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The portrait was painted in 1910. Today it occupies a worthy place in the State Russian Museum
The viewer has the most stylized image. The portrait caused the whole scandal. This magnificent dancer constantly amazed Serov with incredibly temperamental and unusual dances in her sophistication. Her appearance was magnificent. The artist really saw in Ida a truly fertile material for creating a very sharp characteristic. The created image is as if taken out of life. The dancer was not a model, but she posed naked. At the very beginning of the 20th century, this fact absolutely shocked the audience.
The picture was first shown by Serov in Rome at an exhibition. Immediately, charges were brought against him that he was engaged in modernism. But, nevertheless, the portrait was purchased by Count D.I. Tolstoy, who was the director of the Russian Museum.
In the process of working on this unusual portrait, the artist did not at all try to accurately convey the image of a ballerina. On the contrary, the image and model were extremely far apart. Serov created a certain stylization of nature, using the way Ida looked and her human qualities. It is through the prism of the created model that the whole complexity of the character is conveyed.
In creation, convention and reality bizarrely combined. But at the same time, the picture remains just a portrait that conveys certain features of the ballerina: you can easily find out her demeanor, appearance, character, her plasticity. The ballerina in Serov’s interpretation looks defiant, but it’s truly magnificent. But at the same time there is sadness and extraordinary refinement of quiet lyrics.
Serov portrayed Ida in a bend. All lines are curved, the contours are deliberately pointed. No space was identified in the composition. This was demanded by the canons of Art Nouveau. Therefore, it seems as if the heroine is not just sitting, but as if pressed with force against a rather gloomy wall.
Andrey Rublev Trinity