Zinaida Serebryakova is an amazing artist. And not only because she became the first female artist. Her writing style is unique, engaging and captivating. Her paintings are interesting in the selection of colors and vision of the world.

One of these paintings is “Behind the toilet. Self-portrait. In modern realities, the name is not very harmonious, but at the beginning of the 20th century it meant only putting oneself in order, dressing, combing. This is exactly what is shown in the picture. The angle is very unusual - a girl combing her hair can be seen as if from a mirror. The mirror is like a spectator, the reflection is an actor.

The picture is filled with light, warmth and good mood. It comes primarily from a girl - charming, self-admiring and joyful. The expectation of a wonderful new day is read in wide-open eyes, a cheerful, slightly ironic smile. The girl evokes sympathy and admiration: luxurious long hair, atypical beauty, which is only emphasized by a pointed, slightly long nose. The girl seems to offer to share some secret with her. The impression is enhanced by a strap that has slightly moved off the shoulder, and the intimate little things of a girl's room.

Surrounding details are spelled out carefully and at the same time seem to be insignificant. An ordinary girl's room: a made bed, a wash table with a jug and a basin, more guessable than prominent trifles. In the foreground is the dressing table. Three candles to enhance the angle. But they are not lit, there is enough sunlight. A lot of purely girlish accessories: pearl beads, perfume bottle, cream, napkins, slightly strange long hairpins. It remains a mystery what the hairstyle will be - flirtatious or strict and a little mischievous. The bracelet on the hand does not add clarity - it is a universal decoration.

Bright, good picture. Sweet, charming girl. It is difficult to look away and there is a strong feeling that the canvas generously shares its optimism and love of life.

Description of the painting by Serebryakova Behind the toilet. self-portrait

It was an early, summer, sunny morning. Waking up, the girl stretched a little in bed, and getting up, went to the dressing table. In the mirror, she saw an exact copy of herself - her reflection. Thin black eyebrows, bright, glowing with inner light, brown eyes, and a pink blush burned on her cheeks. The lips were curved into a sweet, good-natured smile. Her body curved beautifully in a half-turn, showing all her elegance. But most of all, her eyes attract the eye - young, large and radiant. And her face strikes with freshness, lightness and youth. Taking a comb, she began to comb her beautiful, thick, brown hair. The girl was in a cheerful mood, and very happy. It seems that she is ready to meet interesting adventures with an open mind and make new discoveries.

In the general background of the painting, you can see cleansers, an old wooden door and part of the bed. And on the dressing table there are various decorations, two candles in beautiful candlesticks, and you can also see a bottle of perfume. But it all seems so nondescript, boring and simple, compared to their mistress. She was truly wonderful. The nightgown she wore was loose and fell off her left shoulder, completely exposing it. This gives the picture a special atmosphere. Only after fully admiring the girl sitting at the morning toilet, you can see the rest of the items in the picture. The general atmosphere of the room seems to be somehow fantastic and unusual. And looking at this work of art, it is difficult to say that it was created more than a hundred years ago.

This picture was painted back in 1909 by a twenty-five-year-old girl, artist, Zinaida Evgenyeva Serebryakova. And it is not surprising that she was one of the first female artists. The work of art referred to in this essay was exhibited at exhibitions, which soon brought its creator wide fame. And after a short period of time, in 1910, this painting was acquired by the Tretyakov Gallery. Self-portrait Z.E. Serebryakova speaks of high artistic skill, talent and spirituality, however, like all her other works.

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Beautiful picture Z.E. Serebryakova "Behind the toilet" was a kind of self-portrait, which the artist created in 1909 and received worldwide recognition.

In the center of the picture we see a girl preening herself and combing her hair. She is in a small room that looks quite simple and modest. I think this is an ordinary village room, which is located in a small house. But, such an environment does not upset the young beauty at all. On the contrary, the woman looks happy and smiling, she seems to radiate joy and light to all viewers.

Looking at the canvas, the eyes of the heroine attract special attention. They are so deep and wise that they do not compare at all with the young age of the girl. The beauty is dressed in a white, simple dress. This once again confirms and emphasizes her tenderness and kindness, naivety and sincerity.

The light image of the heroine harmoniously contrasts with the brown color of the floor, which speaks of the everydayness and earthiness of everything around. The image of the girl is captured so easily and naturally that we understand that she is not posing at the moment. The heroine is relaxed and engrossed in her morning preening. She admires herself, her girlish beauty. This morning for her is the beginning of a new, interesting and happy day.

Painting by Z.E. Serebryakova "Behind the toilet" is made with great skill and talent. A beautiful play of shadows emphasizes important details of the canvas. The use of light yellow tones radiates warmth and soulfulness that the viewer feels. The picture is filled with calm and tranquility. Looking at the canvas, my soul becomes warm and cozy, harmony overwhelms me.

Description of the painting by Serebryakova “Behind the toilet. Self-portrait»

Zinaida Evgenievna Serebryakova was one of the first female artists and it is not surprising that it was her self-portrait that became the most famous painting.
Canvas "Behind the toilet. Self-portrait" was painted by a twenty-five-year-old girl in 1909.
It was exhibited at the exhibition and brought the artist great fame.
Later this painting was acquired by the Tretyakov Gallery.

The artist depicted herself at the morning toilet.
Her face is very fresh and joyful.
The eyes are bright, expressive, sparkling.
She combs her beautiful, thick hair.
Lips curved into a gentle smile.
There is a blush on the cheeks.
Her beautiful movement in a half-turn very gracefully shows a thin waist.
He had not yet taken off his loose nightgown, which had fallen from one shoulder, completely exposing him.
Her whole camp is light and cheerful.
There is no sadness, grief or thoughtfulness.
The girl in the portrait is very happy about the new day.
She is ready to meet new impressions and emotions with an open soul.

In the background, in discreet colors, you can see the place for washing, a wooden door and part of the bed.
In front of the girl herself is a dressing table, on which are ornaments of various colors and shades.
There is a bottle of perfume, and on the right hand of the girl there are two candles in beautiful candlesticks.
Against the background of the artist herself, all these details are inconspicuous and completely unobtrusive.
Only having admired the girl herself enough, you can already consider all the nuances.
The whole atmosphere in the room is somehow fantastic, sparkling with light and joy.

Serebryakova’s painting “Behind the toilet. Self-portrait”, like all her paintings, is distinguished by the high artistic skill that belongs to her.
This fact itself speaks of the great talent and spirituality of the artist.

Zinaida Serebryakova Rusakova Alla Aleksandrovna

"Self-portrait. Behind the toilet"

"Self-portrait. Behind the toilet"

The landscape has always remained one of Serebryakova's favorite genres, revealing her worldview in many ways. But a truly great success and recognition of art lovers, especially the circle of the "World of Art" headed by Alexander Nikolaevich Benois, brought her portrait work of the late 1900s - early 1910s. As already mentioned, during these years Serebryakova enthusiastically worked on portraits of peasants and peasant children, and also painted her husband more than once. However, these portrait works turned out to be only the forerunners of the work that immediately put her forward in the first row of Russian painters of these years - the self-portrait "Behind the toilet", characterizing the era of its creation with the same accuracy as Serov's "Girl illuminated by the sun" - the second half of the eighties of the XIX century. century, and "Bathing the Red Horse" by Petrov-Vodkin - the beginning of the 1910s.

This self-portrait still arouses the same admiration among the audience as during the first public appearance at the 7th exhibition of the Union of Russian Artists. More than half a century later, Zinaida Evgenievna Serebryakova wrote to the art critic V.P. Lapshin about the circumstances of its creation: “This year (1909. - A. R.) I decided to stay longer at our estate and not leave for St. Petersburg - as usual, in September. My husband Boris Anatolyevich was “on research” in Northern Siberia - he promised to come to the “village” for Christmas and return together with two children (sons Zhenya and Shura. - A. R.) to Petersburg. Winter came early and snowy - our entire garden, and fields, and roads were covered with snow, it was impossible to get “models” from the peasants. The theme of “self-portrait” for all artists is the most common ... I think that I didn’t draw for a long time in “Behind the Toilet” either - because in my youth I drew very quickly.” We learn other details from her letter, sent at the same time to A.N. Savinov: “I decided to stay ... on the“ farm ”- on my husband’s estate (near Neskuchny), where the house was small and it could be heated in winter easier than large high rooms of Neskuchny.<…>I began to draw myself in the mirror and had fun portraying every little thing on the “toilet”. So artlessly and modestly tells Zinaida Evgenievna about the birth of one of her most significant and "conceptual" works.

Usually, painters, working on a self-portrait, especially not devoid of elements of the situation, depict themselves in front of an easel, with a palette and brushes in their hands. This will happen to Serebryakova in the post-revolutionary "Petrograd" and "Paris" times, when the only content of her lonely and difficult life will be painting and painting again. Here, something more appears before the viewer than an ordinary self-portrait; this is a picture that tells about a happy youth, which could be called “Winter Morning”, which Yefim Dorosh emphasized with poetic penetration, perhaps best of all who wrote about it conveyed - after half a century - its charm: “Whenever I happen to stand in front of a picture , to admire the big-eyed and big-mouthed girl in the mirror, illuminated by the pure and even morning winter light reflected from the fallen snow, the thought invariably came to mind, as one day, waking up early ...

Tatyana saw through the window

In the morning, a whitewashed yard,

Curtains, roofs and fences,

Light patterns on glass

Trees in winter silver

Forty merry in the yard

And softly padded mountains

Winters with a brilliant carpet,

Everything is bright, everything is white around.

Dorosh admits: “At the same time, I was thinking not so much about Tatyana Larina, but about Pushkin, who was the first to discover rural Russia - the poetry of her everyday life ... The girl from the Self-portrait sees the rural world lying outside the windows of her bright room so freshly and clearly, little changed over the eight decades that separate "Eugene Onegin" from this picture. Of course, a comparison of this complete freshness, a sincere picture with the poetics of the “divine” Pushkin, Serebryakova’s greatest literary love from a young age to a ripe old age, is deeply fair and subtly felt; a juxtaposition that should have pleased her deeply.

E. Dorosh, of course, is right that the "village world" from Pushkin's time to the beginning of the 20th century has changed relatively little outwardly. But the social circumstances, on the one hand, and the content and style aspects of painting, on the other, have decisively changed during this time. And the young artist showed herself in her first significant work as a purely modern painter, although far from innovative leftist trends, but who perfectly perceived and in her own way implemented the achievements of Russian and Western painting of the late 19th - early 20th centuries in her own work.

Doroshev’s indirect comparison of Serebryakova in her self-portrait with Pushkin’s Tatyana is, of course, not accidental: the image is so directly charming, it exudes the purity and charm of youth from him - from huge oblong eyes, a fresh, slightly smiling mouth, a slightly high-cheeked face tapering to a chin, thick dark hair, the graceful and very natural movement of bare arms, the whiteness of the bodice. The background is unusually in harmony with the figure of a young woman in the foreground - a white wall of a more than modest room, a basin and a washbasin jug. Only, probably, in this self-portrait, the happiness of youth and the immediate joy of life are felt much more than in the state of mind and appearance of Pushkin's Tatyana. And, perhaps, the most important and most attractive feature of the viewer is his “simple beauty”, which “is in everything”. According to D. V. Sarabyanov, in this self-portrait-painting “... the natural beauty of life, existing as if by itself, becomes a kind of aesthetic criterion, determining the position of the artist, her view of herself and everything around her.”

Serebryakova writes - although it sounds paradoxical at first - not herself, but her reflection in the mirror. This “existence as a reflection” serves her (maybe completely subconsciously) as a kind of “protection”, a boundary between herself and the audience, the existence of which is especially characteristic of the chaste and modest Serebryakova - a person and a painter. In addition, the image is already limited by a kind of frame - the frame of the mirror painted by her, which, of course, immediately gives the portrait an element of picturesqueness. With sincere enthusiasm, an unpretentious still life reflected in the mirror (“I amused myself to portray every little thing on the “toilet””) was written: a bottle of perfume, pins, handkerchiefs, beads and a candle in a candlestick - by the way, the only object depicted twice, “in kind” and in reflection. This cute and naive still life would prove to be the forerunner of many of the artist's excellent still lifes, created in the mature period of her work.

The self-portrait is not only unusual, even unexpected, but also very modern, although it would seem that it was written in a purely realistic manner familiar to Serebryakova. Looking at him, you clearly feel that the artist sensitively perceived and processed - most likely, purely intuitively - impressions not only from classical, but also from contemporary painting, both Western and Russian, and especially the portrait painting of Valentin Serov, to whom she treated with true respect. It can even be rightly asserted that “Behind the Toilet” is one of the pinnacles of Russian Art Nouveau or, as it was often called in those years, the New Style, Art Nouveau in French or Yugendstil in German. (It is necessary to distinguish between the terms "modern" and "modernism"; the latter is usually applied to the innovative, "left" art of the 20th century, to the art of the avant-garde, and embraces many of its currents.)

Art Nouveau - a style that came to Russia from Western Europe in the early nineties and flourished, especially in architecture and applied arts, by the mid-1900s - left its mark on the work of such major Russian painters as M. Vrubel, V. Serov, K. Korovin, M. Nesterov, early V. Kandinsky, and among the "World of Art" - L. Bakst, K. Somov, A. Benois. Moreover, they themselves became the creators of modernity in Russia in an era that in Germany is called Jahrhundertwende- "turn of the centuries", which more accurately determines the movement and nature of time than the French Fin de siecle("end of the century"). This was the first style of the New Age, which refused, as D. Sarabyanov aptly put it, from a direct dialogue with nature. Art Nouveau elevated the conventionality, sharpness and paradoxicality of the image to the principle; included in his iconography a myth, a fairy tale, a dream, the themes of light and darkness, good and evil, sublime love and lust; strove for a synthesis of the arts, for the replacement of easel paintings with panels and paintings, for the widest use of ornament.

All this, at first glance, has little to do with Serebryakova's painting, which is clear and vitally truthful at its core. However, it is the self-portrait “Behind the toilet” that irrefutably and convincingly proves that in the Art Nouveau, which decisively captured a part of Russian painting in these years (already, however, being pushed aside by the time the self-portrait was written by new, more “revolutionary” searches and trends), its characteristic content and style features often organically combined "with realism and features of impressionism." In the work of Serebryakova - and especially in the self-portrait "Behind the toilet" - we meet precisely with the fusion of a realistic view of the world (and a fundamentally realistic one, which is characteristic of her entire worldview) with undoubted and very significant and even typical features of modernist works.

No wonder E. E. Lansere, in a letter to K. A. Somov, comparing this work with her sister’s earlier works, gives it a very precise definition: morning dress, half dressed, fr. - A. R.) combs his hair, the author sees himself in the mirror, so that some of the objects in the foreground are repeated doubly (candles). Everything is very simple, everything is an exact copy of nature, but at the same time Shura (Alexandre Benois. - A. R.) finds that it has a “style”” (meaning, of course, the stylistic features of modernity). This “specularity”, reflection of the depicted, double - although in this case unintentional, subconscious - its detachment from the viewer, the stay of the model and the objective world surrounding it, according to D. Sarabyanov, “on the verge of this worldly and otherworldly being” is one of the favorite tricks modern. Even more revealing is the rhythmicity of the solution of the picture and the “stoppage” of action in time, characteristic of modernity. And at the same time, the lively - and invigorating - immediacy of vision decisively distinguishes "Behind the Toilet" from such, for example, works as "Dinner" by L. Bakst and his own portrait of Zinaida Gippius, where stylistic searches and delights that make these certainly excellent work typical examples of pure, "unalloyed" Art Nouveau. Serebryakova, as already mentioned, embodied in this self-portrait some of the features of style quite intuitively, being an extremely sensitive artistic nature. Art Nouveau - and this is one of its features - widely granted the artist "the right to various stylizations", without forcing him to change his inherent view of the world; this gave Serebryakova the opportunity to freely (in all likelihood, quite unconsciously, but all the more naturally) use the elements of style that enriched her work, made it interesting and attractive.

The self-portrait “Behind the toilet”, sent by Serebryakova to St. Petersburg at the insistence of her brother Yevgeny, received universal recognition at the 7th exhibition of the Union of Russian Artists, where it was exhibited along with thirteen other works by Serebryakova, created in 1906-1909. This was the artist's second public performance. A month before, she exhibited two early works - "Self-Portrait" in 1905 and a somewhat later "Portrait of a Nanny" - at an exhibition of contemporary Russian female portraits arranged by S.K. Makovsky in the editorial office of the Apollo magazine. They were very kindly noted in the press - in the catalog article of G.K. Lukomsky and in the "Artistic Letter" by A.N. Benois. But, in fact, it was the self-portrait “Behind the toilet” that became a genuine discovery of a new talent, marked not only by Benoit's brilliant article, but also by a number of other reviews. As usual, the restrained and always impeccably objective V. A. Serov spoke about this work: “Self-portrait at the mirror is a very nice, fresh thing,” and he was stricter about the rest of the exhibited canvases of the artist. Benois, unconditionally highlighting the self-portrait of his niece, remarked: “Other works by Serebryakova (portraits of peasants were exhibited, including “Shepherd” and “Beggar”, a portrait of a student, landscapes “Spring”, “Winter Day”, “Green”. - A. R.) is a further commentary on her art. All of them amaze with vitality, simplicity and innate skill.

Three works by Serebryakova - a self-portrait "Behind the toilet", "Green" and "Young woman" (portrait of Maria Zhigulina) - were purchased from the exhibition by the Tretyakov Gallery.

Returning to Benoit's review, I would like to emphasize two of his points here. The words about Serebryakova's "innate skill" are deeply true - after all, she was, in essence, self-taught, who, thanks to her talent, multiplied by hard work, became a magnificent and original painter, always going her own way. It is equally important that Benoit notes among the main advantages of her works their mood: "They are all cheerful, cheerful and young." This quality of Serebryakova's painting - if not "gaiety", then, in any case, cheerfulness - was quite natural at that time, and in subsequent periods of her very difficult life it always remained unchanged, sometimes coming into sharp contradiction with her everyday worldview, and indeed with a closed, self-profound character.

Having somewhat departed in our narrative from its main theme - the life and work of Zinaida Serebryakova - we recall that the 7th exhibition of the Union of Russian Artists was the last in which, together with the Moscow founders of the Union, for the most part "junior Wanderers", former members of the World of Art ", liquidated in 1904. The pretext for the already long-awaited break between “Muscovites” and “Petersburgers” (with the exception of V. Serov, who is closely connected with the main group of “World of Art”) was the critical statements of A. Benois against some “Muscovites”. In December 1910, an exhibition of the recreated, but very different from the former, "World of Art" opened in St. Petersburg; since then, Serebryakova's participation in the exhibitions organized by him has become "for granted".

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Chapter Three

Zinaida Evgenievna Serebryakova was one of the first female artists and it is not surprising that it was her self-portrait that became the most famous painting. Canvas "Behind the toilet. Self-portrait" was painted by a twenty-five-year-old girl in 1909. It was exhibited at the exhibition and brought the artist great fame. Later this painting was acquired by the Tretyakov Gallery.

The artist depicted herself at the morning toilet. Her face is very fresh and joyful. The eyes are bright, expressive, sparkling. She combs her beautiful, thick hair. Lips curved into a gentle smile. There is a blush on the cheeks. Her beautiful movement in a half-turn very gracefully shows a thin waist. He had not yet taken off his loose nightgown, which had fallen from one shoulder, completely exposing him. Her whole camp is light and cheerful. There is no sadness, grief or thoughtfulness. The girl in the portrait is very happy about the new day. She is ready to meet new impressions and emotions with an open soul.

In the background, in discreet colors, you can see the place for washing, a wooden door and part of the bed. In front of the girl herself is a dressing table, on which are ornaments of various colors and shades. There is a bottle of perfume, and on the right hand of the girl there are two candles in beautiful candlesticks. Against the background of the artist herself, all these details are inconspicuous and completely unobtrusive. Only having admired the girl herself enough, you can already consider all the nuances. The whole atmosphere in the room is somehow fantastic, sparkling with light and joy.

Painting by Serebryakova Z.E. "Behind the toilet. Self-portrait”, like all her paintings, is distinguished by the high artistic skill that belongs to her. This fact itself speaks of the great talent and spirituality of the artist.