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He believed that in the minds of ordinary people art was always connected with celebration and rejoicing.In 1906 he painted The Fair (TRETYAKOV GALLERY, MOSCOW), in which a colourful crowd is seen milling about outside the merchants’ stalls.
Maxim Gorky was very fond of this painting, and the artist presented him with one of the variants he made of it.The genre works which Kustodiev painted at this time describe the world of small provincial towns: cf. The bold combinations of bright colours lend it a decorativeness not unlike that of popular prints of the time.Kustodiev was also attracted by the theme of gay village festivals and merrymaking, with their brightness, spontaneity and coarse folk humour: cf. His large-scale monumental work Stepan Razin (1918, RUSSIANMUSEUM, SAINT PETERSBURG) was painted for this purpose. Their silk dresses shimmer with all the colours of the rainbow, and their painted shawls are ablaze with rich colours. His talent is especially apparent in three paintings in which he sought to create generalised, collective images of feminine beauty: The Merchant’s Wife (1915, RUSSIAN MUSEUM, SAINT PETERSBURG), Girl on the Volga (1915, Japan) and The Beauty (1915, TRETYAKOV GALLERY, MOSCOW).In the Merchant’s Wife we have a captivating picture of a dignified Russian beauty, full-busted and glowing with health. Despite financial difficulties his mother sent him to have lessons with a local artist and teacher A. Vlasov, of whom Kustodiev always retained warm memories.
.’When Repin was commissioned to paint a large-scale canvas to commemorate the hundredth anniversary of the State Council, he invited Kustodiev to be his assistant. After five months he returned to Russia. In The Bolshevik (1919-20, TRETYAKOV GALLERY, MOSCOW) we see the giant figure of a Bolshevik bearing a red banner and striding through a town. But his talent is most apparent in his poetic paintings on themes from the life of the people, in which he conveyed the inexhaustible strength and beauty of the Russian soul.
He studied in Repin’s studio, where he did a lot of work from nature, trying to perfect his skill in conveying the colourful diversity of the world.
He also made drawings directly related to the revolutionary events (The Agitator and Meeting) which for the first time showed a revolutionary leader together with a mass of working people. However, no matter where Kustodiev happened to be—in sunny Seville or in the park at Versailles—he felt the irresistible pull of his motherland. In his painting 27 February 1917 (1917, private collection, Leningrad) he depicted the view from his studio window on that portentous day when the fate of tsarism was decided.In 1918 Kustodiev painted several large panels to decorate the squares of Petrograd during the celebrations for the first anniversary of the Revolution. Find more prominent pieces of allegorical painting at Wikiart.org – best visual art database. .’The artist’s life and work are inseparably linked with the Volga and the wide open countryside of the area, where Kustodiev spent his childhood and youth. At this time too, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul.In the summer of 1903 Kustodiev undertook a long trip down the Volga from Rybinsk to Astrakhan, in search of material for a programme painting set by the Academy. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. His father, a schoolteacher, died young, and all financial and material burdens lay on his mother’s shoulders. In the distance a red church with golden cupolas and a snow-white bell-tower are clearly visible. His father, a schoolteacher, died young, and all financial and material burdens lay on his mother’s shoulders.
Kustodiev also worked in lithography illustrating works by Nikolai Nekrasov.
He invented a new type of national hero.
He believed that in the minds of ordinary people art was always connected with celebration and rejoicing.In 1906 he painted The Fair (TRETYAKOV GALLERY, MOSCOW), in which a colourful crowd is seen milling about outside the merchants’ stalls.
Maxim Gorky was very fond of this painting, and the artist presented him with one of the variants he made of it.The genre works which Kustodiev painted at this time describe the world of small provincial towns: cf. The bold combinations of bright colours lend it a decorativeness not unlike that of popular prints of the time.Kustodiev was also attracted by the theme of gay village festivals and merrymaking, with their brightness, spontaneity and coarse folk humour: cf. His large-scale monumental work Stepan Razin (1918, RUSSIANMUSEUM, SAINT PETERSBURG) was painted for this purpose. Their silk dresses shimmer with all the colours of the rainbow, and their painted shawls are ablaze with rich colours. His talent is especially apparent in three paintings in which he sought to create generalised, collective images of feminine beauty: The Merchant’s Wife (1915, RUSSIAN MUSEUM, SAINT PETERSBURG), Girl on the Volga (1915, Japan) and The Beauty (1915, TRETYAKOV GALLERY, MOSCOW).In the Merchant’s Wife we have a captivating picture of a dignified Russian beauty, full-busted and glowing with health. Despite financial difficulties his mother sent him to have lessons with a local artist and teacher A. Vlasov, of whom Kustodiev always retained warm memories.
.’When Repin was commissioned to paint a large-scale canvas to commemorate the hundredth anniversary of the State Council, he invited Kustodiev to be his assistant. After five months he returned to Russia. In The Bolshevik (1919-20, TRETYAKOV GALLERY, MOSCOW) we see the giant figure of a Bolshevik bearing a red banner and striding through a town. But his talent is most apparent in his poetic paintings on themes from the life of the people, in which he conveyed the inexhaustible strength and beauty of the Russian soul.
He studied in Repin’s studio, where he did a lot of work from nature, trying to perfect his skill in conveying the colourful diversity of the world.
He also made drawings directly related to the revolutionary events (The Agitator and Meeting) which for the first time showed a revolutionary leader together with a mass of working people. However, no matter where Kustodiev happened to be—in sunny Seville or in the park at Versailles—he felt the irresistible pull of his motherland. In his painting 27 February 1917 (1917, private collection, Leningrad) he depicted the view from his studio window on that portentous day when the fate of tsarism was decided.In 1918 Kustodiev painted several large panels to decorate the squares of Petrograd during the celebrations for the first anniversary of the Revolution. Find more prominent pieces of allegorical painting at Wikiart.org – best visual art database. .’The artist’s life and work are inseparably linked with the Volga and the wide open countryside of the area, where Kustodiev spent his childhood and youth. At this time too, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul.In the summer of 1903 Kustodiev undertook a long trip down the Volga from Rybinsk to Astrakhan, in search of material for a programme painting set by the Academy. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. His father, a schoolteacher, died young, and all financial and material burdens lay on his mother’s shoulders. In the distance a red church with golden cupolas and a snow-white bell-tower are clearly visible. His father, a schoolteacher, died young, and all financial and material burdens lay on his mother’s shoulders.
Kustodiev also worked in lithography illustrating works by Nikolai Nekrasov.
He invented a new type of national hero.