Mikhail Vrubel | |
|---|---|
| Михаил Врубель | |
 Vrubel at work, 1898 photograph | |
| Born | Mikhail Aleksandrovich Vrubel March 17, 1856 Omsk, Russian Empire |
| Died | April 14, 1910 (aged 54) Saint Petersburg, Russian Empire |
| Resting place | Novodevichy Cemetery, Saint Petersburg |
| Alma mater | Imperial Academy of Arts |
| Known for | Painting, drawing, decorative sculpture |
| Notable work |
|
| Movement | Symbolism |
| Spouse | |
| Awards | Member Academy of Arts (1905) |
| Patron(s) | Savva Mamontov |
Mikhail Aleksandrovich Vrubel (Russian: Михаи́л Алекса́ндрович Вру́бель; March 17, [O.S. March 5] 1856 – April 14, [O.S. April 1] 1910) was a Russian painter, draughtsman, and sculptor. A prolific and innovative master in various media such as painting, drawing, decorative sculpture, and theatrical art, Vrubel is generally characterized as one of the most important artists in Russian symbolist tradition and a pioneering figure of Modernist art.
In a 1990 biography of Vrubel, the Soviet art historian Nina Dmitrieva considered his life and art as a three-act drama with prologue and epilogue, while the transition between acts was rapid and unexpected. The "Prologue" refers to his earlier years of studying and choosing a career path. The "first act" peaked in the 1880s when Vrubel was studying at the Imperial Academy of Arts and then moved to Kiev to study Byzantine and Christian art. The "second act" corresponded to the so-called "Moscow period" that started with The Demon Seated of 1890, followed by Vrubel's 1896 marriage to the opera singer Nadezhda Zabela-Vrubel, his longtime sitter, and ended in 1902 with The Demon Downcast and the subsequent hospitalization of the artist. The "third act" lasted from 1903 to 1906 when Vrubel was suffering from his mental illness that gradually undermined his physical and intellectual capabilities. For the last four years of his life, already being blind, Vrubel lived only physically.[1]
In 1880–1890, Vrubel's creative aspirations did not find support of the Imperial Academy of Arts and art critics. However, many private collectors and patrons were fascinated with his paintings, including famous patron Savva Mamontov, as well as painters and critics who coalesced around the journal Mir iskusstva. Eventually, Vrubel's works were exhibited at Mir Iskusstva's own art exhibitions and Sergei Diaghilev retrospectives. At the beginning of the 20th century, Vrubel's art became an organic part of the Russian Art Nouveau. On November 28, 1905, he was awarded the title of Academician of Painting for his "fame in the artistic field" – just when Vrubel almost finished his career as an artist.
- ^ Дмитриева 1990, p. 20.