A young woman lived in the deep wilderness of the countryside, in a squalid farm environment, and she had no other joy, no other aesthetic pleasure during the winter days that tore her away from the whole world, than to see her young cheerful face in the mirror, like seeing your bare hands playing with a comb and a mane of hair... Alexander Nikolaevich Benois
Girl with a Candle, Self-Portrait, 1911 (detail)
Self-portrait, 1900. State Russian Museum
Self-portrait, 1903
Self-portrait, 1903
Self-portrait, 1906. State Russian Museum
Expecting my first child. Self-portrait, 1906
Self-portrait, 1907
Nizhny Tagil Municipal Museum of Fine Arts
Self-portrait with an apple
Let's take a look at Serebryakova's self-portraits, in which, like in a mirror, happy, sad and tragic fate female artists. Self-portrait remained Zinaida Evgenievna’s favorite genre throughout her life, perhaps because it, being the most accessible model for herself, was the easiest to experiment with. She wrote a lot of them. A variety of colors: pencil, pastel, watercolor, tempera, oil. From the early ones, feminine-romantic and playfully funny, a charming, flirtatious and sly woman looks at us, from others - the charming Zinok with an eternal bow and bangs - a happy daughter, wife and mother of four children; from later, sad, melancholy-brooding ones - a fragile, sickly, tired of constant work and worries, a widow who became the only breadwinner for a family of six and was forced to use her gift to earn money for her food and existence.
Self-portrait in a black dress with a white collar, 1907
Self-portrait in a lilac blouse, 1907
Behind the toilet. Self-portrait, 1909 Tretyakov Gallery
This work was a stunning success at the VII exhibition of the Union of Russian Artists in St. Petersburg in 1910. Such freshness, sincerity and joy of youth emanated from the painting depicting a big-eyed and large-mouthed girl in the mirror, illuminated by the clear and even morning winter light, that no one was left in doubt: a new master had appeared in Russia. I bought the canvas at the exhibition Tretyakov Gallery. Behind the toilet was and remains one of the best Russian self-portraits.
Study of a Girl (Self-Portrait), 1909. Private collection, Moscow
Self-portrait with a mirror, 1910. State Museum-Reserve Peterhof
Self-portraits, 1910s. Collection of A. Bogomolov and private collection
Self-portrait, 1911. Tula art museum
Pierrot (Self-Portrait in Pierrot Costume), 1911. Odessa Art Museum
Self-portrait, 1911
Self-portrait with a scarf, 1911
Museum of Personal Collections of the State Museum of Fine Arts named after A.S. Pushkin
Girl with a candle. Self-portrait, 1911. State Russian Museum
Self-portrait with a scarf, 1911
Self-portrait, 1913
Triple portrait, 1914
Self-portrait, 1914. Tretyakov Gallery
Triple portrait, sketch, 1914. Private collection
Self-portrait, 1916
Self-portrait, 1910s
Self-portrait, 1910s. Vologda Regional Art Gallery
Frightened, 1917. Vologda Regional Art Gallery
Tata and Katya (At the mirror), 1917
Self-portrait, second half of the 1910s. Private collection
Self-portrait, 1920
Self-portrait, 1920
Self-portrait at work, 1921. Collection of the Loitsansky family
Self-portrait, 1920s
Chuvash Art Museum and Yekaterinburg Museum of Fine Arts
Self-portrait, 1920-1921
Self-portrait in red, 1921. Private collection
Self-portrait, 1921. National Gallery of Armenia
Self-portrait with daughters, 1921
Rybinsk State Historical-Architectural and art museum-reserve, Yaroslavl region
Self-portrait, 1921. Private collection
Self-portrait in a white blouse, 1922. timing belt
Self-portrait, 1922. State Museum-Reserve Peterhof
Self-portrait with a brush, 1924. Kyiv Museum of Russian Art
In the spring-summer season, the Tretyakov Gallery dedicated a large project to Zinaida Serebryakova. A retrospective exhibition of one of Russia's first professional artists occupies two floors of the gallery's Engineering Building. This exception, when the entire exhibition space of the building is given to one master, has so far been made only for the Marc Chagall retrospective. The exhibition of works by Zinaida Serebryakova can be viewed until July 30. And in our section we talk about the artist’s painting “Self-Portrait. Behind the toilet." Thanks to this work, Serebryakova was talked about as an accomplished master, and the Tretyakov Gallery acquired the painting.
Zinaida Serebryakova painted the self-portrait “Behind the Toilet” in 1909 in her native village of Neskuchnoye (now part of the Kharkov region). By this time, the 25-year-old artist was married to her cousin Boris Serebryakov, and they had two sons. Zinaida wrote about the history of the painting, that the winter turned out to be snowy, her husband was in Northern Siberia for work and was supposed to return for Christmas: “In the fall, I decided to stay with the children for a few more months in Neskuchny, but on a farm where the house was small, and he it could be heated in winter more easily than the large, high rooms in Neskuchny. Winter came early this year - everything was covered with snow: our garden, the fields around; there are snowdrifts everywhere; You can’t go out, but the house on the farm is warm and cozy. I started drawing myself in the mirror and had fun drawing all sorts of little things on the “toilet.”
The painting “Behind the Toilet” was highly praised by critics and eminent artists
Self-portrait with simplicity and at the same time some mystery in the interpretation of the image. The artist depicted real person, and his reflection in the mirror. So that viewers have no doubts about this, in the foreground on the left is depicted the only object in the picture that “exists” in our world - a candlestick with a candle, painted with impasto strokes, emphasizing its materiality. Many artists use a mirror as an auxiliary tool when working on self-portraits, but Serebryakova was obviously interested in the motif of reflection itself.
The work was done in light, warm colors, conveying a sunny, frosty morning. The dark frame of the mirror marks the boundaries of the composition and emphasizes the light saturation of the image. How jewelry plays and shimmers in the rays of the sun: glass bottles with perfume, beads on stiletto heels, a candlestick, arranged in a picturesque order on dressing table. Warm colors figures and objects in the foreground contrast with the cool bluish-green background, creating a sense of spatial depth. Serebryakova, like the old masters, carefully models the form, paints in multi-layers, using various gradations of color and subtle light-and-shadow transitions. Light, major colors make the “reflected” world bright and airy. Achieving tangible materiality in the image mysterious world, “existing” on the other side of the mirror, the artist seems to be striving to penetrate the deeply hidden secret of human nature and life itself. Serebryakova creates perfect image a harmoniously perfect person, but this is only a dream, a fleeting “reality” of reflection.
Painting “Self-portrait. Behind the Toilet” was presented in St. Petersburg at the VII exhibition of the Union of Russian Artists in mid-February 1910. The work was well received by both critics and Serebryakova's more senior colleagues. The artist Valentin Serov said about the self-portrait that it is “a very sweet and fresh thing.” The Tretyakov Gallery purchased the painting directly from the exhibition, where “Self-Portrait. Behind the toilet" (oil on canvas, 75x65 cm) is still stored today. By the way, Serebryakova’s uncle, artist Alexander Benois, recommended setting the price for this work at 500 rubles. Art critics classify the self-portrait “At the Toilet” as one of the main works of Zinaida Serebryakova: “Bathhouse”, “Harvest” and “Whitening the Canvas”.
7 important facts about Zinaida Serebryakova
1. Zinaida Serebryakova was born on December 10, 1884 in the village of Neskuchnoye, Kursk province (now Kharkov region). Her family said: “All our children are born with a pencil in their hand.” Artist with early years grew up in an atmosphere of art. Her grandfather Nikolai Benois was famous architect, father Eugene Lanceray - a sculptor, mother Catherine Benois - a graphic artist, uncle Alexander Benois - famous artist. Serebryakova's brothers Nikolai and Evgeniy Lanceray also tied themselves up fine arts. Zinaida Serebryakova's eldest son became an architect, another son and two daughters became artists.
Zinaida Serebryakova “Portrait of E. N. Lanceray, the artist’s mother,” 1912
2. Simple scenes village life- another favorite topic of Zinaida Serebryakova besides portraits. Neskuchnoe, surrounded by meadows, forests, scenes of peasant life and proximity to ordinary people inspired the artist. Often peasants, as, for example, in the painting “Whitening the Canvas,” resemble monumental figures.
“Whitening the Canvas”, 1917
3. After the revolution, Zinaida Serebryakova's life changed dramatically. She had to leave Neskuchny, the family estate was looted and burned. In 1919, her husband Boris died of typhus in the artist’s arms. Zinaida never married again.
“Portrait of B. A. Serebryakov”, 1900s
Serebryakova was left alone with four children and an elderly mother. Hunger begins, Zinaida has to earn money and support her family alone, with whom she moved to Petrograd. However, she did not give up painting. There were few customers; they preferred to give products rather than money for work. Serebryakova wrote: “Cutlets made from potato peels were a delicacy for lunch.”
Serebryakova wrote “House of Cards” after the death of her husband in 1919
4. One of the significant series in Serebryakova’s work is dedicated to ballet. In Petrograd her eldest daughter Tatyana entered the ballet school. From 1920 to 1924 Serebryakova often visited the backstage of the Mariinsky Theater. Art and the holiday atmosphere appear again in her life. The artist creates works in which her ballerinas look like weightless snowflakes.
“Ballet restroom. Snowflakes", 1923
5. In 1924, at the age of 40, Zinaida Serebryakova left for Paris to earn money; she was commissioned to create a decorative panel. The artist assumed that she would leave for several months, but she never returned to her homeland. After this order, Zinaida had difficulty finding a job. French society admired Art Deco, but Serebryakova’s works were not highly regarded. She sent everything she managed to earn to her children. Relations between the USSR and Western countries became increasingly closed. With the assistance of the Red Cross, Serebryakova managed to get her son Sasha and daughter Katya to come to her. Alexander began to take orders and paint the interiors of rich houses, Katya took charge of everyday life. The daughter became the artist’s main model at that time. Ekaterina devoted herself to her mother’s talent and it was thanks to her work that many of Serebryakova’s works returned to Russia.
"Port Collioure", 1930
6. While living in France, Zinaida Serebryakova traveled to neighboring countries and fulfilled orders. The artist received the most inspiration from a trip to Morocco, where she visited twice in 1928 and 1932. The artist, despite all the difficulties and blows of fate, remained true to herself; in her works she created a world of beauty and celebration. Serebryakova wrote: “How terrible it is that contemporaries almost never understand that real art cannot be “fashionable” or “unfashionable”, and demand constant “renewal” from artists, but, in my opinion, the artist must remain himself! .
"Illuminated by the Sun", 1928
7. Separation from two other children depressed Serebryakova. During the Second World War, correspondence with them stopped altogether. The meeting with Tatyana took place only 36 years later in 1960 during the period Khrushchev's thaw. She was able to come to France and finally see her mother. And shortly before the artist’s death, Evgeniy was able to meet his mother. Five years later, the first exhibition of Serebryakova’s works took place in Russia. But the artist was unable to attend due to health reasons. Zinaida Serebryakova died in 1967 at the age of 82. She was buried in the cemetery of Sainte-Geneviève-des-Bois.
"Self-Portrait", 1956
The material uses data from the book “Zinaida Serebryakova” by E. V. Efremova.
Description of the painting by Serebryakova “Behind the toilet. Self-portrait"
Zinaida Evgenievna Serebryakova was one of the first female artists and it is not surprising that it was her self-portrait that became the most famous painting.
Canvas “Behind the toilet. Self-portrait" was written by a twenty-five-year-old girl in 1909.
It was exhibited at the exhibition and brought great fame to the artist.
Later this painting was acquired by the Tretyakov Gallery.
The artist depicted herself at the morning toilet.
Her face is very fresh and joyful.
The eyes are bright, expressive, sparkling.
She is combing her beautiful thick hair.
The lips are curved in a gentle smile.
There is a blush on the cheeks.
Her beautiful movement in a half-turn it shows very gracefully thin waist.
He had not yet taken off his loose nightgown, which had fallen off one shoulder, exposing it completely.
Her whole figure is light and cheerful.
There is no sadness, grief or thoughtfulness.
The girl in the portrait is very happy about the new day.
She is ready to meet new impressions and emotions with an open soul.
In the background, in subtle colors, you can see a wash area, a wooden door and part of the bed.
In front of the girl there is a dressing table, on which there are jewelry of various colors and shades.
There is a bottle of perfume, and right hand from the girl there are two candles in beautiful candlesticks.
Compared to the background of the artist herself, all these details are inconspicuous and completely inconspicuous.
Only after admiring the girl herself enough can you consider all the nuances.
The whole atmosphere in the room is somehow fantastic, sparkling with light and joy.
Serebryakova’s canvas “Behind the toilet. Self-Portrait,” like all her paintings, is distinguished by her high artistic skill.
This fact itself speaks of the great talent and spirituality of the artist.
3. E. Serebryakova grew up in an artistic atmosphere. Her father, E. A. Lanseray, was a sculptor, and she was brought up (after her father’s death in 1886) together with her brother, the future graphic artist E. E. Lanseray, in the family of her maternal grandfather, N. L. Benois, Petersburg architect.
Self-portrait
Zinaida Serebryakova was destined to live two destinies.
In the first, she is a descendant of an artistic family, happy, beloved and loving wife, the mother of adored children and a talented artist who entered Russian painting with her self-portrait in front of a mirror, in which happiness, love, contentment, freshness and joy of life seem to be concentrated.
The second fate is a widow, separated from her children, struggling to earn a piece of bread, unable to find a place in a foreign land and having lost her homeland, torn by anxiety and consumed by hopeless melancholy.
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Self-portrait at work
Happy life of Zinaida Serebryakova
Zinaida Lansere was destined to draw - not by fate, but certainly by family. Zina's father, Evgeny Lansere, was a famous St. Petersburg sculptor, her mother was born Ekaterina Benois, sister Alexandra Benois. Zina - youngest child, she was not even two years old when her father died of consumption. From the Neskuchnoye estate (then Kursk province Russian Empire, now - Kharkov region of Ukraine) mother and children moved to St. Petersburg to their parents' house.
Ballet restroom
Compared to her sociable, cheerful brothers and sisters, Zina seemed wild and withdrawn. It seems that she was the only one who took after her father’s personality, and not her cheerful, friendly mother’s family. She studied at the gymnasium, went with her mother to art exhibitions and theater premieres, she painted, of course - it couldn’t be otherwise in this family. The only thing that worried the mother was the girl’s poor health. Of all the children, she grew up the sickest.
Ballet dressing room (Big ballerinas)
At eighteen, Zinusha, as her family called her, went with her mother to Italy to restore her health. Soon they were joined by Alexander Benois, for Zina - “Uncle Shura”. And he gave the ladies magnificent artistic and cultural excursions! On the way back, we went through Vienna specifically to visit museums. In St. Petersburg, Zinaida, following the advice of “Uncle Shura,” visited the workshop of Osip Braz - famous portrait painter, academician Imperial Academy arts She had no passion for the ceremonial portrait, so beloved by Braz, so Serebryakova subsequently did not say anything good about this stage of her training. But I considered the time spent in the Hermitage, where I visited almost every day, to be very important.
Self-portrait dressed as Pierrot
In addition to the joy of painting, the girl’s life was illuminated by another great joy - love. The family spent the summer in Neskuchny, where their relatives, the Serebryakovs, lived on a neighboring estate. Zina had known Boris, her cousin, since childhood; over time, friendship grew into love. The young couple decided to get married, but they did not succeed right away. The parents were for it, but the church was against it because of the relationship of the lovers. However, 300 rubles and an appeal to a third priest, after two refusals, allowed him to solve the problem. In 1905 they got married. Very beautiful couple! Tall, stately, perky, in love, a little idealistic. It seems they had a lot to do happy life. And they had it, but not for as long as they dreamed.
Portrait of Tata in a Harlequin costume
Soon after the wedding, the young couple left for Paris. Zinaida was awaiting the birth of her first child and improved her painting skills at the Academy de la Grande Chaumière (again, on the advice of Benois). She enthusiastically admired the paintings of Monet and Manet, Sisley, was delighted with Degas - and carried her love for the latter throughout her life, entering into a dialogue with him through a series of her ballerinas (, , ,).
Ballerinas in the restroom
Ballet restroom
Ballet restroom. Snowflakes (Ballet “The Nutcracker”)
From her very marriage until the revolution, Zinaida Serebryakova was happier than ever. Their life was simple, calm and joyful. In winter they lived in St. Petersburg, in warm weather - in Neskuchny. They did not particularly participate in social entertainment; Zinaida’s interests revolved around her children, her beloved husband and painting. Even when walking with her children, she always took the album with her.
At breakfast
In 1910, at the exhibition of the Union of Russian Artists in St. Petersburg, Zinaida Serebryakova amazed not only the public, but also her relatives, including “Uncle Shura.” Her self-portrait “Behind the Toilet” created a sensation. Such freshness, such sincerity and the joy of youth emanated from the painting that no one was left in doubt: a new artist had appeared in Russia. Her style was defined as neoclassicism.
Behind the toilet. Self-portrait
Indeed, in this work we see a powerful concentrate of genuine Russian culture.
In this picture, Zinaida Serebryakova personifies the ideal of a Russian woman - the keeper of the highest spiritual traditions of the Russian intelligentsia and aristocracy. She is loved, she has a beloved husband - her betrothed, whom she has been planning to marry since childhood. Everything is like the best folk legends about beautiful mothers, wise fathers, meek daughters and God-destined soul mates to create their ideal family. Maybe that’s why the work turned out to be very kind, warm and bright. It is precisely this atmosphere of comfort, joy and harmony that makes the artist’s painting so dear to us. In 1910, Serebryakova’s self-portrait created a real sensation. The painting hung at the exhibition next to the canvases famous masters- Vrubel, Kustodiev, Serov. By the way, it was Valentin Serov who petitioned for this painting by Serebryakova and two other works of hers to be acquired by the Tretyakov Gallery.
Katya in blue at the Christmas tree
By 1913, the Serebryakovs already had four children: older boys Zhenya and Sasha and girls Tata and Katya. Zinaida loved the estate in Neskuchny very much, she even preferred to give birth to her children there, despite her mother’s concerns. In Neskuchny she led simple life, wore wide skirts and light blouses and painted in every free minute - children, husband, peasants, landscapes.
Katya with still life
Zinaida and Boris got along well with the peasants. If Boris discovered that someone had stolen a wheel or a pickling tub from the owner’s yard, he would gently chide the culprit: “Why didn’t you ask, I would have given it to you anyway.” And when the fatal salvo rang out from the Aurora, Zinaida, smiling, was sincerely happy for the peasants on the estate: “Well, Nikitishna, congratulations, now you are not just a peasant, now you are a citizen!”
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Whitening canvas
And the salvo rang out. After the revolution in Russia, probably everyone faced changes in their lives. But in the case of Serebryakova, these are not “changes”, these are before and after, two different lives. Happiness remained in the one that was before the volley. Boris was arrested, the estate in Neskuchny was burned. Fortunately, their peasants warned, so the Serebryakovs left for Kharkov on time. Released, Boris died in his wife’s arms from typhus, leaving her in the “people’s country” under construction with four children.
Z.Serebryakov “Portrait of B.A.Serebryakov” c.1905
Her husband died in her arms at 39 years old. This is exactly how old Zinaida’s father was when he passed away. The girl was only 2 years old at the time. These early deaths two beautiful talented men, are the framework within which the happy, cloudless life of the artist entered. Her perfect family, in which everyone loved each other so tenderly, collapsed like a house of cards.
Portrait of B.A. Serebryakov
House of cards
In Kharkov, Zinaida got a job at an archaeological institute, made sketches of archaeological finds and was pining for the desire to get out of this mess into which her recently happy life had turned. “Pathetic, helpless and lonely. She says that life is over and lives only with her past,” is how contemporaries describe their impressions of meeting her. However, she does not have the opportunity to completely immerse herself in melancholy - she needs to feed her children and mother. The help of the peasants was a great help: they sometimes brought lard, cereals, carrots - from the latter they brewed tea and warmed themselves with it.
Daughter Katya with dolls
Only in December 1920 was it possible to leave for Petrograd. It gets a little easier. Children go to school, Serebryakova’s paintings participate in exhibitions, and she is sometimes commissioned for portraits. But life still passes on the edge of survival. It is surprising that no matter how difficult her life was, her paintings are mostly bright and joyful, although she created the early ones out of an excess of joy, and in the later ones she ran away from the difficult reality.
Self-portrait with daughters
Alexander Benois got his niece a free pass to Mariinsky Theater. Her daughter Tatyana studies there, and Zinaida paints her lovely ballerinas there. In 1923, her works participated in an exhibition of Russian artists taking place in the United States. She earned $500, but it couldn’t fill the gaps in the family budget. Zinaida decides to leave for Paris to improve her financial situation.
Alexander Serebryakov reading a book (son)
The cage slammed shut
Tatyana Serebryakova recalled that she was 12 years old when her mother left. She left for a short time, but Tata was very scared. As if she had a presentiment that the next time they would be able to see each other only after 36 years. Contrary to Benoit’s assurances, golden rain did not fall on Serebriakova in Paris. Firstly, fashion was avant-garde, the values of which she did not share at all, adhering to classical approach to painting, secondly, Serebryakova was very awkward in her affairs and did not know how to “turn around” at all - echoes of life happy woman, living with family and her art. How different this Paris, populated by emigrants, was from the city to which she went after her wedding with her husband and mother, pregnant with her eldest son!
Self-portrait
The artist Konstantin Somov, who repeatedly helped Zinaida Serebryakova in Paris, said: “She is so pitiful, unhappy, inept, everyone offends her.” Unsociable in life, she left no direct followers in her work. Contemporaries mention the difficult character of the artist. But we must take into account the circumstances of her life. She failed to earn money in a year as planned. “Nobody understands that starting without a penny is incredibly difficult. A time goes by, and I’m still beating in the same place,” she writes to her mother in despair. She misses her children very much. Soon Katya manages to be discharged, and in 1927 Sasha also arrives. And then the iron curtain falls.
Alexander Serebryakov in a carnival costume
Serebryakova does not dare to return because her two children are in Paris, and she does not risk taking them to the USSR, where they could be declared “enemies of the people.” In Paris she cannot fully engage in new life, because half of her heart remained there - with Zhenya, Tanya and her mother, whom the government refuses to let go abroad.
Z. Serebryakova “Katya on the terrace”
At the slightest opportunity, Serebryakova sends them money, but this is not always possible. In 1933, her mother dies of hunger in the Soviet Union.
Z. Serebryakova. Portrait of a lady with a dog
The brightest event of this “life after life” for Zinaida Serebryakova was, perhaps, trips to Morocco. The Belgian Baron Brouwer saw her paintings at one of the exhibitions and offered to pay for the trip so that he could take back any of the paintings he liked. In 1928 and 1932, Zinaida traveled around Morocco. Subsequently, she will write to her daughter Tatyana: “In general, 34 years of life here have been nothing but vanity, nothing but nervousness and despair... But how can an artist create without “joyful excitement”? It’s just that one month spent in Morocco in 1928, and then a month and a half there, captivated me completely with its immediate living beauty...”
Souk, Marrakech
Tanya and Zhenya, who remained in Russia, were separated from their mother, but there was always correspondence. They met only 36 years later, having done everything possible to meet their mother in their homeland. The children received an excellent education, realized themselves as individuals and creative people. Tatiana became a theater artist, and Evgeniy became an architect-restorer. They helped my mother come to Moscow for her exhibition and were promoters of her work, which means that the spiritual connection between mother and children was constantly preserved. And they didn’t forget her in her homeland. If only true connoisseurs of painting and compatriots knew about the artist abroad, then in the Soviet Union her works could be admired on the pages of school textbooks, and the study of Zinaida Serebryakova’s work was included in the compulsory secondary education program.
Portrait of Zhenya Serebryakov
Fortunately, the art of Zinaida Evgenievna Serebryakova has not lost its value as a standard of genuine Russian culture. And now we see a new round of popularity of the paintings of this wonderful artist.
Serebryakova Zinaida Evgenievna - paintings by the artist.
Girl with a candle. Self-portrait
Portrait of B.A. Serebryakov, the artist’s husband
Portrait of ballerina E.N. Heidenreich in red
Portrait of ballerina L.A. Ivanova
This is how Binka fell asleep (Zhenya Serebryakov)
In the nursery. Neskuchnoe
Peasant woman with kvassnik
Whitening canvas
Sleeping girl
Portrait of Olga Konstantinovna Lanceray
Sylph Girls (Chopinian Ballet)
Girls at the piano.
Portrait of E. E. Zelenkova, née Lanceray, the artist’s sister.
Before the storm. The village of Neskuchnoye.
Mountain landscape. Switzerland.
Versailles. Rooftops of the city.
Portrait of E.E. Lansere in a hat
Princess Irina Yusupova.
Portrait of O. I. Rybakova as a child.
S. Prokofiev.
Girl in pink
Terrace in Collioure.
Menton. Beach with umbrellas.
Paris. Luxembourg Garden.
Harvesting bread.
Peasant woman with rolls of canvas on her shoulder and in her hands
Peasant woman spreading canvas
Still life with asparagus and strawberries
Still life with cauliflower and vegetables
Breton
Breton
Arab on a donkey
Old fisherman
Alps, Annecy
Bather
Reclining Nude
Son Alexander
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