Painting Serov “Portrait of Dragomirova”
Among the portraits painted at the end of the 1880s, the portrait of Sophia Dragomirova is a kind of evidence of the growth of Serov’s glory. C Sophia Drahomirova Serov met in the workshop of Repin. Sofya Mikhailovna Dragomirova (in the marriage of Lukomskaya) wrote to I. Grabar. “I remember that when I arrived in October 1889 for a session with Repin, I found an unknown gentleman with whom I was introduced by Repin, wandering around me and looking at me from under his brows, he said something to Repin, who turned to me and asked me Permission to Serov also paint a portrait with me, he worked on it all the time while he stayed in Petersburg, Valentin Alexandrovich went to Moscow without finishing my portrait, and passing it to me, Repin made a few smears on his suit and accessories without touching his face. they are easy to learn, but, as far as Omniu,
When the young Valentin Aleksandrovich Serov wrote this portrait, he was already the author of the girls who had
Serov went to Moscow, not having completed the portrait a little. Repin, passing his work to Dragomirova to give a finished look, “made a few smears on the suit and accessories, without touching the face.” This interference angered Serov, and he sent a sharp letter to the teacher, which for some time darkened their relationship.
In the house of the Dragomirovs, both the portrait – both the Serovsky and the Repin’s – hung side by side. In the early 1890s, the guests of
Serov’s portrait was for a long time in the collection of the Dragomirovs in St. Petersburg and Kiev, and later became the property of Sofia Z. V. Ratkova-Rozhnova’s friend. Subsequently, he was sent to the State Tretyakov Gallery, where in 1927 the Department for the Affairs of the Glavnauka Museum of the People’s Commissariat of Education of the RSFSR was transferred to the Kazan Museum. Repin’s portrait of Dragomirova is in the State Russian Museum.
Later Serov wrote a watercolor portrait of Sofya Mikhailovna “Portrait of S. M. Dragomirova-Lukomskaya.” The chamber technique of watercolor traditionally assumes an intimate-confidential intonation of a friendly interview between the viewer and the model. But “confidence” in the portrait of Lukomsky is almost confessional. Mute question, addressed as if not to the interlocutor, but to an unrequited space, a detached view of both the viewer and, as it were, through it, not the “aggravated” girl, which Lukomskaya was represented in a low-cost suit, and sadness as an inalienable natural property of the soul bordering with a psychoanalytic problem. Grabar wrote that “expressive sad eyes interested one European neurologist who accidentally saw a photograph of this Serov portrait,
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