Maslenitsa is a Russian holiday with ancient roots. This is farewell to winter and welcome to spring. In the pre-Christian period, the year began with Maslenitsa. It was believed that how one met this day depended on how it would turn out. next year. So people celebrated Maslenitsa magnificently and heartily. Today, the coming of the year is no longer associated with this ritual, but the custom of cheerfully welcoming the arrival of spring has been preserved.
The famous Russian artist of the early 20th century, Boris Kustodiev, captured Maslenitsa city festivities on his canvas in 1916. The main part of the picture is occupied by clouds taking on bizarre shapes. They are painted light beige, with rays shining through them, which give some of them a pinkish tint. This phenomenon can only be seen at the very beginning of March. A flock of rooks flies at a height. These birds are returning from the south, which means the long-awaited days of spring are about to come.
In the center there is a beautiful painted sleigh drawn by two dark horses. The driver is dressed in a smart blue caftan and a hat with a reddish top. He pulls on the reins, controlling the movement. He is carrying young people. On the left, a guy with a cute young lady is trying to jump onto the seat while walking. And another team is rushing ahead. And in the distance you can see two more carts, which seem to be competing in speed. On the left side you can see carts trying to drive onto the hill. Nearby children, screaming, slide down a snow slide. They make noise and have fun, enjoying the pleasant combination of snow and bright sun.
But the artist depicted the main action in the background. People gathered in the square in anticipation of the celebration. Right here in full swing there is a fair. The party is in full swing.
The picture breathes fun, it charges with positive energy. No wonder this painting literally brought its creator to his feet. When he began to write, he felt very bad - the consequences of injuries received on the battlefields of the First World War were taking their toll. But soon after the sketches are made, the author suddenly feels better. And with every stroke on the canvas, the sick person seemed to be charged with a good mood.
In this regard, three years later, she decides to write another variation with the same name in the hope that it will warm him and his loved ones with warmth.
In this picture the action takes place on main square provincial town. Maslenitsa is buzzing. In the center there is a large sleigh being pulled by a troika. The central stallion is sedate, wants to carry those sitting slowly, with a certain respect. But he can’t hold back the pressure of two fast-movers, who all want to push forward. Three people sat in the sleigh: a woman in a light sheepskin coat, on her arm was another in a red fur coat, and opposite was the boyfriend of one of them, who, most likely, had planned this entertainment.
To the left of the road, two men met and were talking. A little further away, their spouses are discussing something. There is a carousel on the right. There, Circus Chapiteau hospitably opened its doors. Harlequin and Pierrot are already inviting passers-by, standing on the balcony. And they succeed: many people crowded at the entrance, some are in a hurry to get to the beginning, others come out impressed by what they saw.
This painting was received ambiguously by viewers. For example, the artist was attacked with accusations of depicting on one canvas the noise of a pagan festival, secular entertainment in the foreground and a Christian church in the background. But gradually all the author’s accusations ceased, and the painting began to be considered one of the best among Kustodiev’s paintings. This attitude really had a beneficial effect on the sick artist, who at that time was already moving only in a wheelchair. He again felt a certain surge of vigor.
As a result, in 1920, Boris Kustodiev began working on a third canvas with the same name. He gave his first shot to the children rolling down the mountain. This picture is similar to popular popular print in its brightness, detail and simplicity. And again a sleigh with three horses rushes in the center. They are ready to rush at full speed, but the driver holds them back. After all, there are a lot of people walking around - it seems that the whole town has taken to the streets. A large merchant's wife is sitting in a sleigh, and next to her is a very thin merchant. Apparently such an opposite couple is husband and wife. For them, Maslenitsa has just begun: everything is still ahead. It seems that they are heading to Chapiteau, which was broken right there.
All three paintings, united by one theme and matching in name, charge with an atmosphere of joy. Looking at them, you want to smile, and then run into the street and give yourself up winter fun: sliding down the slide and playing in the snow, and then returning home and drinking hot tea with pancakes.
(1878-1927) repeatedly addressed the topic of festive festivities in Russian provinces. He was attracted by the breadth of soul of the Russian people, the riotous recklessness, the dizzying whirlwind of dancing and fist fights, riding in troikas and the mountain of treats on the tables placed right there among the snowdrifts. The artist wanted to display on canvas all the flavor of the festival, to forever capture a bright event in the life of the Russian people.
Start
“Maslenitsa” is one of his works dedicated to the most joyful holiday, which falls on the last week before the start of Lent. Maslenitsa Week and unbridled fun became the subject of a painting painted in 1916. During the period of work on Maslenitsa, the artist himself was not in a festive mood; the illness he received on the fronts of the First World War made itself felt.
What did the artist depict?
The description of Kustodiev’s painting “Maslenitsa” can begin with the fact that in the upper part of the canvas you can see how winter is receding: in the sky there are clouds painted in a pastel cream color, which happens at the very beginning of spring. Above there is a flock of rooks; the birds have arrived and are waiting for the spring warmth. In the center of the picture is a painted sleigh drawn by a pair of horses. The driver in festive clothes and a hat with a crimson top pulls on the reins, and a young couple sits decorously behind him. A cadet and his girlfriend try to get into the sleigh as it moves; they are on the left. Another sleigh is rushing towards them, and at a distance two teams are also trying to get ahead of each other. On the left side of the picture two carts are visible flying up the hill. They are trying to overtake the team, which is in the center of the picture.
A little further away, children are sledding down a steep hill, enjoying the last snowy days. Behind the mountain there was a booth, around which people gathered in anticipation of the performance. The houses are covered with snow, churches with bell towers are covered in a solid white blanket.
Burning an effigy
Kustodiev's painting "Maslenitsa" breathes the atmosphere of the holiday. Below is a fair, we seem to hear a cheerful hubbub: trade is underway. The party is in full swing, however, if you look closely, the picture shows subtle signs of the onset of evening. Soon the birds will disappear, the sleighs will disperse, and people will go home. The next day the holiday will return to the city again, then again. And so on all week until the time comes for the main ritual - the burning of the effigy of Winter. The description of Kustodiev’s painting “Maslenitsa” can be completed with a bow in honor talented artist, who managed to masterfully convey the entire essence of one of the most grandiose Russian holidays. The canvas is in the Russian Museum in St. Petersburg.
Kustodiev, “Maslenitsa” (1919): description of the painting
Three years later, Kustodiev again returns to the topic of Maslenitsa festivities. This time the action takes place in the square of a small provincial town. In the rays winter sun, leaning towards sunset, the holiday is in full swing. Three horses harnessed to a small cart on runners rush by. The sedate native stallion tries to restrain the frisky ones - but where can he go? Young horses carry light sleighs, and the coachman urges them on with a whip. There are three people in the sleigh: a lady in a white fox fur coat, next to her is a friend in a fox fur coat, and opposite them is a boyfriend who, apparently, organized the fun trip.
Kustodiev's painting "Maslenitsa" conveys the spirit of merchant provincialism. Two people came together to the side of the roadway; they had common interests. The wives are a little further away, talking about their own things. On the other side of the road there are rides, a carousel and other entertainment. There is also a circus tent there. Pierrot and Harlequin are inviting the audience on the balcony. The circus is depicted under the sign "Theater". People crowd at the entrance, those who have already attended the performance are in no hurry to leave, the rest are waiting for their turn.
The canvas created by Kustodiev, “Maslenitsa” (1919), created a lot of noise. Critics' descriptions of the film were mixed. I was especially shocked by the appearance of a masterpiece by artists from Moscow and St. Petersburg. But each of them admitted that they would like to be in Boris Kustodiev’s place. Universal recognition provided invaluable moral support to the sick artist, who recent years was confined to a wheelchair. And Boris Kustodiev began work on the third canvas, dedicated to the Russian holiday.
Troika duns
Kustodiev's painting "Maslenitsa", painted in 1920, became the artist's third and last work on the theme of Russian festivities. placed in the center and along the edges of the picture. The artist gave the foreground to children sliding down a slide. The canvas has a bit of a folk feel to it popular art, but that doesn't spoil it. And again, a sleigh drawn by three dun horses rushes through the center of the picture. Both the root driver and the drivers are ready to rush at full speed, but the driver doesn’t let him: people are walking around. A portly merchant's wife sits in a sleigh, next to a frail merchant. For them, Maslenitsa has just begun, the whole day is spent riding on a troika, then on a carousel, after the rides - a performance in the theater, and in the evening - to a table with pancakes and red caviar. All this is conjectured when looking at Kustodiev’s masterpiece, the third in a row on the theme of Maslenitsa.
"Autumn"
The artist's health was deteriorating. He resisted the disease as best he could, but the illness turned out to be stronger. At the end of his life, Boris Kustodiev was forced to paint while lying in bed. He finished the famous “Russian Venus” with great difficulty; after working for several minutes, he rested for two to three hours. The artist’s perseverance was rewarded; the painting was recognized as a world-class masterpiece. Kustodiev postponed the canvas called “Autumn” many times, but, feeling his imminent death, he still tried to finish the work.
Shades and halftones
The first reproduction of Kustodiev’s painting “Maslenitsa” was made in 1928, after the artist’s death. The master used the technique of an engraving machine using the multi-color copying method. The result was far from the original, since the engraving conveys only primary colors and cannot display halftones. Kustodiev’s paintings are rich in shades. "Maslenitsa" - a painting by artist Kustodiev - fascinates with its subtle play of bluish-gray undertones. and caps on tree branches on the eve of the onset of spring, the snow-covered plain serves as the backdrop for the plot content of the picture.
Kustodiev and Surikov
Another Russian artist who masterfully mastered the technique of depicting snow cover is Vasily Surikov. His unique works - "Suvorov's Crossing of the Alps", "Taking a Snowy Town" - would have been impossible without a snowy background. But still, Boris Mikhailovich Kustodiev is considered the most skillful master of depicting the white cover. The painting "Maslenitsa" in three versions is proof of this.
Painting: 1919
Oil on canvas.
Size: 98 × 71 cm
Description of the painting “Maslenitsa” (1919) by B. Kustodiev
Artist: Boris Mikhailovich Kustodiev
Title of the painting: “Maslenitsa”
Painting: 1919
Oil on canvas.
Size: 98 × 71 cm
The work of B. Kustodiev can be compared with folk popular prints - small images, the main purpose of which was to disseminate among the people. Somewhat simple and rough lines, but at the same time figurative language and a certain primitivism ensured the popularity of this genre. Add bright colors and explanatory text to them - the end result is something that will “reach” every person.
B. Kustodiev studied a lot with popular print artists and that is why his works are so colorful, varied and cheerful. Among the artist's ancestors there were merchants, which could not but affect his perception of the world - he loved to depict folk festivities. Each painting by Kustodiev is an event in which both people and architectural structures, and nature, and they also have a mood.
The painter more than once turned to the theme of Maslenitsa - the national holiday of farewell to winter, when mountains of pancakes are baked, sleigh rides and effigy are burned, as in the times of paganism. There are known works depicting Maslenitsa, dated different years– 1916, 1919 and 1920. He constantly drew sketches of festive festivities, created different images people and events, among which Maslenitsa 1919 stands out.
Russia at that time was one of the states that was affected by the First world war, and it was a difficult time for the artist. He was diagnosed with a spinal cord tumor back in 1909, but the operation was performed much later. Kustodiev spent the rest of his life in a wheelchair, but, overcoming the pain, he painted amazing and vibrant canvases. “Maslenitsa” is full of a fresh, frosty and happy mood, it is opposed to illness and war, and is also made in the best traditions of the popular print genre.
The picture is dynamic, because the sleigh rushing through the snow, the white horses, the crowd in the background, the candy seller, the company in the right corner are built on the principle of a theater. You can see here contrasts of chiaroscuro, backstage, and even a kind of “choir”. The color and decor of the canvas allows us to compare it with a box painted with outlandish motifs. It is surprising that this work was written from memory, most of the images are taken from childhood, they represent a generalized national life. There is none at Maslenitsa negative character, they are filled with naive kindness, poetry and self-esteem. You will never see such positive and bright stories again - the patriarchal way of life is a thing of the past.
Maslenitsa, however, will always remain that ancient holiday of seeing off winter and welcoming spring, when competitions were held, merchants in the square praised their goods, snow towns were built, pancakes with all kinds of fillings were fried, the boring image of winter was burned, the best outfits were pulled out of chests. A bunch of shaggy earflaps and sheepskin coats, colorful women's scarves and skirts, children's mittens - everything flashed in a wonderful round dance. Kustodiev had amazing talent, because he managed to depict all this on a single canvas.
“Maslenitsa” is colorful, unusual and, despite the primitivism of its brush strokes, is perceived as the ideal of folk festivities. The height of the holiday week in a provincial town is reflected in the pink rays of the setting sun and creates reflections on the snow-white snow. The city is in motion - the sleigh is racing down the hill and along the central part of the canvas. young people are having fun and catching up with each other, and a married couple of merchants rides decorously along the alley on a sleigh with snow-white horses and cheerful bells. The atmosphere of special fun is conveyed by the painting of the sleigh and details of clothing, and the relaxation is reflected in the decorously marching nobility. One gets the impression that people have abandoned all their affairs - all that remains is unbridled fun and brisk trade.
The images in the painting are multifaceted. You will see a dashing young man, who whispers tempting speeches to the beauty, from which she blushes, or a bearded coachman of a merchant's team, dashingly raising his whip. The sweets peddler looks in surprise at the three horses rushing past him, and two families in luxurious fur coats slowly conduct dialogues. Men are convincing each other of something, one of them is even actively gesticulating, and their wives are gossiping a little further away and giggling quietly into their hands.
There is joy in the city - actors from a traveling theater have come to visit them. You can tell this by the inscription. The “Theater” sign is another confirmation that Kustodiev’s work belongs to the popular print genre, which is characterized by explanatory texts. The establishment promises viewers the strongman Borka, funny scenes from life and good mood.
People flock to the narrow street leading from the temple. The artist uses a very interesting compositional technique: The church is located in the background, but it seems to tower over the city. This detail in Maslenitsa is not without reason - the Russian people have long been known for their religiosity.
The picture is painted in bright colors - this is another aspect of the popular print. There are rich tones of green, red, yellow, blue and pink. Even the snow on the canvas is not crystal white, but with reflections. The yellow house, the yellow theater and the golden domes of the church bring solemnity to the atmosphere of the festivities. The brown shades of the clothes and the house in the left corner somewhat calm the violence bright colors, creating a sense of regularity in life.
The canvas is riotous, wide, rollicking, cheerful, hospitable and vital. There are no specific images of merchants, shopkeepers or ordinary people - Kustodiev creates a generalized image of a people who are not alien to human desires.
The sunset fills the world, which remains in the artist’s memory, with cheerful tones. Everything here is fleeting, vital and unique - just a real kingdom of a carefree, good-natured atmosphere, in which there is no place for military losses and post-operative pain. “Maslenitsa” transports everyone to a fairy tale, inspires them to dream and inspires optimism. It makes it possible for modern, eternally busy people to understand that every moment of our life can become a holiday, and we need to create it with our own hands.
Famous and incredibly popular Russian artist Boris Mikhailovich Kustodiev several times in his work he turned to holiday theme farewell to winter, revealing it each time with a feeling of joy from brightness and frosty freshness. One of these striking works, Kustodiev’s painting Maslenitsa was painted in 1916, subsequently continuing this creative theme, he creates two more colorful canvases in 1919 and 1920. Although some sketches and sketches of the Russian holiday were made by him earlier.
B.M. Kustodiev. Self-portrait. 1912. Uffizi Gallery (Florence)
The author’s paintings were created during difficult times for Russia: the First World War, revolutions. Kustodiev is seriously ill and has not picked up his brushes for a long time. But after the operation, overcoming excruciating pain, being in a wheelchair, he begins work and creates works about provincial life. He writes “Maslenitsa”, full of cheerful frosty happiness, as if contrasting it with illness.
Traditional folk holiday long-awaited meeting spring, farewell to winter, various competitions, chests to get the best outfits, obligatory pancakes, building a snow town, tug of war, pitched tents and sleigh rides. Shaggy earflaps, colorful scarves and shawls, bright mittens - all this flashes as if in a round dance.
“Maslenitsa” Kustodiev. 1916. Russian Museum (St. Petersburg)Painting by Kustodiev “Maslenitsa” 1916 stands out significantly compared to the works of other Russian masters for its unusual colorfulness of writing. The perception of the colorful idyll of the holiday in the Russian province is very easy and understandable, which accordingly lifts the mood. Horseback riding, sledding down the mountains, burning a straw effigy, which was a symbol of a long cold winter... This is a whole week on the eve of Lent. The celebration of welcoming spring and seeing off winter was held in Russia back in pagan times by the ancient Slavs. In the center of any settlement, fun festivities were held. Maslenitsa ended with the burning of a straw effigy, symbolizing winter.
The last evening rays illuminate snow-covered city, high spiers and colorful domes of churches. And below, multi-colored swings and carousels creak and rotate, and the cheerful hubbub of the fair can be heard from afar. Bright a painted sleigh being raced by a pair of horses along the street. It is clear that there is a competition going on to see who is faster, louder, and more distant. Fun covers everyone. This is a fabulous reality, like a testament of a sick artist to always look at life with optimism and certainly believe that life itself is a holiday. The sun is nearing sunset, but its rays seem to linger to watch the fun festivities. The winter landscape, which served as the backdrop for Kustodiev’s work, creates a carnival atmosphere. Painted sleighs, birds soaring into the air, slides. The viewer seems to be watching the action from a bird's eye view.
“Maslenitsa” (Maslenitsa skating). B.V. Kustodiev. 1919. Museum-apartment of I.I. Brodsky (St. Petersburg)
One such holiday is depicted in another painting by Kustodiev in 1919. In the pink-golden rays of sunset, a mass celebration of residents of a provincial town takes place. The movement of the holiday can be felt by the recklessly racing sleighs. The artist’s work on the theme of winter is filled with genuine joy. Here you have a dashing trio of horses in the center of the canvas, a team drawn by two horses is catching up with it, and in the foreground on the left, a merchant’s car is modestly but cheerfully cutting through the alley married couple on a sleigh drawn by a white horse. Farewell to winter is a special folk holiday, which Kustodiev so repeatedly tried to convey: painted sleighs, merchants conducting leisurely trade and the nobility imposingly marching. Carefree fun, and in the distance you can see the domes of a small church - a symbol of Orthodoxy. The author chooses bright colors: a bright red or green pattern of painted sleighs, the facade of houses. But the temple is depicted as bright and located between beautiful trees.The painting is exhibited in St. Petersburg, in the museum-apartment of I. Brodsky.
"Carnival". Kustodiev. 1920. Nizhny Tagil art museum fine arts
In 1920, another painting “Maslenitsa” came out from under the brush of Kustodiev.– this is the way of life of the people of Russia and its centuries-old history. The artist unfolds before us the most fascinating stories with the smallest details, in multi-figure compositions, colored with admiration and its elusive irony. This holiday was very famous among the people folk pastimes and colorful fair booths. Townspeople dressed in expensive fur coats walk leisurely, some sell only baked pies, the horses race dashingly, jingling their golden bells merrily. In the foreground, children are sledding. It seems that even nature has dressed up for this occasion, decorating the trees with frost, delighting the townspeople with its sunny but still frosty spring weather. This is an amazing, bright, multi-colored and festive sketch, echoing popular prints. folk art. The painting is exhibited at the Nizhny Tagil Art Museum of Fine Arts.
In his paintings dedicated to mass celebrations, the artist sought to highlight the reckless and daring whirlwind of emotions. Most often this was expressed in the image of a racing Russian troika. These works have something of the theater scenery: the contrast and even the use of “scenes”. They are very colorful in composition, reminiscent of unique Russian boxes.
Many of Kustodiev’s paintings were painted from memory. The main characters of such works seem to be cleared of negativity: they are kind, poetic, and full of dignity. There is a feeling that the patriarchal way of life Russian life gone into the past. Kustodiev conveys the brightest side of life, in which there is light, fun, and happiness.
Kustodiev could not only see and appreciate the beauty of the natural world, but it was also in his power and in his power to recreate and embody this in as much detail as possible on his artistic canvases complex world wildlife.
Like most of the author’s works, Kustodiev’s landscape paintings are particularly bright, expressive and rich in color schemes. In Kustodiev’s paintings, nature is always much more than just a landscape image. Kustodiev creates his own artistic description nature, makes it extremely individual, original, and unlike anything else.
In this regard, one of Kustodiev’s works, written by the artist in 1918, “Horses during a thunderstorm,” is especially noticeable.
The painting “Horses during a thunderstorm” is an example of a talented oil painting. IN at the moment the canvas belongs to the collection fine arts 20th century State Russian Museum in St. Petersburg. Central image and the motif of the canvas is already stated in the title of the painting.
Kustodiev Boris Mikhailovich (Kustodiev Boris) (1878–1927), Russian artist. Born in Astrakhan on February 23 (March 7), 1878 in the family of a theological seminary teacher.
Having visited the exhibition of the Itinerants in 1887 and seeing paintings by real painters for the first time, young Kustodiev was shocked. He firmly decided to become an artist. After graduating from theological seminary in 1896, Kustodiev went to St. Petersburg and entered the Academy of Arts. While studying in the workshop of I. E. Repin, Kustodiev writes a lot from life, striving to master the skill of conveying the colorful diversity of the world.
Walking on the Volga, 1909 Repin attracted young artist to co-authorship in the film “Meeting of the State Council” (1901–1903, Russian Museum, St. Petersburg). Already in these years, the virtuoso talent of Kustodiev, a portrait painter, manifested itself (I. Ya. Bilibin, 1901). Living in St. Petersburg and Moscow, Kustodiev often traveled to picturesque corners of the Russian province, primarily to the cities and villages of the Upper Volga, where the artist’s brush was born famous images Russian traditional life (series of “fairs”, “Maslenitsa”, “village holidays”) and colorful folk types (“merchant women”, “merchants”, beauties in the bathhouse - “Russian Venuses”). These series and related paintings (portrait of F. I. Chaliapin, 1922, Russian Museum) are like colorful dreams about old Russia.
Portrait of Fyodor Chaliapin, 1922, Russian Museum Although in 1916 paralysis confined the artist to wheelchair, Kustodiev continued to work actively in different types art, continuing their popular “Volga” series.
B.M. Kustodiev in his workshop. 1925 After the revolution, Kustodiev created his best things in the field book illustration("Lady Macbeth Mtsensk district» N. S. Leskova; “Rus” by E. I. Zamyatin; both works – 1923; and other drawings) and scenography (“The Flea” by Zamyatin at the Second Moscow Art Theater, 1925; and other scenery). Boris Mikhailovich Kustodiev died in Leningrad on May 26, 1927.
Merchant's wife having tea, 1918 Russian Museum One of the favorite characters in Kustodiev’s works was a portly, healthy merchant’s wife. The artist painted merchants' bills many times - in the interior and against the backdrop of a landscape, naked and in elegant dresses.
The painting “Merchant's Wife at Tea” is unique in its impressive strength and harmonious integrity. In the plump, immensely fat Russian beauty sitting on the balcony at a table laden with dishes, the image of the merchant’s wife takes on a truly symbolic resonance. The details in the canvas carry a great meaning: a fat lazy cat rubbing against the owner’s shoulder, a merchant couple, drinking tea on the adjacent balcony, a city depicted in the background with churches and shopping arcades and, in particular, a magnificent “gastronomic” still life. A ripe red watermelon with black seeds, a fat muffin, buns, fruit, porcelain, a large samovar - all this is written in an unusually material and tangible way and at the same time not illusory, but deliberately simplified, like on shop signs.
In the hungry year of 1918, in the cold and devastation, the sick artist dreamed of beauty, a full-blooded bright life, and abundance. However, the savoring of a well-fed, thoughtless existence is accompanied here, as in other works of Kustodiev, slight irony and a good-natured smile.
Merchant's wife with a mirror, 1920, Russian Museum Youth always attracts with its brightness, beauty, and freshness. The artist presents us with an ordinary scene from the life of a merchant. A young girl tries on a new silk shawl. The picture is full of details that reveal the character of the heroine. Jewelry is laid out on the table, a girl from the servants is sorting through furs, a green chest by the stove clearly hides the heroine’s “riches.” A smiling merchant in a rich fur coat stands at the door. He admires his daughter, who is captivated by her new wardrobe.
Beauty, 1915, Tretyakov Gallery Kustodiev always drew his inspiration from Russian popular prints. So his famous “Beauty” seems to have been copied from a popular print or Dymkovo toys. However, it is known that the artist painted from life, and it is also known that the model was famous actress Art Theater.
The artist approaches the curvaceous forms of his model delicately and with good humor. The beauty herself is not at all embarrassed, she calmly, with some curiosity, watches the viewer, very pleased with the impression she makes. Her pose is chaste. White, curvaceous body, blue eyes, golden hair, blush, scarlet lips - we really have before us beautiful woman.
Provinces. 1919 
View from the Sparrow Hills. 1919 
In old Suzdal, 1914 The exuberant luxury of colors blooms in lush colors in Kustodiev’s paintings, as soon as he turns to his favorite theme: depicting the foundations of life in the outback, its foundations, its roots. A colorfully depicted tea party in the courtyard cannot but please the eye with all the love of life that reigns in the picture.
Stately backs, proud posture, the obvious slowness of every movement, the conscious sense of self-esteem that is felt in all female figures - this is old Suzdal, the way the artist sees, feels, feels it. And he is all in front of us in full view - alive and bright, real. Warm. He definitely invites you to the table!
Morning, 1904, State Russian Museum, St. Petersburg Depicted are Yulia Evstafievna Kustodieva, the artist’s wife, with her first-born son Kirill (1903-1971). The picture was painted in Paris.
Russian Venus, 1925, Nizhny Novgorod Art Museum, Nizhny Novgorod 
Bathing, 1912, Russian Museum According to Kustodiev’s style, the sunny day in the picture is overcrowded rich colors. blue sky, green slope, mirror-like shine of water, sunny yellow swimming pool - all together make up a warm summer.
The bathers are depicted by the artist schematically, very delicately. Kustodiev himself seems to take the viewer’s gaze away from the bathhouse and draws attention to the surrounding nature, filling it with unnatural bright colors.
Life goes on as usual on the shore. Boatmen offer the public a ride along the river; a loaded cart struggles up the mountain. On the hill there is a red church.
Twice the artist depicted the Russian tricolor. A white, blue and red cloth decorates the bathhouse and the side of a large boat. Most likely, we have a holiday ahead of us. Summer is a holiday for everyone who is able to appreciate it.
The bathers are having a leisurely conversation, enjoying the warmth, sun, and river. Slow, measured, happy life.
Merchant's wife and brownie, 1922 The artist depicted a very piquant scene. The brownie, walking around his property, froze in amazement in front of the naked body of the sleeping mistress of the house. But the details still tell the viewer that the heroine of the picture has prepared everything for this scene. The hot stove is left open so that the fire provides light. The pose is carefully thought out. One gets the feeling that the hostess’s dream is theatrical. It’s as if the beauty herself is luring the brownie to look at him. Fairy tale, Christmas story, miracle.
An elegant, fair-haired, dazzlingly beautiful merchant's wife - on the one hand, an eerie, fur-covered, pot-bellied brownie - on the other. They are like the embodiment of merchant female and male beauty. Two different beginnings, opposites.
Trinity Day, 1920, Saratov State Art Museum. A. N. Radishcheva 
Portrait of the artist Ivan Bilibin, 1901, Russian Museum This portrait is an early work of the master. It was created in the academic workshop of I. Repin. In this work, Kustodiev’s style barely shows through. It just hasn't formed yet. Bilibin is depicted very realistically. Before us is an exquisitely dressed young man: a black frock coat, a snow-white shirt. The red flower in the buttonhole is a detail that characterizes the model. The hero is dapper, a lover of women and entertainment. The look is ironic, even funny. The facial features are correct. Before us is a handsome young man.
Portrait of Yu.E. Kustodieva. 1920 
Portrait Grand Duchess Maria Pavlovna.1911 
Merchant's wife with purchases.1920 
Moscow tavern, 1916, Tretyakov Gallery The Moscow tavern is a special, difficult place. The main thing in it is communication and relaxation. This is exactly how the tavern appears in the picture. The sex workers serving visitors are graceful and graceful. Red ceilings and vaults give the work a joyful and festive atmosphere. Judging by the bunch of willow behind the icon, the action takes place on the eve of Easter.