In the kitchen. Portrait of Katya Zinaida Serebryakova (1884-1967)

это соченение нам надо про эту катю а не про зину

напишите сочинение пожалуйста!

Ха, сочиняйте ребята это же легко и прежде чем искать в интернете "Готовое сочинение: На кухне портрет Кати" ДУМАЕТЕ САМИ!

НАПИШИТЕ СОЧИНЕНИЕ!!!

я согласна с умнее тех кто просит сочинение ведь сочинение это просто

напишите сочинение ))*

сами пишите двойшники ))***

где соченение!?

срочно на пишите сочинение пожалуйсто!!! 1

Блин надо сочинение о Кати, а не о Зинаиде=(Напишите сочинение! Плиииз!!!!

а, о картине!?

класс

Zinaida Yevgenyevna Lansere was the youngest of six children born to the renowned sculptor Evgeny Alexandrovich Lansere and his wife, Ekaterina Nikolaevna, née Benua. She was born on December 10, 1884, in Neskuchnoe, her fathers estate located in the Kursk Governorate, 30 versts from Kharkov. Ekaterina Nikolaevna, who was 36 years old at the time, left Neskuchnoe with all six children. She moved to Saint Petersburg and settled in her parents house on Nikolskaya Street. The famous Benua House still exists today.

In the late 1880s and 2890s, this house was a kind of center for the young artistic life of Saint Petersburg. In the four-story house, one facade of which faced Yekateringofsky Prospekt, lived the large Benua family. The spiritual atmosphere in which Zina grew up was filled with art: constantly playing music, philosophical conversations, debates about theatrical novelties, exhibitions, and the purpose of art. It was here, in the house on Nikolskaya, that a circle of friends of the youngest of the Benu brothers, Alexander Nikolaevich, future members of the artistic объединение World of Art, began to gather. Alexander Benu read lectures on the history of painting to his friends. This was truly the Silver Age.

Zina grew up as a sickly child and, unlike her sisters and brothers, was unsociable and withdrawn.

She attended the Kolomensky Womens Gymnasium and, of course, drew, as did everyone in this family – her mother, her brothers, her grandfather, her mothers brothers. In the summer of 1899, Ekaterina Nikolaevna, along with the younger children, decided to visit Neskuchnoe again. They had not been there for thirteen years.

Now Zina is fifteen years old. And she fell in love with this region. Twenty years later, peasants will burn this long house from the Catherine period with high pointed arches. But that is still far away. In the meantime, she breathed in the grace of the village, looked at new peasant faces for her, so different from those in the city. And, of course, she remembered the peasant paintings by her favorite artist, Alexei Gavrilovich Veneziaonov. It was here, in Neskuchnoe, that Sergei found a theme for his work, his passion.

A year later, she graduated from the Kolomensky Gymnasium in Saint Petersburg and enrolled in the M. K. Tenisheva Art School, where the famous Ilya Repin taught, but she studied there for less than a month. From autumn 1902 to spring 1903, she lived in Italy.

In the fall of 1903, Zina Lansere enrolled in Osip Brazas studio. The classes at the studio lasted two winters, while she was also constantly working at the Hermitage, where it was possible to copy paintings by old masters. It was in this village that she loved and met her future husband, Boris Anatolyevich Серебряков, an engineer of the railway, who was related to her on her fathers side.

In 1905, they got married, and Boris Anatolyevich obtained permission for their wedding with great difficulty. Immediately after the wedding, Zinaida Yevgenyevna left for Paris to continue her artistic education. She attended classes at the Académie de la Grande Chaumière, and, as two years earlier in Italy, she admired the paintings of old masters, especially Italian painters of the 14th-15th centuries. The influence of this fascination with Italians can be seen ten years later in the clear profile of the faces of young Russian peasant women in the painting Harvest, and even more so in the sketches for the murals for Kazan Station in Moscow.

After returning from Paris, the Серебряковs lived in Saint Petersburg, but mostly in Neskuchnoe, even during the winter months. Their sons, Yevgeny and Alexander, were born here (in 1906 and 1907 respectively). The measured, unhurried rhythm of life in the manor house, the clean colors of the rural landscape, the freedom and openness – all of this entered Серебряковаs work with its own rhythms and images. The artist soon found her own style and her place in Russian art. She liked a certain structure of the female face that she saw in the young peasant women of Neskuchnoe. She also emphasized these features in her own face – widely set, large eyes, тонкие outlines of an elongated oval face, a barely noticeable smile on a large mouth. She painted a lot, always painting her children, especially loved to paint female faces. In her стремление to the positive ideal in art of the 20th century Серебрякова was not alone, but no other artist of that era came so simply and naturally, with such noble dignity, as Zinaida Серебрякова. As if embodying this ideal was her first major painting After a bath (Self-Portrait) (1909). Серебрякова depicted herself on a bright winter morning in front of a mirror. The Self-Portrait was shown at the exhibition of the Union of Russian Artists in St. Petersburg in 1910 and then purchased for the Tretyakov Gallery. The genre of portrait became one of the significant ones in Серебряковаs work.

Later, it was именно this area of portraiture that allowed her to earn a living during the hungry 1920s in Petrograd and later in emigration in Paris. Now, in the 1910s, inspired by the success at the exhibition, Серебрякова created a series of portraits of her relatives and близких. Depicting people who were close to her in spirit, Серебрякова expressed her high представление about a person, about his nobility and high aspirations. However, the main theme of her work is the one where she found her style and where her sense of form was most expressed – it is the пластика of the female body. No one in Russian art of the 1910s, or perhaps even in all of Russian painting, managed to convey that simple pattern of femininity of the female figure as well as Серебрякова did.

Серебрякова was a member of the World of Art объединение since 1911. The artists of World of Art valued sincerity and freedom of expression in their work above all else, and it was precisely this that attracted them to Серебряковаs art. During trips to Crimea, to the outskirts of St. Petersburg, Серебрякова created many landscapes, which she continued to paint constantly. Whether she depicted the fields of her beloved Neskuchnoe or the mountains of Switzerland, the coast of Crimea or the strict architecture of St. Petersburg and its surroundings, she painted quickly, in one sitting, very accurately capturing the mood of nature. In the summer of 1914, Серебрякова spent in Italy, in Milan, Florence, Padua, Venice. The Italian artists helped her find a path to her subsequent monumental paintings.

Upon returning to Russia, she chose as the theme for her large painting the time of harvest in Neskuchnoe. She worked on it for a year. By this time, she already had four children: her youngest daughter, Katya, was born in Tsarskoye Selo in 1913. Her love for the village, its landscapes; admiration for peasant women; their faces with тонкие profiles – this love Серебрякова experienced as a revelation, like a lightning strike. It is this that constitutes the passion of her art. In 1915, she received an offer from Alexander Benu to paint four panels in the lunettes of the interior of Kazan Station in Moscow, designed by architect Alexei Shchusev. Alexander Benu was responsible for overseeing all the painting at Kazan Station. Серебрякова was to разработать compositions that embodied four countries of the East: Turkey, Japan, India, and Siam. She allegorically represented these countries as beautiful women. In fact, among other artists involved in the work on the paintings of the interior of Kazan Station, only Серебрякова successfully completed her task. The gift of generalization, the gift of monumental-decorative – this is the remarkable quality that distinguished the art of this fragile, small woman. This talent did not find its воплощение in wall paintings in Russia.

Only much later, twenty years (in 1934), already in emigration, she and her son Alexander created decorative panels for the Brauwer house in Belgium.

This time, she painted naked female figures embodying the seasons, in the corners of geographical maps executed by her son.

In the next year, 1916, she found a theme for her new painting – Bleaching Linen. Already that summer, she wrote to her husband about starting work on the painting. She was painting peasant women in a meadow near the river – in the mornings they spread woven linen on the grass, leaving it to bleach under the rays of the sun. In the final version, Серебрякова completely abandoned the narrative, бытовой aspect in the interpretation of the plot. There are no individual, specific features in the images of the peasant women, which is so captivating in the painting Harvest. Bleaching Linen looks like a fresco. The clarity and precision of the figures, локальные color spots united by a single golden tone – all this speaks of the birth of a great monumental artist. This painting was the last large canvas by Серебрякова. At the same time, Серебрякова did not abandon her постоянный interest in landscape and portraiture. During these years, she especially often painted and wrote her children.

In 1914, she created a group portrait of three of her children – At Dinner. In 1919, the house in Neskuchnoe burned down along with many drawings and paintings. In 1919, Boris Anatolyevich Серебряков died in the arms of Zinaida Yevgenyevna from typhus. She lived with her children and mother in Kharkov, and small means of subsistence were provided by работа in the Archaeological Museum at Kharkov University, where she sketched archaeological finds (beads, rings, dishes), made tables, and sometimes wrote portraits of museum staff. All household concerns fell on her grandmother, Ekaterina Nikolaevna. After leaving the village, where they were caught by the events of the 1917 revolution, Серебрякова with her children and mother got to the city of Kharkov for a long time and with difficulty.

From that time on, she forever lost contact with the Russian village, which she loved so much in her work of the 1910s.

Only in December 1920 did it become possible for Zinaida Yevgenyevna, with the help of Alexander Benu, to leave Kharkov and go to Petrograd: Benu obtained an appointment of Серебрякова as a professor at the Academy of Arts in Petrograd. She settled again in the same apartment on Nikolskaya Street, in her grandfathers apartment, as thirty-four years ago, when two-year-old Zina with her sisters, brothers and mother returned from Neskuchnoe after the death of their father, Yevgeny Alexandrovich Lansere.

She really missed her husband, worried about the fate of her children, she was constantly bothered by буквально every piece of bread, firewood, and – where to get paints and canvases? She wrote portraits of her relatives and близких, and of course, self-portraits. She painted a lot and wrote her children, especially girls. She painted landscapes and still lifes. It was then that Серебрякова began to draw with pastels. By combining various delicate shades of pastel, the artist achieved great achievements in this technique, especially in детские portraits and the famous ballet series.

The eldest daughter of Серебряковой, Tatyana, began to study at the choreographic school. And the colorful world of theater captivated Zinaida Yevgenievna. She had the opportunity to be behind the scenes of the Mariinsky Theater, and she came there constantly, making sketches of dancers dressing and applying makeup. In a new theme of ballet, Серебрякова was attracted by the poetic state of a person who entered the magical world of music and dance. Musical rhythms подчиняются in her pastels not only to line but also to color. Commissioned portraits gave Серебряковой small money, but she could not cope with the difficulties of everyday life. Alexander Benu recommended that she go to Paris. The money for the trip unexpectedly appeared in 1924 after the sale of two paintings in America, where an exhibition of Russian art was held.

Zinaida Yevgenyevna left alone, leaving her children under the care of her mother, hoping to arrange an exhibition in Paris, sell paintings and return to Petrograd. But everything turned out differently.

From September 14, 1924, the day of her arrival in Paris, began a long period of emigration in her life. Being a impractical person and very shy, she did not know how to establish the necessary relationships with заказчиков, and also with those people who could help arrange an exhibition.

Серебрякова rented rooms in cheap hotels.

She could not imagine her life without starting each day with her sacred craft. This was the only thing she knew and for which her life was intended. Despite the fact that since the second half of the 1920s, the city became a center of the Russian emigration, where many famous and familiar to her from Petrograd Russian artists, writers, и артисты lived, Zinaida Yevgenyevna did not see anyone. Her work was not influenced by new French painting. She continued to paint portraits and landscapes in the same realistic manner. Серебрякова never adapted to the demand for Russian exotica, although this position did not promise her a livelihood.

In 1925-1926, she painted many successful portraits of Russians. She also painted French peasants and street types of Paris.

A special area of creativity is paintings and pastels from the late 1920s – 1940s depicting naked women. Especially often she depicted Katya, who accompanied her on all trips to southern France, Brittany, and Switzerland. In May 1928, a large exhibition of Russian art was opened in Brussels, at which Серебрякова took part. Several Belgians liked my sketches, and one of them ordered me to paint portraits of his wife and daughter. And then he arranged for me to go to Morocco for a month (where he had extensive plantations) on the condition that I would give him all that he liked from my sketches. The trip to Morocco brought great joy to the artist. Sketches brought back after six weeks in Marrakech were full of joyful excitement, which the artist valued so much. She visited a fairytale country where everything was so captivating for an artist.

In 1932, Серебрякова снова visited Morocco. The two trips to Morocco are essentially the only joyful months filled with artistic enthusiasm in all forty years spent abroad. She felt обиду for the разорение of the family очаг that the Russian revolution brought into her life, обиду for being cut off from her roots, from her land, from her home, from her children and her old sick mother who needed her so much. Of course, Shura and Katya, as much as they could, helped her. She often thought about returning to her homeland, but the fear of new changes, illness and age were an insurmountable obstacle.

In her life, fate gave her a few joyful moments. She met with her eldest son Yevgeny and her eldest daughter Tatyana: in the 1960s it became possible for them to come to Paris. And in 1965, the Union of Artists of the USSR organized her large exhibition in Moscow, Kiev and Leningrad. The exhibition featured paintings painted in emigration. The success of the exhibition was enormous, and no greater joy could be imagined for a Russian artist.

She died on September 19, 1967, almost 83 years old (as was her mother). Zinaida Yevgenievna was buried at the Russian cemetery of Saint-Geneviève-des-Bois near Paris.

Серебрякова Зинаида Евгеньевна (1884 -1967) На кухне. Портрет Кати. 1924

На портрете изображена дочь художницы. Картина относится к смешанному жанру: портрет с натюрмортом. Автор обращается к натюрморту в данном случае как средству характеристики создаваемого портретного образа.
Картина композиционно уравновешена – вписана в треугольник. Особенностью данной композиции является то, что девочка выделена светлым пятном на тёмном фоне.
В цветовом решении картины художница немногословна – белый, синий и оттенки бордового и оранжевого цветов. Умелое сочетание тёплых и холодных тонов помогает достичь гармонии в композиционном решении.

я решила вам помочь

ага, я согласна!!!! думайте сами ))))

пожалусто напишите сочинение

срочно напишите сочинение плиис!!

блина где сочиненья! нужна мне картина? соченение народ требует!

срочно на пишите сочинение пожалуйсто!!!

где сочиение?!

нормально.

я посмотрел сочинение везде одинаковое как и у Янченко В. О.

ну писать сочинение просто: описываете всё что на картине и продолжайте свою мысль