The painting “Girl in a Scarf” was painted by Alexei Gavrilovich Venetsianov, an outstanding Russian master of portraiture, in the late period of his work. Since 1819, the artist abandoned commercial activities and stopped selling his works. A.G. Venetsianov turns away from the noise of big cities, settling in the peasant outback of his native country, the artist depicts the open, bright faces of ordinary people.
From Venetsianov’s canvas “Girl in a Headscarf,” a very young peasant girl looks naively with huge, wide-open gray-green eyes. A large blue checkered scarf is thrown over her dark hair neatly parted in the middle. A girl from a simple working-class family, the young beauty is in no way inferior in prettiness to the pampered city young ladies.
In the whole appearance of the girl there is something spiritual, hidden from prying eyes. One feels that she is respectable, modest and well-mannered. A recognized master of his genre, A.G. Venetsianov so skillfully places highlights and shadows in the portrait that you get the feeling that the girl is breathing, is about to smile mischievously, and her thin hand is straightening the scarf that is slipping off her head.
The girl’s fingers are tender and fragile; the hard life in the peasant village of that time did not seem to touch the thin peach skin. A slightly pale face is adorned with a light blush; in a moment, plump lips will blossom into an innocent girlish smile.
It seems as if the young model is tired of posing; the girl, who does not yet know how beautiful she is, is unusual for the artist’s close attention to the fine features of her face.
Slightly darkened eyelids give the girl in a headscarf a thoughtful, slightly sad look. The look of shining eyes from under thin graceful eyebrows is quiet, direct and calm. He is still devoid of echoes of life dramas, any internal breakdowns. Or maybe the famous portrait painter Venetsianov just wanted to believe that in such a young life everything was still good, and no tragedy made his trusting eyes fill with tears.
The red-yellow stripes on the dark fabric of the scarf noticeably brighten the portrait; their absence would give the canvas a closed, perhaps even mournful tone, and the young girl depicted in the picture would seem to the viewer several years older. Hair is depicted with amazing clarity, which is one of the important criteria in assessing portrait works. Thanks to the skill of the painter, the glare of light seems to slide along the smooth, perhaps pulled back and braided into a chic thick braid. There is a feeling that a great master worked on each hair separately.
Pictured by A.G. Venetsianov’s girl also had an unusually clear oval face. There is a certain shyness in the turn of the model’s head; a clear gaze speaks of a precocious mind. There is nothing superfluous in the painting “Girl in a Headscarf”; it fully corresponds to its title. But the modest girl, inconspicuous at first glance, becomes more and more beautiful and mysterious with each viewing of the picture, symbolizing the purity and spirituality of the ordinary Russian person, the image of female beauty just beginning to blossom.
Probably, beautiful people have always attracted the attention of artists. Thanks to its power, beauty guided the world, entire civilizations and cultures. But there is beauty of the highest grade. When it is not the proportions of the face and shape that attract special attention, but the qualities of the personality that attract the eye. I think that is why A.G. came up with the idea. Venetsianov to paint a portrait “Girl in a headscarf”. Who was this girl? What role does portrait play in our time?
The girl depicted in the painting by A.G. Venetsianova, at first glance, is not rich, but her inner world is full of mystery and tenderness, sensitivity and sensuality. Her hair, simply styled with a parting in the middle, ordinary clothes, a gentle look, everything about her speaks of simplicity and her belonging to a modest class. But this is not what the artist focuses on. The expression in her beautiful eyes is what first caught my eye. She seems to laugh, looking at me, and at the same time, her gaze is affectionate. The scarf is not tied, but simply thrown over the head. It is clear that she is only posing in front of the artist. And indeed, an ordinary scarf decorates the appearance of this unknown girl so much that she immediately grew up. Take off her scarf and she will look thirteen to fifteen years old. Still very young. But the scarf makes her look feminine and charming. The lips are also slightly twitched in a smile, clean and welcoming. In general, the image turned out somehow bright and pleasant, like the sun on a warm May day!
It immediately seemed to me, as soon as the portrait “Girl in a Headscarf” caught my eye, that this was a Slavic copy of “La Gioconda.” The same mysterious smile, the same head turned, tender lips that don’t fully know whether to join the eyes in a smile. Only the hand that holds the handkerchief showed the inexperience of nature, unlike her Italian great-grandmother.
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Essay based on the painting: A. G. Venetsianova “Girl in a headscarf.”
Alexey Gavrilovich Venetsiaonov is a master of portrait painting. But in 1819, he refused to continue painting portraits to order and went to live in the village. There he paints pictures about peasant life and the life of ordinary Russian people.
On his canvases, peasant women resemble fairy-tale beauties. They live a single life with the world around them. It is the beauty of the surrounding nature and the people working on the land that A.G. draws. Venetsianov. The painting “Girl in a Scarf” is a little different from other paintings.
The painting depicts a young girl with a blue checkered scarf draped over her head. The girl has lively bright eyes. They amaze with some depth and mystery. Her gaze is open. She has not yet experienced sadness and grief. Childishly plump lips give the face of a young peasant woman naivety and touching. She seems to want to smile, but her natural modesty restrains her impulse. The girl’s whole face glows with purity and spirituality. The hair is combed smoothly. They are separated by a straight parting. It can be assumed that on her back lie two thick braids, decorated with ribbons.
The young beauty is modest. Her hand holds the scarf so that it does not slip off her head. She looks at the artist, but as soon as the master looks closely at his model, her eyes shyly cover her fluffy eyelashes. She will look down to immediately look with her clear gaze at the person drawing her.
Drawing a portrait of a girl in a headscarf, A.G. Venetsianov believes that such a face was created for happiness, that the troubles and sorrows of a difficult peasant life will bypass the girl. The viewer, who peers at the young features and admires their virginal purity, would like to believe this.
Description of the painting by A. G. Venetsianov “Girl in a headscarf.”
On the back of the painting there is neither a date nor the first and last name of the girl depicted. Mysterious "Girl in a Headscarf"; in most reference books it is dated conventionally. There is no mention of this painting either in Venetsianov’s correspondence or in the stories of his relatives. Did the author really not take his work seriously, did he not share his impressions of it with other artists? A modest portrait of a girl, clearly of peasant origin, painted in a short period of time. However, the birth of this painting marked the beginning of the everyday genre in Russian painting.
Alexey Gavrilovich Venetsianov was an ordinary St. Petersburg official, and in his free time he was fond of painting. He copied Rubens and Rembrandt in the Hermitage, painted portraits to order. He became more popular than some artists with the title of "academician of painting";. Venetsianov, according to contemporaries, was a modest, decent man. The “drawing official”, as he was called at the St. Petersburg Academy of Arts, had long ago developed his own writing style and personal idea of painting.
In 1823, already an academician of painting, Venetsianov decided to move from St. Petersburg to his village of Safonkovo. The artist is not overjoyed at his freedom; his life has since been divided into two parts. The life of peasants, scenes from village life, and the peasants themselves fall under his brush.
In the painting "Girl in a Headscarf"; the artist painted a young peasant woman wearing a casual blue scarf. The girl’s eyes, alive and deep, did not yet know tears and troubles. The look is open, but modest at the same time. Beautiful facial features, small mouth, plump lips. The hair is parted in the middle. The face radiates light and purity. She is still just a child, as if the artist wants to protect her from the future hardships of peasant life. Venetsianov considers people from the people to be beautiful; for him, ordinary people are the embodiment of the true beauty of Russian Mother Nature.
In painting “The Girl in a Headscarf”, Venetsianov wanted to emphasize not only the external beauty of the peasant woman, but also her beautiful, pure inner world, simplicity and modesty.
Alexey Gavrilovich Venetsianov.
Painter, lithographer. Master of everyday genre, portrait painter, landscape painter. Born into the family of a poor merchant. He studied at a private boarding school. Since childhood, he discovered an ability and love for drawing, but information about his initial artistic training has not been preserved. He showed particular interest in portraiture.
In 1807 Venetsianov entered service in St. Petersburg. At the same time, he took up painting seriously: he took lessons from V.L. Borovikovsky, copied old masters in the Hermitage.
For "Self-Portrait" (1811, State Russian Museum) he received the first academic title of "appointed", for "Portrait of K.I. Golovachevsky, Inspector of the Academy of Arts" (1812, State Russian Museum) he was recognized as an academician.
In addition to portrait painting, he successfully practiced graphics. During the Patriotic War of 1812, together with I.I. Terebenev and I.A. Ivanov published satirical sheets of military-patriotic content, made using the technique of etching. He willingly turned to lithography, which had just been invented at that time. Venetsianov was one of the members of the legal organization of the Decembrist Union of Welfare - the Society for the Establishment of Schools using the Method of Mutual Education, the purpose of which was to spread literacy among the common people.
In 1818, Venetsianov left the service and began to live for a long time on his Tver estate Safonkovo, embodying new artistic aspirations in painting.
After the success of the painting “The Threshing Barn,” which he bought from the artist for a significant sum, he decided to use the proceeds “to train young poor people” using a new method. The master's students, in some cases serfs, lived and studied with him for free. The school operated alternately in Safonkovo and St. Petersburg, receiving some support from the Society for the Encouragement of Artists. The master's pedagogical system boiled down to developing in the student the ability to see and depict the world around him in its immediate reality, outside of predetermined norms and canons.
Official academic circles disapproved of Venetsianov's activities. Venetsianov's students did not, like academicians, copy other people's originals or special tables depicting individual parts of the body. They learned the laws of shape, perspective, and color using real objects, moving from simple tasks to more complex ones.
During the twenty-year existence of the school, financial difficulties grew, and Venetsianov unsuccessfully sought funds for its maintenance. Attempts to get a teaching position at the Academy of Arts or at the Moscow School of Painting and Sculpture ended in failure.
Venetsianov died suddenly, from an accident on the road - a sleigh that overturned on a sharp turn dealt him a fatal blow.
