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Portrait Of IDA Rubinstein

Painting, 1910, 233×147 cm

Description of the artwork «Portrait Of IDA Rubinstein»

In 1910 Leon Bakst introduced Serov with the dancer IDA Rubinstein. Bakst was a loyal vassal – he designed the performances of IDA in the days of the obscurity, at the beginning of her artistic career. Now, when the ballet "Cleopatra" and "Scheherazade" Are made Rubinstein a superstar, both basking in the glory.

According to eyewitnesses, Rubinstein was an extraordinary creature. Tall, angular, possessing by no means canonical beauty, she was so confident in its appeal that the infected with this confidence all around. Not being a professional dancer, in competition with such a formidable opponent as Anna Pavlova, just a couple of seasons, she put Paris on your knees. In 1910, she was everywhere: on posters, postcards, newspaper pages, and boxes with chocolates. Serial theatergoers, journalists, feminists, artists, grocers, and street Shoe-shiners were crazy about IDA Rubinstein – Serov applauded along with everyone.

According to one version, write Are Rubinstein commissioned the artist Diaghilev hoped to repeat last year's success (when Serov made for the Russian seasons in Paris a poster with Anna Pavlova). However, the most meticulous biographer Serova – Igor Grabar – argued that "Serov was to such a degree into her that she decided in that whatever was to write a portrait of her".

The artist wanted the IDA Rubinstein posed Nude. Voice personally its request for a modest Valentin decided not to, this made him Lev Bakst. To persuade to Go, he did not have.

Deciding to paint a portrait in the former house of the monastery, who served the Studio-the Studio many Parisian painters, Serov was not in vain was afraid of the hype. All that was done by IDA Rubinstein – stage and off – was imbued with eroticism. Critics wrote about her "fossilized voluptuous grace" about "wicked sensuality". To write her naked, but still in a relatively public place was a very provocative idea – as if, say, Damien Hirst undertook to draw a naked Sharon stone somewhere in Central Park immediately after the premiere of "Basic instinct". Serov asked my colleagues to keep his mouth shut and could give away during the sessions of their presence (of course, the arrival of the actress to the Church was accompanied by crowds of onlookers). He while working wore specially bought rough linen blouse is to "subdue the flesh" and to symbolically emphasize their role in what is happening.

On the portrait of IDA Rubinstein by Valentin Serov worked in a completely uncharacteristic manner. Usually hated posing, he seated his model emphasized in the pretentious pose. Wrote unusually quickly: the only pause occurred due to the fact that the IDA has gone on a Safari where, according to her, personally killed the lion.

Mistress of mysticism and the genius of Acopiara, she loved to feed the journalists the incredible details of his amazing life full of adventures. Quite possibly, the only Lion that killed her charms, was Bakst. However, it's not relevant and certainly does not negate the feeling that at the easel was the artist.

Unnatural deathly palette instead of the usual liveliness of colors. Defatted vane geometry instead of the traditional portrait similarity. In all respects bare form instead of the usual substance – it was categorically not the Serov, accustomed public.

Later critics a lot to explain, making out in an unnatural position emphasis on the artistic profession of IDA Rubinstein, in his colors – a hint of her fatal way, in the future, utknuvshis into a brick wall, - the connection with the ancient Egyptian reliefs and the idea that talent is doomed to exist outside of space and time. "No color, no composition, no perspective - nothing reveals the space in which is placed a figure. It seems that it is flattened, pressed to the canvas, and despite the seriousness of extravagance and the model that gives the impression of weakness and helplessness"- wrote Dmitry Sarabianov.

Many (if not all) explains and canvas blouse: Serov tried to get away from the sexual connotation, Go everywhere accompanied Rubinstein, as far as possible. Maybe it is here and not in the Egyptian pyramids you should look for the causes of the absolute styling and accentuated asexuality heroine, which lusted half of Europe.

As for contemporaries, they have adopted this "decadence" in bayonets. "Toxic charm" and "beauty on the verge of ugliness" the most sympathetic statements, which were distributed at the exhibition "World of art" and the International exhibition in Rome, where he exhibited the painting. Repin called heroine Serov's portrait "a galvanized corpse". Surikov called it "just a mess".

As is often the case, to yesterday's critics started talking about "the search for new forms" and "talent ahead of their time" it took the death of the artist: Serov died in a year. However, the portrait of IDA Rubinstein for a long time been subject to varying interpretations. So in 1965 the poet Sergey Petrov wrote:
Ran out of space the contest
on a simple blank canvas of a wall.
No artist, you're guilty
but whistle vine punishment
hard melody back.

Author: Andrew Zimoglyadov
from 1450 rub
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About the artwork

Art form: Painting

Subject and objects: Portrait, Nude

Style of art: Art Nouveau

Materials: Canvas

Date of creation: 1910

Size: 233×147 cm

Artwork in selections: 56 selections

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