State Russian Museum
• Ж-1837

Mikhail Vrubel was drawn to the mystery, primordial purity and spirituality of the bylina — a traditional Russian heroic poem. The ancient hero in his decorative attire and his trusty horse are inseparable from their environment — a morose forest closely guarding its secrets.This sensation was possibly even stronger before the first owner, Malich, decided to change the original square format of the picture. The canvas was cut on three sides and inserted into a Gothic frame with an angular top. The artist wrote to his sister in January 1899: “The work is almost finished. I am so delighted by it that I want to risk showing it at the Academy exhibition — if it is accepted. After all, I am an attested decadent. This, however, is a misunderstanding; I believe that my new work will set the record straight.” Mikhail Vrubel’s panel was highly rated by the famous Russian composer Nikolai Rimsky- Korsakov.

Sadko

• Half-figure
• By model 1899-1900
• Майолика, . 41 х 33 х 27
• The State Russian Museum
• ФС-1479

The Tsar of the Sea

• Model 1899-1900
• Майолика, . 57 х 44,6 (овал)
• The State Russian Museum
• ФС-475

In the1890s Mikhail Vrubel met the composer Nikolai Rimsky-Korsakov and this friendship influenced the creative work of the artist. He produced a number of sets and a series of sculptures in which one can see the motifs from the pieces of the composer. Among them there is the Tsar of the Sea, a character from the opera “Sadko”. The head of the lord of the sea appears as if from the deep.

The expression of the face of “Ancient Poseidon” is full of tenderness and sadness before parting with his daughter Volhova. The lively impressionist modelling enabled Vrubel to find such decorative representation that showed, in the atmosphere of the legendary subject, its musical qualities. Mostly thanks to this, the sculpture fits organically in the interiors of Art Nouveu style. It was exhibited at the World of Art exhibition and at the Lemercier Gallery in Moscow in 1915.

Tsar Berendey

• Model 1899-1900
• Майолика, . 46 х 33,2 х 18,5
• The State Russian Museum
• ФС-1288

The work in the Abramtsevo Pottery Workshop fascinated Vrubel with the idea of revival of national art and creation of a new Russian style. The foundation of Vrubel’s subjects are folktales, legends, songs and folklore images.

The wise tsar of the land of the Berendeyans from the fairy tale “Snow Maiden” by Alexander Ostrovsky is one the favourite images of the artist. The sorrowful death of the Snow Maiden and the awful death of her beloved Mizgir (he drowned himself in the lake) are sacrifices that makes the anger of Yarilo fade and the mythological Berendeyans would be rewarded with a happy life. The artist depicted Tsar Berendey in that moment when he took an uneasy but the only one right decision in his mind. Art historians suggest that the fairy-tale character bears some resemblance to the composer, the author of the opera “Snow Maiden”, Nikolay Rimsky-Korsakov with whom the artist was very friendly. “Tsar Berendey” was exhibited at all expositions of Vrubel’s majolica works starting from the exhibition “World of Art” in 1900.

Весна

• 1899–1900
• Майолика, цветная глазурь с золотистым отблеском, восстановительный обжиг. 34,8 x 47 x 23,5
• The State Russian Museum
• ФС-478

Девушка в венке («Снегурочка»)

• Майолика, цветная глазурь с металлическим отблеском, восстановительный обжиг. 33,3 х 24,2 х 21,2
• The State Russian Museum
• ФС-1268

Изразец-вставка «Богатырь»

• 1890–1900s
• Clay, , , , . 52 x 38,5
• The State Russian Museum
• ДФ-915

Морская царевна

• 1899–1900
• Майолика, цветная глазурь с металлическим отблеском, восстановительный обжиг. 60 x 30 x 24
• The State Russian Museum
• ФС-1478

Sadko on the Shore of Lake Ilmen

• Majolica plate design on a subject from Nikolai Rimsky-Korsakov’s Opera Sadko
• 1899
• Watercolours, , , graphite pencil. 51,8 х 65,9 (овал)
• The State Russian Museum
• Р-5413

Sadko on the Shore of Lake Ilmen

• Majolica plate design on a subject from Nikolai Rimsky-Korsakov’s Opera Sadko
• 1899
• paper mounted on cardboard, watercolours, gouache, , сharcoal , graphite pencil. 47,7 x 61,9 (овал, в свету)
• The State Russian Museum
• Р-5414

Декоративное блюдо "Садко"

• 1899–1900
• Майолика, . 66 x 53 (овал)
• The State Russian Museum
• ФС-477

Декоративное блюдо «Садко»

• Майолика, рельеф, цветные глазури. 88 х 75 (овал)
• The State Russian Museum
• ФС-1461

Декоративное блюдо «Садко»

• 1899
• Майолика, рельеф, цветные глазури. 61 х 49 (овал)
• The State Russian Museum
• ФС-476

Pan

• 1899
• Canvas, oil. 124 х 106,3
• State Tretyakov Gallery
• инв. 1461

The Swan Princess

• 1900
• Wood, oil. 23 x 18,9
• The State Russian Museum
• Ж-1836

Букет сирени

• 1886–1887
• Cardboard, watercolours. 31,3 x 44,4
• The State Russian Museum
• Р-14998

Розы

• Paper, watercolours. 18,7 х 20,7
• State Tretyakov Gallery
• инв. 3762

Остров Эльба Тирренское море

• Wood, oil. 9,4 x 21,6
• State Tretyakov Gallery
• инв. 11058

Antirrhinum

• Studies for Stained-Glass Windows
• 1895–1896
• Paper, watercolours, graphite pencil. 22,4 x 5,3
• The State Russian Museum
• Р-5406

Lilies

• Studies for Stained-Glass Windows
• 1895–1896
• Paper, watercolours, graphite pencil. 25,1 x 16,2 (очерчен)
• The State Russian Museum
• Р-527

Lily. Decorative Motif

• 1895–1896
• Paper, watercolours, gouache, charcoal pencil. 45,2 x 43,8
• The State Russian Museum
• Р-5405

Delphinium

• Studies for Stained-Glass Windows
• 1895–1896
• Paper, watercolours, graphite pencil. 30,9 x 18,9 (очерчен)
• The State Russian Museum
• Р-526

Morning

• 1897
• Canvas, oil. 261 x 447
• The State Russian Museum
• Ж-1834

Vrubel dreamed about combining art and life in his creative work and searched for a high monumental style and a special national form that was expressed in ornamental and rhythmic patterns characteristic for his works. His style was close to the stylistics of art nouveau that is known for its rapid transitions from statics to movement and from serenity to sudden agitation. The artistic features of art nouveau include flowing lines, oblong figures, expressive contours, and the use of floral motifs. Stems, leaves, and flowers of faded exotic plants intertwine and create a complicated pattern in which one can see female figures or fantastic beasts.

Art nouveau artist were keen on allegories, and this tendency is vivid in the Spring panel. The awakening nature is symbolized by four mermaids. A naked female figure emerges from the mystical entwinement of giant trees, dense grass and fantastic flowers. The woman looks at the light of dawn – the “Beam”, as the artist calls it. It is embodied by another woman’s figure with a strangely bent body. The woman longs from the grass to the sky. The third “Fairy” comes out of the grass and marsh wilds. She represents the awakening – her face is motionless, her big dark eyes have just opened and her first morning thoughts float in them as the remains of her night dreams. The forth figure in the right is depicted only fragmentarily – we see a woman’s face with the expression of fear and despair. When asked about the meaning of this figure, Vrubel answered: “It’s a fairy tale”. Four female figures amplify the general emotional tone of the landscape, its poetry and music. The images created by the artist have multiple meanings and may arise various emotions. The use of various shades of green gives the feeling of early morning freshness when the sun is about to rise above the horizon. This panel is a part of a decorative and monumental triptych called Times of Day that was created by Vrubel for the interior of S.T. Morozov’s house in Moscow (designed by the Moscow art nouveau architect F.O. Schechtel).

Bogatyr

• 1898–1899
• Canvas, oil. 321.5 x 222 (rectangle with triangular top)
• The State Russian Museum
• Ж-1837

Mikhail Vrubel was drawn to the mystery, primordial purity and spirituality of the bylina — a traditional Russian heroic poem. The ancient hero in his decorative attire and his trusty horse are inseparable from their environment — a morose forest closely guarding its secrets.This sensation was possibly even stronger before the first owner, Malich, decided to change the original square format of the picture. The canvas was cut on three sides and inserted into a Gothic frame with an angular top. The artist wrote to his sister in January 1899: “The work is almost finished. I am so delighted by it that I want to risk showing it at the Academy exhibition — if it is accepted. After all, I am an attested decadent. This, however, is a misunderstanding; I believe that my new work will set the record straight.” Mikhail Vrubel’s panel was highly rated by the famous Russian composer Nikolai Rimsky- Korsakov.

Pine

• Emblem design
• 1899
• Cardboard, watercolours, . 39,4 x 28
• The State Russian Museum
• Р-2439

Lilacs

• 1900
• Canvas, oil. 160 х 177
• State Tretyakov Gallery
• инв. 11054

Lilacs

• 1900
• Wood, oil. 18,7 x 23
• The State Russian Museum
• Ж-1830

Lilacs

• Unfinished
• 1901
• Canvas, oil. 214 x 342
• State Tretyakov Gallery
• инв. 9123

Tree by a Fence

• 1903–1904
• Paper, graphite pencil. 24,9 х 35,7
• State Tretyakov Gallery
• инв. Р-262

Дворик зимой

• Paper, graphite pencil. 28 x 37,2
• State Tretyakov Gallery
• инв. Р-259

Куст под снегом

• 1903–1904
• Graphite pencil, oil, lacquer. 18,8 x 26,2
• The State Russian Museum
• Р-2414

Море. Камни. Крым

• 1903
• paper mounted on cardboard, watercolours, graphite pencil. 16,7 x 29
• The State Russian Museum
• Р-523

Bellflowers

• 1904
• Paper, watercolours, graphite pencil, whiting. 43 х 35,5
• State Tretyakov Gallery
• инв. 5288

Bellflowers

• 1904
• Paper, graphite pencil. 26 x 16,3
• The State Russian Museum
• Р-12145

Bellflowers

• 1904
• Paper, graphite pencil. 12,7 x 18,1
• The State Russian Museum
• Р-529

Натюрморт. Ткани

• Paper, watercolours, whiting, lacquer. 24,3 х 16
• State Tretyakov Gallery
• инв. 21161

Скамья

• Paper, watercolours. 12,3 x 24,5
• The State Russian Museum
• Р-533

Кресло черного дерева в стиле Ренессанс

• 1899
• Paper, watercolours. 32,9 x 28,4
• The State Russian Museum
• Р-5409

A Throw Blanket on a Chair

• From the Insomnia series of studies
• 1904
• Paper, graphite pencil. 22 х 17,5
• The State Russian Museum
• Р-2422

A Throw Blanket on a Chair

• From the Insomnia series of studies
• 1904
• Paper, graphite pencil. 24,5 x 16,2
• The State Russian Museum
• Р-13482

Bed

• From the Insomnia series of studies
• 1904
• Paper, graphite pencil. 17 x 21,2
• The State Russian Museum
• Р-2420

Bed

• 1904
• Paper, graphite pencil. 23 x 33
• The State Russian Museum
• Р-13483

Decante

• 1904
• Paper, graphite pencil. 26,8 x 16
• The State Russian Museum
• Р-12155

Faceted Drinking Glass

• 1904
• Paper, graphite pencil, . 25,1 x 17,4
• The State Russian Museum
• Р-13478

Shell

• Late 1904 – early 1905
• Paper, graphite pencil, , , whiting. 17,5 x 25,4
• The State Russian Museum
• Р-5399

Shell

• Late 1904 – early 1905
• Paper, , graphite pencil, watercolours, whiting. 22,9 x 34,8 (в свету)
• The State Russian Museum
• Р-2429

Shell

• Late 1904 – early 1905
• Paper, , . 38 x 43,7
• The State Russian Museum
• Р-504

Shell

• Late 1904 – early 1905
• Paper, сharcoal , , graphite pencil, ink, . 17 x 24,8 (в свету)
• The State Russian Museum
• Р-2428

Shell

• Late 1904 – early 1905
• Paper, , graphite pencil, chalk. 17,6 x 25,5
• The State Russian Museum
• Р-475

Shell

• Late 1904 – early 1905
• pastel, watercolours, . 19,7 x 28,3
• The State Russian Museum
• Р-2424

Still Life (Candlestick, Decanter and Drinking Glass)

• 1904
• Paper, graphite pencil. 24,9 x 17,7
• The State Russian Museum
• Р-13477

Кресло у стола

• 1904
• paper mounted on cardboard, graphite pencil. 18,8 x 16
• The State Russian Museum
• Р-484

Плед на стуле

• 1904
• Paper, graphite pencil. 24,1 x 17
• The State Russian Museum
• Р-2435

Раковина

• Paper, graphite pencil, . 23,8 х 32,7
• The State Russian Museum
• Р-2423

Раковина

• Paper, , graphite pencil, , chalk. 17,5 x 25,3
• The State Russian Museum
• Р-476