زينايدا يڤگنييڤنا سربرياكوڤا Zinaida Yevgenyevna Serebriakova (اسمها قبل الزواج لانسـِراي) (بالروسية: Зинаи́да Евге́ньевна Серебряко́ва، بالاوكرانية: Зінаїда Євгенівна Серебрякова؛ و.عشرة ديسمبر 1884 - ت. 19 سبتمبر 1967)، رسامة انطباعية ومن أوائل الرسامات الروسيات المميزات.

العائلة

وُلدت في نسكوچنويه بالقرب من خاركوڤ (حالياً خاركيڤ، أوكرانيا)، لاحدى أكثر العائلات رقياً وفناً في الامبراطورية الروسية.

تنتمي سربرياكوڤا لعائلة بنوا. كان جدها نيقولاس بنوا، من أشهر النحاتين، ورئيس جمعية النحاتين وعضوفي أكاديمية العلوم الروسية. كان خالها، ألكسندر بنوا، رسام شهير، مؤسس مجموعة مير إسكوستڤا الفنية. كان والدها يڤگني نيقولايڤيچ لانسراي، نحات شهير، وكانت والدتها يڤگني يڤگني‌ڤيتچ لانسراي، تتمتع بمكانة بارزة في الفن الروسي والسوڤيتي كخبيرة في اللوحات الأثرية وفن الگرافيك. وكان المحرر والممثل الروسي-الإنگليزي پيتر أوستينوڤ، من أقربائها.

الشباب

عام 1900 تخرجت من الجيمنازيوم للسيدات (تعادل مدرسة النحوأوالمدرسة الثانوية)، ودخلت مدرسة الفنون التي أسستها الأميرة م. ك. تنيشڤا. عام 1901 كان مفهمها رپين، وفيما بين 1903 و1905 كان مفهمها فنان الپورتريه أوسيپ براز. ما بين 1902 و1903 قضت وقتاً في إيطاليا، ومن 1905 - 1906 درست في Académie de la Grande Chaumière في باريس.

عام 1905، تزوجت من ابن عمها، بوريس سربرياكوڤ، ابن اخت إڤگني، وحملت اسم عائلته. ترقى سربرياكوڤ حتى أصبح مهندس سكك حديدية.

سنوات السعادة

من مطلع شبابها، سعت سربرياكوڤا للتعبير عن حبها للعالم ولإظهار جماله. وكانت أعمالها المبكرة فتاة الريف (1906، متحف موسكو) والبستان المزهر (1908، مجموعة خاصة)، تبرهن ببلاغة عن هذا السعي، وعن وعيها الشديد بجمال الأرض والشعب الروسي. كانت هذه الأعمال نتاج دراسة جيدة للطبيعة، ورغم صغر سنها في ذلك الوقت، إلى أنها كانت تتمتع بموهبة وثقة وجرأة واضحة.

Broad public recognition came with Serebriakova's self-portrait At the Dressing-Table (1909, Tretyakov Gallery), first shown at a large exhibition mounted by the Union of Russian Artists in 1910. The self-portrait was followed by Girl Bathing (1911, Russian Museum), a portrait of Ye.K. Lanceray (1911, private collection), and a portrait of the artist's mother Yekaterina Lanceray (1912, Russian Museum), already mature works, strict in composition.

She joined the Mir iskusstva movement in 1911, but stood out from the other members of the group because of her preference for popular themes and because of the harmony, plasticity and generalized nature of her paintings.

In 1914–1917, Zinaida Serebriakova was in her prime. During these years she produced a series of pictures on the theme of Russian rural life, the work of the peasants and the Russian countryside which was so dear to her heart: Peasants (1914–1915, Russian Museum), Sleeping Peasant Girl (private collection).

The most important of these works was Bleaching Cloth (1917, Tretyakov Gallery), which revealed Zinaida Serebriakova's striking talent as a monumental artist. The figures of the peasant women, portrayed against the background of the sky, gain majesty and power by virtue of the low horizon.

When in 1916 Alexander Benois was commissioned to decorate the Kazan Railway Station in Moscow, he invited Yevgeny Lanceray, Boris Kustodiev, Mstislav Dobuzhinsky, and Zinaida Serebriakova to help him. Serebriakova took on the theme of the Orient: India, Japan, Turkey, and Siam are represented allegorically in the form of beautiful women. At the same time she began compositions on subjects from classical mythology, but these remained unfinished.

الثورة

At the outbreak of the October Revolution in 1917, Serebriakova was at her family estate of Neskuchnoye, and suddenly her whole life changed. In 1919 her husband Boris died of typhus contracted in Bolshevik jails. She was left without any income, responsible for her four children and her sick mother. All the reserves of Neskuchnoye had been plundered, so the family suffered from hunger. She had to give up oil painting in favour of the less expensive techniques of charcoal and pencil. This was the time of her most tragic painting, House of Cards, which depicts her four orphaned children.

She did not want to switch to the futurist style popular in the art of the early Soviet period, nor paint portraits of commissars, but she found some work at the Kharkov Archaeological Museum, where she made pencil drawings of the exhibits. In December 1920 she moved to her grandfather’s apartment in Petrograd. After the October Revolution, inhabitants of private apartments were forced to share them with additional inhabitants, but Serebriakova was lucky - she was quartered with artists from the Moscow Art Theatre. Thus, Serebriakova's work during this period focuses on theatre life. Also around this time, Serebriakova's daughter, Tatiana, entered the academy of ballet, and Serebriakova created a series of pastels on the Mariinsky Theater.

باريس

In the autumn of 1924, Serebriakova went to Paris, having received a commission for a large decorative mural. On finishing this work, she intended to return to the Soviet Union, where her mother and the four children remained. However, she was not able to return, and although she was able to bring her younger children, Alexandre and Catherine, to Paris in 1926 and 1928 respectively, she could not do the same for her two older children, Evgenyi and Tatiana, and did not see them again for many years.

After this, Zinaida Serebriakova traveled a great deal. In 1928 and 1930 she traveled to Africa, visiting Morocco. She was fascinated by the landscapes of northern Africa and painted the Atlas mountains, as well as Arab women and Africans in ethnic clothing. She also painted a cycle devoted to Breton fishermen. The salient feature of her later landscapes and portraits is the artist's own personality — her love of beauty, whether in nature or in people.

In 1947, Serebriakova at last took French citizenship, and it was not until Khruschev's Thaw that the Soviet Government allowed her to resume contact with her family in the Soviet Union. In 1960, after 36 years of forced separation, her older daughter, Tatiana (Tata), was finally allowed to visit her. At this time, Tatiana was also working as an artist, painting scenery for the Moscow Art Theatre.

Zinaida Serebriakova's works were finally exhibited in the Soviet Union in 1966, in Moscow, Leningrad, and Kiev, to great acclaim. Her albums sold by the millions, and she was compared to Botticelli and Renoir. However, although she sent about 200 of her works to be shown in the Soviet Union, the bulk of her work remains in France today.

Zinaida Serebriakova died in Paris on 19 September 1967, at the age of 82. She is buried in Paris, at the Russian cemetery at Sainte-Geneviève-des-Bois.

أعمال مختارة

• الڤرندا في الربيع، ألوان مائية، 1900

• سيقان محصول الخريف، 1908

• پورتريه أولگا لانسراي، 1910

• التفاح على الغصون، 1910

• عارية, 1911

• پورتريه ذاتي كـ پييرو، 1911

• الحمّام, 1913

• ، 1912

• طابع سوڤيتي، 1988:
  پورتريه О. К. لانسراي

• طابع روسي، 2009:
  Картина «Зеленя осенью

• طابع روسي، 2009:
  پورتريه ذاتي

• على الإفطار

انظر أيضاً

• قائمة الفنانين الروس
• الاستشراق

هوامش

المصادر

• Hilton, Alison L. (Autumn, 1982 - Winter, 1983). "Zinaida Serebriakova". Woman's Art Journal. Woman's Art, Inc. 3 (2): 32–35. doi:10.2307/1358032. JSTOR 1358032. Check date values in: |year= (help) (author's home page)
• Rusakova, A. A. (Alla Aleksandrovna) (2006). Zinaida Serebriakova 1884-1967. Moskva: Iskusstvo-XXI vek. ISBN . (بالروسية)

Larger cover image showing her signature in Latin script.

Illustrated monograph on the creative development and life of Zinaida Serebriakova by St. Petersburg art critic A. A. Rusakova.

• Serebriakova, Zinaida Evgenevna (1987). Zinaida Serebriakova : pisma, sovremenniki o khudozhnitse. compiled by V.N. Kniazeva, annotated by U.N. Podkopaeva. Moskva: Izobrazitelnoe iskusstvo. (بالروسية) [1]

Zinaida Serebriakova: Letters, contemporary views (literally: Zinaida Serebriakova: Letters, contemporaries on the artist)

• Yablonskaya, M.N. (1990). Women artists of Russia's new age, 1900-1935. Anthony Parton (ed. and trans.). New York: Rizzoli. ISBN . [2]

وصلات خارجية

مشاع الفهم فيه ميديا متعلقة بموضوع [[commons:خطأ لوا في وحدة:WikidataIB على السطر 496: attempt to index field 'wikibase' (a nil value).|خطأ لوا في وحدة:WikidataIB على السطر 496: attempt to index field 'wikibase' (a nil value).]].

• Serebriakova's biography on the St. Petersburg State Academic Institute of Fine Arts, Sculpture, and Architecture
• Serebryakova's works at the Russian Art Gallery
• Illustrated description of 2006 auction in Montreal at which four nudes by Serebriakova sold.
  (Three show her signature in 1930s Paris. Two sold for over $500,000.)
• Illustrated biographical essay based on a 2004 book by V. D. Berlina. (بالروسية)
  (The following portraits from the above site show her signature in Cyrillic script.)

• Portrait of the ballerina Ye. N. Geydenreykh in red. 1923. (بالروسية)
• Portrait of G. I. Teslenko. 1921. (بالروسية)