Grabar february blue. Composition based on the painting by Igor Grabar “February azure What is February azure

Igor Emmanuilovich Grabar "February Blue" 1904 Tretyakov Gallery.

In the foreground of the picture is a birch tree covered with the thinnest layer of lacy hoarfrost, iridescent and sparkling even under the dim rays of the sun. A little further away you can see younger birches and still very “teenagers” with thin trunks. It seems that, spreading their branches, they slowly spin in a smooth round dance, like young girls, celebrating Maslenitsa and meeting the arrival of spring.
Only the forest in the background separates heaven and earth. If you stand near this picture for a while, it will suddenly seem that you clearly hear a Russian folk song about a birch. After all, the birch is a symbol of Russia, its beauty, so the people composed many songs about it, both funny and sad.

White-barreled beauties are depicted against the background of an azure snow cover and almost the same color of the winter sky. These tones, which the painter so generously uses, bring coolness and purity, like a breath of breeze and the smells of spring approaching with an inaudible light tread.

Igor Emmanuilovich also liked the painting February azure. He often talked about how suddenly amazing inspiration came to create it. Grabar saw such a landscape in the Moscow region on a frosty sunny morning, going for a walk. He was struck by the color of the azure, which seemed to envelop everything around, and only the birch trees, stretching out their branches, as if in a dance, diluted these incredible colors of pearls, coral, sapphire and turquoise. All together it was like a fabulous island in the glow of precious stones.

The artist was amazed at the fantastic beauty of the birch branches in this chime of all shades of the rainbow against the blue sky. Against the background of the turquoise sky, last year's foliage, which survived at the very top of the birch, seems golden. As if fulfilling the wish of the painter, sunny days lasted for almost two weeks, allowing Grabar to capture this miracle. It seemed that nature posed for a talented artist.

I. Grabar worked on this picture in the open air, in a deep trench, which he specially dug in the snow. The artist painted "February Blue" "with an umbrella painted in blue, and the canvas was placed not only without the usual tilt forward, facing the ground, but turned it with its face to the blue of the sky, which is why reflections from the hot snow under the sun did not fall on it, and he remained in the cold shadow, forcing ... to triple the power of color to convey the fullness of the impression"

I. Grabar admitted more than once that of all the trees in central Russia, he loves birch most of all, and among birches - its "weeping" variety. And indeed, in the "February Blue" birch is the only basis of the artistic image. In the very appearance of this tree, in the ability to see its charm in the general structure of the Russian landscape, the joyful perception of the nature of the Russian region by the artist, which distinguished I. Grabar the landscape painter in all periods of his work, was affected

Description of the painting by Grabar “February azure”

Description of the painting by Grabar “February azure”

I admire the painting by I.E. Grabar "February Blue". Frosty sunny morning. The sky, birches, snow still breathe cold freshness.

Huge azure sky. Around white-white. Shadows from birches fall on the snow. This makes it look blue.

In the foreground is a tall, slightly curved birch. She spread her branches wide like arms, a dancer in her dance.

In the middle ground there are many birches. It seems that they lead a round dance at the edge of the forest.

A birch grove is visible in the distance. Like spectators admiring the dance, she stands at a distance and surrounds the edge of the forest. The picture is made in transparent azure-blue tones. Only in such colors can you convey the frosty breath of winter.

I like this picture because the artist depicted it very accurately and beautifully. It evokes a joyful and festive mood. As if you are there, by the birches and breathe in this frosty air.

Painting title: february blue

Exhibit place: permanent exhibition of the Tretyakov Gallery in Lavrushinsky lane, 10, hall 38

Igor Grabar. February azure. 1904 Tretyakov Gallery. Moscow

The artist created a picture under the direct impression of nature. Igor Grabar wrote his “February Blue” in the winter-spring of 1904, when he was visiting friends in the Moscow region. During one of his usual morning walks, he was struck by the holiday of awakening spring, and later, being already a venerable artist, he very vividly told the story of the creation of this canvas.

“I stood near a marvelous specimen of a birch, rare in the rhythmic structure of its branches. Glancing at her, I dropped my stick and bent down to pick it up. When I looked at the top of the birch from below, from the surface of the snow, I was stunned by the spectacle of fantastic beauty that opened before me: some kind of chimes and echoes of all the colors of the rainbow, united by the blue enamel of the sky. Nature seemed to be celebrating some unprecedented holiday of the azure sky, pearl birches, coral branches and sapphire shadows on lilac snow.“. It is not surprising that the artist passionately wanted to convey “ even a tenth of this beauty“.

I. Grabar admitted more than once that of all the trees in central Russia, he loves birch most of all, and among birches - its “weeping” variety. This time the artist quickly returned home for a canvas, and then in one session from nature sketched a sketch of the future painting. The next day, taking another canvas, he began to paint from the same place an etude, which was everyone's favorite "February Blue". Further on this picture I. Grabar he worked outdoors, in a deep trench, which he specially dug in the snow.

February blue (detail)

In the “February Blue” I. Grabar reached the limit of color saturation, he painted this landscape in pure color, applying strokes in a dense layer. It was precisely such tiny strokes that revealed the volumes of tree trunks, and patterns of branches, and snow bumps. The low point of view opened up the opportunity for the artist to convey all the gradations of blue - from light green at the bottom to ultramarine at the top.

Grabar. february blue

Igor Grabar, having mastered the best achievements of impressionism, found his artistic style in art - unique and original. The nature of Russia acquired a completely new look in his landscapes, sparkled with iridescent colors, filled with a sense of spaciousness and light. In this regard, Grabar continued and developed the beginnings that appeared in the work of I. Levitan, V. Serov, K. Korovin and other outstanding Russian landscape painters.

Biography of Igor Grabar

Igor Emmanuilovich Grabar was born on March 13, 1871 in Budapest, in the family of a Russian public figure E. I. Grabar. In 1876, his parents, who were among the supporters of the Slavic liberation movement, moved to Russia.

Igor's childhood was not easy. The boy was often separated from his parents, remaining in the care of strangers. From childhood, he dreamed of painting, tried to be closer to artistic circles, visited all exhibitions, studied the collection of the Tretyakov Gallery.

From 1882 to 1989, Grabar studied at the Moscow Lyceum, and from 1889 to 1895 at St. Petersburg University at once at two faculties - legal and historical-philological. After graduating from university, he entered the St. Petersburg Academy of Arts.

In 1895, he studied at the workshop of Ilya Repin, where Malyavin, Bilibin and Somov studied at the same time.

Summer 1895 during the holidays, Grabar travels around Europe, visits Berlin, Paris, Venice, Florence, Rome, Naples.

Returning to Russia in 1901, the artist was again shocked by the beauty of Russian nature. He is fascinated by the beauty of the Russian winter, admired by the "grace" and "magnetism" of the magical birch tree. His admiration for Russia after a long separation was expressed in the paintings: "White Winter", "February Blue", "March Snow" and many others.

In 1910-1923, he moved away from painting and became interested in architecture, art history, museum activities, and the protection of monuments.

He conceives and implements the publication of the first "History of Russian Art" in six volumes, writes the most important sections for it, publishes monographs about Isaac Levitan and Valentin Serov. Igor Grabar also published other art publications.

In the period from 1913 to 1925, the artist headed the Tretyakov Gallery. Here Grabar made a re-exposition, placing and systematizing all works of art in historical sequence. In 1917 he published a catalog of the gallery, which is of considerable scholarly value.

Igor Emmanuilovich is one of the founders of museology, restoration and protection of art and antiquity monuments. In 1918 the artist created the Central Restoration Workshop. He helped to save many works of ancient Russian art and the result of the work carried out by the workshops was the discovery of numerous outstanding monuments of ancient Russian art - icons and frescoes in Novgorod, Pskov, Vladimir and other cities.

From 1924 until the end of the 1940s, Grabar returned to painting again, paying special attention to the portrait, depicting his relatives, scientists and musicians. Among his famous portraits are "Portrait of a Mother", "Svetlana", "Portrait of a Daughter in a Winter Landscape", "Portrait of a Son", "Portrait of Academician S. A. Chaplygin". Two self-portraits of the artist "Self-portrait with a palette", "Self-portrait in a fur coat" are also widely known.

In Soviet times, Grabar became interested in the work of Andrei Rublev and I. E. Repin. In 1937 he created a two-volume monograph "Repin". This work brought Grabar the Stalin Prize. Since 1944, Grabar was director of the Institute of Art History of the USSR Academy of Sciences.

The first composition for the painting by I.E. Grabar "February Blue" - 4th grade.

February days are famous for severe snowstorms and strong winds. But there are also wonderful sunny days. One of these days the artist Grabar captured in his painting "February Blue".

In the foreground is a slightly curved birch. It is covered with a thin layer of frost. Frost shimmers from the bright sun. It seems that pearl beads hang on the widely spread branches of the birch. A little behind there are many thin young birch trees, as if leading a round dance around the old birch. They are wearing the same luxurious clothes. All birch trees stand on a snow-white, sparkling from the sun, bedspread, slightly dropping bluish shadows on it. The old foliage on the tops of the birches seems to be fiery gold. The birch grove is shrouded in the warmth of sunlight, the approach of spring is felt.

From above, over a birch grove, a cloudless azure-blue sky stretched out. Closer to the horizon, it brightens.

On the horizon you can see a solid wall of dark forest. There, in the thicket of the forest, is still the realm of winter.

The picture is wonderful, made in bright colors, evokes joyful feelings. It is filled with the freshness of a sunny frosty day and the quick awakening of nature.

*********

The second composition for the painting by I.E. Grabar "February Blue" - 5th grade.

Azure- azure, azure, pale blue.
Pearl- mother-of-pearl.
Coral- bright red.
sapphire- blue-green.
Lilac- gentle, light purple.

Plan.

1. Introduction.
2. The main part.
A. sky
b. Sun
V. snow
g. shadows
birch: trunk, branches
e. other birches
and. horizon
3. Conclusion. Impression.

The painting by I.E. Grabar “February Blue” depicts a frosty February morning. Everything around is filled with blue light. Sparkling snow shimmers under the sun. The birch trees are pierced by sunlight. This is a holiday of the azure sky and pearl birches, a holiday of nature itself.

A cloudless blue-azure sky, brightens towards the horizon and becomes sapphire. Despite the fact that it is still winter, the sun is already warming well. But there is a lot of snow. In the sun, pure snow casts a white-blue color. From the birch trees fall blue with a purple tint. In the foreground is a tall birch. The trunk is not straight, but as if curved in a magical dance. It's dark underneath. The higher the trunk, the whiter it is. The branches are snow-white, covered with hoarfrost, which shines in the sun. At the very top of the birch, last year's foliage has been preserved. Covered with hoarfrost, in the sun it burns with a coral color. The artist looks at the birch from the bottom up, so its top and side branches are not fully depicted. Behind the old birch stands many young birches. They kind of dance around her. The pearl branches of the birches intertwined and a fancy lace turned out against the background of the azure sky. A narrow strip of forest darkens in the distance. If not for her, heaven and earth merged into one inseparable space.

Grabar Igor Emmanuilovich (1871-1960). "February Blue" 1904

The honorary title of Honored Art Worker was established in our country in 1928, and Igor Emmanuilovich Grabar was the first artist to receive it. Indeed, his services to Russian and Soviet art are very significant. A remarkable artist and an outstanding restorer, a tireless researcher and an active organizer of the Society for the Protection of Ancient Monuments, a museum worker - this is by no means a complete list of the activities in which I. Grabar's talent manifested itself. He himself said: "As I could not live without art, so I could not live a day without labor."

Self-portrait in a hat. 1921
Cardboard, oil. 65 x 51 cm
Private collection

I. Grabar served art as a painter and artist, as an art historian and critic. His path as a painter is very long, and there are few artists who can show their work, written over a period of more than sixty years. And I.E. Grabar at his anniversary exhibition in 1951 showed both the works of the end of the last century, and those on which the last strokes were laid just before the opening day.

He could never just contemplate the world around him and always sought to capture it in paint. For I. Grabar, the artist is characterized mainly by two pictorial genres - landscape and portrait. He discovered a new Russian landscape, and not every painter has been given the happiness of seeing the former in a new way, of showing the unusual in the ordinary.

Roofs covered in snow. 1889
oil on canvas, 25x33.5

I. Grabar began to try his hand in the field of landscape in the late 1880s, when he painted "The Roof with Snow". This canvas foreshadowed one of the main themes of I. Grabar's landscape painting - the theme of Russian winter and Russian snows.

This theme particularly strongly captured the artist in the first decade of our century, and subsequently reminded of itself more than once. According to I. Grabar himself, he always strove for "objective truth in painting"; set himself as an educational task "to convey nature to a complete illusion, to the point of impossibility to distinguish where the nature is, and where the canvas with the painting is."

The main early landscapes of I. Grabar were created in 1903-1908. The year 1904 turned out to be especially successful for the artist, when he painted such paintings as "Rook's Nests", "March Snow" and "February Blue". It was these landscapes that first of all stopped the attention of the audience at the exhibition of the "Union of Russian Artists" in 1904. The critics called I. Grabar's canvases "almost the best at the exhibition", because rarely anyone has such "like his, the transfer of nature." But he was then a young artist, just starting his career.

Success with the public and critics was especially important also because the "Union of Russian Artists" was at that time the leading exhibition association, which included in its ranks the most gifted artists.

"February Blue"
1904
Canvas, oil. 141 x 83 cm
State Tretyakov Gallery

And I. Grabar wrote his "February Blue" in the winter-spring of 1904, when he was visiting friends in the Moscow region. During one of his usual morning walks, he was struck by the holiday of awakening spring, and later, being already a venerable artist, he very vividly told the story of the creation of this canvas.
“I was standing near a marvelous specimen of a birch, rare in the rhythmic structure of the branches. Looking at it, I dropped my stick and bent down to pick it up. When I looked at the top of the birch from below, from the surface of the snow, I was stupefied by the spectacle of fantastic beauty that opened before me: some chimes and echoes of all the colors of the rainbow, united by the blue enamel of the sky. Nature seemed to be celebrating some unprecedented holiday of the azure sky, pearl birches, coral branches and sapphire shadows on lilac snow. It is not surprising that the artist passionately wanted to convey "at least a tenth of this beauty."

This time, the artist quickly returned home for the canvas, and then in one session from nature sketched a sketch of the future painting. The next day, taking another canvas, he began to paint from the same place a study, which was everyone's favorite "February Blue".

In the "February Blue" I. Grabar reached the limit of color saturation, he painted this landscape in pure color, applying strokes in a dense layer. It was precisely such tiny strokes that revealed the volumes of tree trunks, and patterns of branches, and snow bumps. The low point of view opened up the opportunity for the artist to convey all the gradations of blue - from light green at the bottom to ultramarine at the top.

I. Grabar was called (and he himself did not deny this) the last of the plein airists in Russia. But, having mastered the best achievements of impressionism, he found his artistic style in art - unique and original. The nature of Russia acquired a completely new look in his landscapes, sparkled with iridescent colors, filled with a sense of spaciousness and light. In this regard, I. Grabar continued and developed the beginnings that appeared in the work of I. Levitan, V. Serov, K. Korovin and other outstanding Russian landscape painters.

It has been repeated more than once that I. Grabar entered the history of Russian painting as a poet of the Russian winter (although he painted both spring and autumn). But the winters of I. Grabar, his birches, snow are conceivable only here, only in Russia. The artist has always considered this picture the most sincere and most pleasing work of his mature work.

"One Hundred Great Paintings" by N.A. Ionina, publishing house "Veche", 2002