Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 211 djela Mihail Vrubel u našem katalogu
Ukratko
Od svih originala koje je Mihail Vrubel ostavio, najpoznatiji je Princeza labudica u kolekciji muzeja Tretyakovljeva galerija, Moskva. Samo iza njih slijede The Seated Demon i Swan-Princess (1904). Naš katalog sadrži 211 djela umjetnika Mihail Vrubel; galerija je čuvala onih 100 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
Princeza labudica (Царевна-Лебедь) značajno je djelo ruskog umjetnika Mihaila Vrubela. Stvoreno 1900. godine, ovo ulje na platnu bilježi trenutak duboke metamorfoze. Tema djela korijeni traži u folkloru Aleksandra Puškina, izravno izvedena iz bajke "Priča o caru Saltanu". To je umjetničko ostvarenje koje premošćuje jaz između književnog mita i kazališne pozornice.
In the hauntingly beautiful masterpiece The Seated Demon, created in 1890, Mikhail Vrubel invites us into a realm where the boundaries between reality and the supernatural dissolve. This quintessential work of the Symbolist movement captures a moment of profound introspection, presenting a demonic figure not as a creature of pure malice, but as an embodiment of spiritual longing and cosmic sorrow. The subject sits in a contemplative, almost heavy pose,…
To gaze upon Mikhail Vrubel's Swan-Princess is to step across a threshold into a realm woven from myth, moonlight, and profound introspection. This captivating oil on canvas, dating from 1904, is not merely a depiction of a woman by a river; it is an embodiment of the Symbolist spirit itself. The air around the figure seems thick with unspoken narratives—a delicate balance between ethereal beauty and deep, submerged mystery. Vrubel,…
A man sits draped in red, his presence heavy with the weight of a silent history. He wears a turban, a crown of folded fabric, and a gold belt cinches his waist like a line of sunlight. One arm rests over his shoulder, a gesture of casual authority or perhaps a weary stillness. In his hand, he holds a large book or a heavy scroll, a vessel for words and…
In the quiet, evocative depths of Mikhail Vrubel’s 1883 watercolor, Hamlet and Ophelia, we are invited into a world that transcends the boundaries of mere illustration. This masterpiece does not simply depict a scene from William Shakespeare’s most famous tragedy; rather, it captures the very essence of the Symbolist movement through a lens of profound intimacy. The painting presents two women seated in an old-fashioned, perhaps timeless, interior, facing one…
In Mermaid, Mikhail Vrubel presents a mythological creature adrift in a natural setting. The figure reclines within the water, a pale shape amidst a cluster of lily pads and reeds. This scene, painted about 1891, captures a moment of quietude. The mermaid rests where the surface meets the depths, surrounded by the organic geometry of the aquatic plants.
The air feels heavy with the scent of ancient dust and magic as the scene unfolds. High above a sleeping town, the boundary between the physical and the supernatural thins to a translucent veil. A man rides a horse through the sky, his form caught in a moment of frantic, soaring motion. Beside him, the presence of Mephistopheles looms, a shadow cast against the heavens. They are not merely traveling;…
The air feels heavy with the weight of ancient melody as Sadko stands at the center of a swirling human ring. He is a merchant of Novgorod, yet here he seems more a conduit for something supernatural than a man of commerce. Around him, friends and musicians lean in, their instruments poised to catch the notes that seem to ripple through the very atmosphere. The scene is alive with a…
In the quiet intimacy of his studio, Mikhail Vrubel approached the delicate medium of watercolor to compose Red Azaleas. Created about 1886, this work captures a specific moment in the artist's development. At this stage, Vrubel was refining a way of seeing that moved away from the rigid constraints of academic realism. He sought instead to find a more personal, idiosyncratic language through form and line.
The eyes meet you first. They are piercing, heavy with an unsettling intensity that seems to pull the viewer into a private, dark encounter. This close-up portrait focuses tightly on the head and shoulders of a demonic figure, creating a sense of immediate, almost claustrophobic intimacy. The face is defined by sharp features and a gaze that conveys both power and menace. Around this central presence, thick, swirling brushstrokes move…
Demon and Angel with Tamara's Soul1891
12
Eastern dance1887
13
Catania. Sicily.1894
14
Head of Demon
15
Anna Karenina meets her son1878
16
Self Portrait1880
17
Lady in furs1880
18
Salieri pours poison into a Mozart's glass1884
19
Hamlet and Ophelia1884
20
Karibeevich1891
21
The Flying Demon1890
22
Demon looking to the valley1891
23
Demon by the walls of monastery1891
24
Demon looking1891
25
Tamara Dancing1891
26
Resurrection1887
27
Walking on Water1891
28
Christ in Gethsemane1888
29
Bogatyr1898 · Državni ruski muzej
30
Portrait of a T. Lyubatovich in role of Carmen1895
31
Captured Pechenegs (Costume design for the opera "Rogneda")1896
32
The Demon Flying1899 · Državni ruski muzej
33
After the Concert, at the Fireplace1905 · Tretyakovljeva galerija
34
Night1900
35
Portrait of a young man1903
36
A bed1904
37
Self Portrait1904
38
Portrait of Doctor Fiodor Usoltsev1904
39
Princess Volhova1900
40
Pearl oister1904
41
Portrait of Savva Vrubel , the Artist's Son1901
42
Prince's huntsman (Costume design for the opera "The Enchantress")1900
43
Fallen Demon1901
44
Portrait of Nadezhda Zabela-Vrubel1903
45
The Six Winged Seraph1904
46
Nadezhda Zabela-Vrubel as Princess Volkhova1898
47
The Virgin and Child
48
The Rose
49
Pearl Oyster
50
Lilac
51
Spring1900 · Art Museum RIGA BOURSE
52
The left artist's hand1882
53
Two gondolas on the quay1885
54
Odessa harbour1885 · Amsterdam Museum
55
Field flowers1884
56
Archangel Gabriel1885
57
Briar1884
58
Moses1884
59
Male nude1882
60
A model with eastern dress1884
61
Italian fisherman1885
62
Virgin and Child1884
63
Portrait of student1882
64
Pieta1884
65
Still Life. Plaster mask, horn of chandelier.1885
66
Descent of Holy Spirit on the Apostles1885
67
Self Portrait1882
68
Sitter in the Renaissance Setting1883
69
Woman's Head (Emily L. Prahova)1884
70
Angel with Labara1884
71
Feasting Romans1883
72
Betrothal of Mary and Joseph1881
73
Horseman1890
74
Prince Guido (Costume design for the opera "The Tale of Tsar Saltan")1890
75
Italy. Scenes of ancient life. (Sketch for the curtain in Russian Private Opera)1891
76
Piet1887
77
Tamara Lying in State1891
78
Orchid1887
79
Hamlet and Ophelia1888
80
Flowers in a Blue Vase1886
81
Muse1890
82
Resurrection1887
83
Rider (''Is carried horse faster of fallow-deer...'')1891
84
Portrait of an Officer (Pechorin on a Sofa)1889
85
Farewell of Zara with Ismail1890
86
Portrait of M. V. Yakunchikova1887
87
Red Flowers and Leaves of Begonia in a Basket1887
88
A Man in a Russian Old Style Costume1886
89
Eastern Tale1886
90
Parting of the Sea King and Princess Volkhova1898
91
Playing naiads and tritons1897
92
Morning1897
93
Faust1896
94
Hansel and Gretel1896
95
Venice1893
96
Water Lilies1895
97
Knight1896
98
The Fortune Teller1895
99
Primavera1894
100
Viking Merchant (Costume design for the opera ''Sadko'')1897
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
5 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Mihail Vrubel | Slike iz ovog popisa |
|---|---|---|---|
 Tretyakovljeva galerija |
Moskva | 15 | Princeza labudica, Swan-Princess, After the Concert, at the Fireplace |
 Državni ruski muzej |
Sankt Peterburg | 3 | Bogatyr, The Demon Flying |
 Tereshchenko Museum |
Kijev | 1 | Head of Demon with mountains |
 Art Museum RIGA BOURSE |
Rīga | 1 | Spring |
 Amsterdam Museum |
Amsterdam | 1 | Odessa harbour |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In Anna Karenina meets her son by Mikhail Vrubel, the composition centers on an intimate encounter between a woman and a young girl. The seated woman leans toward the child, creating a diagonal movement that draws the eye across the central figures. The girl is positioned to look at her own reflection in a mirror, a detail that introduces a secondary focal point within the domestic space. This arrangement emphasizes…
A man sits draped in red, his presence heavy with the weight of a silent history. He wears a turban, a crown of folded fabric, and a gold belt cinches his waist like a line of sunlight. One arm rests over his shoulder, a gesture of casual authority or perhaps a weary stillness. In his hand, he holds a large book or a heavy scroll, a vessel for words and…
In Mermaid, Mikhail Vrubel presents a mythological creature adrift in a natural setting. The figure reclines within the water, a pale shape amidst a cluster of lily pads and reeds. This scene, painted about 1891, captures a moment of quietude. The mermaid rests where the surface meets the depths, surrounded by the organic geometry of the aquatic plants.
To gaze upon Mikhail Vrubel's Swan-Princess is to step across a threshold into a realm woven from myth, moonlight, and profound introspection. This captivating oil on canvas, dating from 1904, is not merely a depiction of a woman by a river; it is an embodiment of the Symbolist spirit itself. The air around the figure seems thick with unspoken narratives—a delicate balance between ethereal beauty and deep, submerged mystery. Vrubel,…
Princeza labudica, Tretyakovljeva galerija, Moskva. Nakon njih slijede The Seated Demon i Swan-Princess (1904).
Princeza labudica, The Seated Demon, Swan-Princess, Persian Prince, Hamlet and Ophelia, Mermaid, Flight of Faust and Mephisto, Sadko, Red Azaleas i Head of Demon with mountains. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 211 djela umjetnika Mihail Vrubel, datiranih od 1878 do 1905.
Većinom u Tretyakovljeva galerija (Moskva), Državni ruski muzej (Sankt Peterburg) i Tereshchenko Museum (Kijev). Gornja tablica muzeja navodi sve njih.
U 1880s: 42 od 100 djela na ovoj stranici nastalo je tada, od čega je Persian Prince Persian Prince.
Na ovoj stranici najstarije djelo je iz Anna Karenina meets her son (1878), a najnovije iz After the Concert, at the Fireplace (1905).
Flowers (9), Characters (9) i Men (9), kroz svih 100 djela na ovoj stranici.
Watercolor, za 9 od 100 djela na ovoj stranici.
Simbolizam, sudeći po originalima na ovoj stranici.
Princeza labudica, Swan-Princess i After the Concert, at the Fireplace: Tretyakovljeva galerija, Moskva posjeduje 3 djela s ove stranice.
Mihail Vrubel rođen je u OMSKu, u Rusiji. Njegovo odrastanje oblikovalo je plemićko podrijetlo obitelji i otac koji je služio u vojsci. Iako je 1880. godine diplomirao na Pravnom fakultetu Sveučilišta u Sankt Petersburgu, njegova pažnja ostala je usmjerena na platno. Upisao je Carsku akademiju umjetnosti kako bi studirao pod vodstwem Pavla Čistjakova, gdje je počeo razvijati stil koji se razlikovao od tradicionalnog realizma njegovih kolega. Njegovo rano obrazovanje obilježeno je specifičnim načinom gledanja na svijet, onim koji je favorizirao nekonvencionalan pristup obliku i liniji.
Godine 1884. došlo je do značajnog preokreta kada je dobio zadatak da rekonstruira 12. stoljeće murala i mozaika u crkvi Svetog Ćirila u Kijevu. Ovaj rad zahtijevao je od njega duboko proučavanje srednjovjekovnog kršćanskog umjetlčkog izražaja. Vrijeme provedeno u proučavanju tih drevnih djela, uključujući putovanja u Veneciju, promijenilo je njegovu paletu boja. Počeo je koristiti snažne, zasićene tonove koji su promatračima podsjećali na dragocjeno kamenje, udaljavajući se od prigušenih boja akademske tradicije.
Vrubelova djela često su zauzimala prostor između fizičkog svijeta i carstva mitova. Bila ga je privlačna tekstura perzijskih tepiha i uzorci orijentalne umjetnosti, koje je u svoje slike prevodio kroz tehniku koja je imitirala izgled mozaičkih tesserae. Ova metoda uključivala je korištenje špule za slikanje kako bi se nanijeli odvažni, ravni potezi, stvarajući oštre, fasetirane rubove. Takav pristup njegovim površinama dao je kristalnu kvalitetu, kao da je sama uljana boja izrađena od vitraja ili dragulja.
Njegova fascinacija folklorom i nadnaravnim najvidljivija je u prikazima mitoloških figura. Njegine slike često su istraživale teme izolacije i čežnje. Neka od njegovih najznačajnijih djela uključuju:
U ovim djelima on nije težio strogom realizmu. Umjesto toga, koristio je dekorativni prostor i neobične oblike kako bi uhvatio osjećaj duhovne ili psihološke dubine. Njegova suradnja s opernom pjevačicom Nadeždom Zabelom-Vrubel također je utjecala na njegov rad, vodeći ga prema dizajnu scenografija i kostima koji su proširili njegov domet u kazališne umjetnosti.
Kasnije godine Vrubelova života obilježeni su osobnom borbom. Teški nervni slom 1906. godine, kompliciran bolešću, prisilio je umjetnika da prestane slikati. Svoje posljednje godine proveo je u psihijatrijskoj klinici prije smrti 1910. godine. Unatoč teškoćama posljednjeg desetljeća njegovog života, njegov utjecaj na ruski simbolizam i secesiju ostaje centralni dio povijesti moderne umjetnosti. Pomogao je da se postavi put za avangardne pokrete koji su uslijedili, premještajući fokus rusko slikarstvo prema izražajnijem i modernističkom idiomu.
