Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 211 del v našem katalogu avtorja Mihail Vrubelj
Kratek opis
Med vsemi originali, ki jih je pustil Mihail Vrubelj, je najbolj znan Čarobnica-lebed, ki se nahaja v kolekciji Tretyakovska galerija, Moskva. Takoj za njima sta The Seated Demon in Swan-Princess (1904). Naš katalog vsebuje 211 del umetnika Mihail Vrubelj; galerija je ohranila 100 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
Čarobnica-lebed (Царевна-Лебедь) predstavlja pomembno del ruskega umetnika, ki ga je ustvaril Mihail Vrubelj. To sliko na platnu z oljami, ustvarjeno leta 1900, obeležuje trenutek globoke metamorfoze. Tema dela izvira iz folklore Aleksandra Puškina, natančneje pa je zasnovana na pripovedi Zgodba o caru Sultanu. Gre za umetniško izraženo delo, ki premosti razporeditev med literarnim mitom in teatralno odrsko sceno.
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 · Tretyakovska 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, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
5 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Mihail Vrubelj | Slike iz tega seznama |
|---|---|---|---|
 Tretyakovska galerija |
Moskva | 15 | Čarobnica-lebed, Swan-Princess, After the Concert, at the Fireplace |
 Državni ruski muzej |
St. Peterburg | 3 | Bogatyr, The Demon Flying |
 Tereshchenko Museum |
Kijev | 1 | Head of Demon with mountains |
 Art Museum RIGA BOURSE |
Riga | 1 | Spring |
 Amsterdam Museum |
Amsterdam | 1 | Odessa harbour |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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,…
Čarobnica-lebed, Tretyakovska galerija, Moskva. Zatem sledeta The Seated Demon in Swan-Princess (1904).
Čarobnica-lebed, The Seated Demon, Swan-Princess, Persian Prince, Hamlet and Ophelia, Mermaid, Flight of Faust and Mephisto, Sadko, Red Azaleas in Head of Demon with mountains. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 211 del avtorja Mihail Vrubelj, datiranih od 1878 do 1905.
Večini v Tretyakovska galerija (Moskva), Državni ruski muzej (St. Peterburg) in Tereshchenko Museum (Kijev). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1880s: 42 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa Persian Prince.
Na tej strani je najstarejše delo iz Anna Karenina meets her son (1878) in najstarejše iz After the Concert, at the Fireplace (1905).
Man (11), Woman (11) in Flowers (9), na 100 delih na tej strani.
Oil On Canvas, za 16 od 100 del na tej strani.
Simbolizem, glede na originala na tej strani.
Čarobnica-lebed, Swan-Princess in After the Concert, at the Fireplace: v muzeju Tretyakovska galerija, Moskva se nahaja 3 del z te strani.
Mihail Aleksandrovič Vrubelj se je rodil v Omsku na Rusiji. Njegovo vzpajanje je oblikovala plemenita družina in oče, ki je služil v vojski. Čeprav je leta 1880 diplomiral na pravni fakulteti Univerze v Sankt Peterburgu, je njegova prava strast ostala na platnu. Vstopil je v Imperialno akademijo umetnosti, kjer je pod mentorstvom Pavla Čistjakova začel razvijati slog, ki se je razlikoval od tradicionalnega realizma njegovih vrstnikov. Njegova zgodnja izobraževalna pot je bila zaznamovana s specifičnim načinom opazovanja, ki je podpiral edinstven in idiosinkratičen pristop k obliki in liniji.
Leta 1884 je prišlo do pomembnega preobratu, ko je bil naladen za rekonstrukcijo 12. stoletnih fresk in mozaikov v cerkvi sv. Kirila v Kijevu. To delo je zahtevalo globoko proučevanje srednOVEČNE krščanske umetnosti. Čas, ki ga je preživel pri študiju teh ancientnih del, vključno z potovanjem v Benetke, je popolnoma spremenil njegovo paleto barv. Začel je uporabljati močne, nasičene tonove, ki so opazovalcem prihajali na misel draguljev, s čimer se je odmaknil utrušenih barv akademske tradicije.
Vrubljevo delo je pogosto zanimal prostor med fizičnim svetom in domeno mita. Privlačila ga je tekstura perzijskih pregon in vzorci orientalske umetnosti, ki jih je v svoje slike prenesel prek tehnike, ki je imitirala videz mozaičnih tessere. Ta metoda je vključevala uporabo slikarske nožice za nanašanje drznih, ploščatihčepov, kar je ustvarjalo ostre, fasetirane robove. Ta pristop je njegovim površinam podelil kristalno kakovost, kot da bi bila oljna barva sama po sebi izdelana iz barvnega stekla ali draguljev.
Njegova fascinacija s folklorom in nadnaravnim je najbolj vidna v prikazih mitoloških figurl. Njegove slike so pogosto raziskovale teme izolacije in hrepelnosti. Nekatere od njegovih najbolj omažovanih del so:
V teh delih ni težil k strogemu realizmu. Namesto tega je uporabljal dekorativni prostor in neobične oblike, da bi zajel občutek duhovne ali psihološke globine. Njegovo sodelovanje z operno pevko Nadeždo Zabela-Vrubel je prav tako vplivalo na njegovo delo, saj je vodilo do oblikovanja scenografij in kostumov, kar je razširilo njegov doseg v svet kazališne umetnosti.
Pozna leta Vrubljevega življenja so bila zaznamana s osebno bolečino. Hud živčni izbruh leta 1906, zapleten z boleznijo, ga je prisilil, da preneha s slikanjem. Svoje zadnje leta je preživel v psihiatrični kliniki, preminil pa je leta 1910. Kljub težkem zadnjem desetletju njegov vpliv na ruski simbolizem in Art Nouveau ostaja osrednji del zgodovine moderne umetnosti. Pomagal je paveči pot za nadaljevanje avantgardnih gibanj, s čimer je središče ruske slikarstva premiknil v bolj ekspresiven in modernistni jezik.
