from a technical
Beloved woman of Boris Kustodiev, in whose name he overcame hellish pain and created his best works
“Dear Yulik” – that’s what Boris Kustodiev called Yulia Proshinskaya, which was everything for the artist: a faithful and selfless wife, and the greatest love, and a devoted friend, and a muse-inspirer, and a guardian angel. She was an integral part of Boris himself, who, by the will of fate, ended up in a wheelchair. It was her courageous decision, when the question arose of what to keep her husband for life – arms or legs, allowed to extend for another 10 years the creative fate of the artist. And it was during this time that he created his best works, which were included in the golden fund of world art.
The talented painter fell not only great love, but also a difficult fate. Yes, and not only on himself, but also on the woman who walked a life path with him, despite the trials and troubles.
And today, in continuation of the theme of the wives of the great and famous masters of Russian painting – an amazing and heart-rending love story of the Kustodievs.
Fateful meeting Continue reading
Secrets of “Ladies with an Ermine”: What does the cute animal in the painting of Leonardo da Vinci hide
“The Lady with the Ermine” (1489-1490) is one of the most important works of all Western art, the subject of the greatest rarity of the genius Leonardo da Vinci and one of the four famous female portraits of the master. Modern art critics are sure – the white animal in the picture appeared for a reason.
Transformation of the picture
To date, only a small part of the picture has remained genuine, the rest has been repeatedly retouched: the entire background was darkened, the dress was changed, and the transparent veil worn by the woman was repainted in combination with hair color. Another adjustment of the unknown restorer was the addition of dark shadows between the fingers of her right hand (upon careful examination of the two lower fingers it is noticeable that they are significantly inferior to the others). However, the most important discovery of the picture was that the Italian artist did not write the work in one stage, but in three clearly distinguishable stages. Continue reading