Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 211 dielov umelca Michail Vrubel v našom katalógu
Stručne povedané
Z všetkých originálov, ktoré Michail Vrubel zanechal, je najznámejší Czarovna-lebeď, ktorý sa nachádza v zbierkach Tretyakov Gallery v meste Moskva. Hneď za ním nasledujú The Seated Demon a Swan-Princess (1904). Náš katalóg obsahuje 211 diel od Michail Vrubel; galéria si zachovala tých 100, ktoré obdivuje celý svet, pričom každý z nich je prezentovaný spolu s jeho dátumom, múzeou a príbehom.
The Swan Princess (Царевна-Лебедь) is a significant work by the Russian artist Mikhail Vrubel. Created in 1900, this oil on canvas captures a moment of profound metamorphosis. The subject matter finds its roots in the folklore of Alexander Pushkin, specifically drawn from the tale The Tale of Tsar Sultan. It is a work that bridges the gap between literary myth and the theatrical stage.
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 · Štátne ruské múzeum
30
Portrait of a T. Lyubatovich in role of Carmen1895
31
Captured Pechenegs (Costume design for the opera "Rogneda")1896
32
The Demon Flying1899 · Štátne ruské múzeum
33
After the Concert, at the Fireplace1905 · Tretyakov Gallery
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
Štyri témy, ktoré sa v týchto origináloch najčastejšie vracajú, každá s jej najvychybenejším príkladom.
5 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Michail Vrubel | Obrazy z tohto zoznamu |
|---|---|---|---|
 Tretyakov Gallery |
Moskva | 15 | Czarovna-lebeď, Swan-Princess, After the Concert, at the Fireplace |
 Štátne ruské múzeum |
Petrohrad | 3 | Bogatyr, The Demon Flying |
 Tereshchenko Museum |
Kyjev | 1 | Head of Demon with mountains |
 Art Museum RIGA BOURSE |
Riga | 1 | Spring |
 Amsterdam Museum |
Amsterdam | 1 | Odessa harbour |
Vyberte si dekádu a pozrite si originál, ktorý ju definuje.
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,…
Czarovna-lebeď, Tretyakov Gallery, Moskva. Nasledujú The Seated Demon a Swan-Princess (1904).
Czarovna-lebeď, The Seated Demon, Swan-Princess, Persian Prince, Hamlet and Ophelia, Mermaid, Flight of Faust and Mephisto, Sadko, Red Azaleas a Head of Demon with mountains. Vyššie uvedené hodnotenie uvádza rok a múzeu pre každé z nich.
Náš katalóg obsahuje 211 diel od umelca Michail Vrubel z perioda od 1878 do 1905.
Väčšinou v Tretyakov Gallery (Moskva), Štátne ruské múzeum (Petrohrad) a Tereshchenko Museum (Kyjev). Tabuľka múzeí vyššie ich všetky uvádza.
V období 1880s: 42 z 100 diel na tejto stránke bolo vytvorených vtedy, pričom Persian Prince z nich.
Na tejto stránke je najstaršie dielo z Anna Karenina meets her son (1878) a najnovšie z After the Concert, at the Fireplace (1905).
Woman (12), Man (11) a Flowers (9), v rámci 100 diel na tejto stránke.
Oil On Canvas, pre 16 z 100 diel na tejto stránke.
Symbolizmus, podľa originálov na tejto stránke.
Czarovna-lebeď, Swan-Princess a After the Concert, at the Fireplace: múzeá Tretyakov Gallery, Moskva uchovávajú 3 z diel na tejto stránke.
Michail Vrubel sa narodil v Omsku v Rusku. Jeho výchova bola formovaná rodinou s ušľácenými koreňmi a otcom, ktorý slúžil v armáde. Hoci sa v roku 1880 úspešne graduval na právnickej fakulte Petrohermskej univerzity, jeho myseľ zostával neustále upriamena na plátno. Na Impérialsku akadémiu umenia nastúpil ako študent Pavla Chistjakova, kde začal vypracovávať štýl, ktorý sa výrazne líšil od tradičného realizmu jeho vrstovníkov. Jeho raná príprava bola charakteristická špecifickým spôsobom vnímania sveta, ktorý uprednostňoval neobvyklý prístup k forme a líniam.
V roku 1884 došlo k významnému zvratu, keď dostal úlohu obnoviť 12. storočné fresky a mozaiky v કર્ijovom chráme svätého Cyrila. Táto práca si vyžadovala, aby sa pozorně venoval stredovekému kresťanskému umeniu. Čas strávený štúdiou týchto starobylých diel, vrátane ciest do Benáť, zásadne zmenil jeho farebnú paletu. Začal používať silné, sýte tóny, ktoré divákom pripomínali drahokam, čím sa vzdal tlmených farieb akademickej tradície.
Vrubelovo dielo často zapĺňalo priestor medzi fyzikálnym svetom a sférou mýtu. Pôsobili naň textúry perských kobercov a vzory orientálneho umenia, ktoré do svojich obrazov prekladal technikou imitujúcou vzhľad mozaikových tesserae. Tento metóda zahŕňala použitie špachtle na nanášanie odvážnych, plochých ťahov, čím vytváral ostré, fazetované hrany. Tento prístup dodal jeho povrchom krystaly, akoby samotná olejná farba bola vyrobená zo skla alebo drahokamov.
Jeho fascinácia folklórom a nadprirodzeným je najvýraznejšia v jeho zobrazeniach mýtických bytostí. Jeho obrazy často skúmali témy izolácie a túžby. Medzi jeho najdiskutovanejšie diela patria:
V týchto díelach nemal cieľ dosiahnuť prísny realizmus. Namiesto toho využíval dekoratívny priestor a neobvyklé tvary na zachytenie pocitu duchovnej alebo psychologickej hĺbky. Jeho spolupráca s opernou speváčkou Nadeždou Zabelou-Vrubelovou ovplyvnila aj jeho tvorbu, čo ho priviedlo k navrhovaniu scenografí a kostýmov, čím rozšíril svoj dosah aj do divadelného umenia.
Neskoršie roky Vrubelovho života boli poznačené osobným bojom. Prudký nervový kolaps v roku 1906, komplikovaný ochorením, ho prinútil prestať maľovať. Svoje posledné roky strávil v psychiatrickej klinike, než v roku 1910 skonal. Napriek ťažkému poslednému desaťročiu zostáva jeho vplyv na ruský symbolizmus a Art Nouveau kľúčovou súčasťou histórie moderného umenia. Pomohol pripraviť cestu pre nasledujúce avantgardné hnutia tým, že posunul zameranie ruskedemeľby smerom k expresívnejšiemu a modernistickému jazyku.
