часть 2 - Russian and soviet artists Русские и советские художники – Седов Григорий (1836-1886) - Выбор невесты царём Алексеем Михайловичем
1882
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COMMENTS: 8 Ответы
А девушки все радостные, радостные :)
Essay about this painting:
From numerous historical sources, we have detailed knowledge of the events during which Tsar Alexei Mikhailovich performed the matchmaking ceremony. However, despite a wide range of sources available for the subject matter, the artist G. S. Sedov used as his model a text written by S. M. Solovyev, because it was in this manuscript that mention was made of six girls, one of whom turned out to be a young woman previously unknown to him, named Efimija Vsevolozhskaya.
Based on the fact that many sources from that time described Efimija as a very tall and slender young woman, it is quite possible that she is depicted by the artist standing to the left, at the very edge. Among all the other candidates, she stands out with her rather inconspicuous and even somewhat simple clothing, and she stands meekly, with her arms lowered along her body. However, if you look closely, you can read an unwavering dignity and nobility in her gaze, which literally permeates her entire image. It is noteworthy that Sedov very accurately reproduced the smallest details in the clothing and hairstyles characteristic of that period. The dresses are made with a sufficiently high degree of historical accuracy; it appears that they were all drawn from life. The girls hair is braided in such a way as to symbolize the status of future brides, and this style of braiding was used to represent young women who were about to be married. The artist very accurately conveyed the customs of that time – all the girls exude modesty and obedience to their future husbands with their appearance; their eyes look down, and their postures express piety.
Да уж, красавицами их не назовешь
Essay on the painting The Tsars Choice of a Bride by G. Sedov
The 19th-century painting The Tsars Choice of a Bride by Grigory Sedov is quite a popular work.
The painting depicts one of the scenes from the life of the royal family. A young tsarevich stands before six young women. It is surprising that, despite the higher social status of the tsar, the initial gaze when looking at the painting falls on the girls. They are so similar and yet different, standing humbly before the noble groom with their eyes lowered.
The images of all six girls are depicted in a special compositional unity; none of them is singled out as a favorite. Thus, the bright blue color of the dress of the first girl is muted by her posture, essentially shown in profile. The others are more open to the viewer, but their gaze directed downwards prevents us from assessing what lies hidden within the mirrors of their souls. However, through their poses, we understand that respect and reverence are reflected in their figures. There is no hint of a smile; they are frozen in anticipation of fate. Their humble submission to destiny creates a slight contrast with their rich attire and noble lineage.
The young tsar stands in an uncertain pose, relaxing one leg. He holds a ring ready, but his gaze is hidden in shadow, so the choice of bride remains a mystery, full of conjecture.
The overall background carries a special, hidden subtext. It is no coincidence that the wall behind the girls is colorful and bright, while the background behind the tsar is covered in darkness. The colors seem to warn of the unknown that lies behind the choice of Alexeis bride.
The exquisite colors and well-thought-out images leave a special impression on the viewer. And the situation itself provides food for thought.
Grigory Sedov, The Tsars Choice of a Bride, painted by Alexei Mikhailovich.
Did the artist suspect that his work would repeatedly attract the attention of researchers? The painting reflects the customs and traditions of the Russian nobility before Peter the Great. Why did Sedov choose this subject? The 19th century was an era of fascination with Russian history, a time of Westernizers and Slavophiles, each looking at the countrys future in different ways. Sedov could not remain indifferent to these trends. Tsar Alexei Mikhailovich appears young in the painting. Behind him is his tutor, Boris Morozov. The noble features of the young autocrat are meticulously rendered by the artist. And the shadow of the tutor behind Alexei provides a kind of support for his youth, so that it does not make mistakes. The central part of the painting is occupied by the girls. Gentle gazes, in accordance with the conventions of propriety of that time, elaborate hairstyles, and rich clothing reveal the noble brides of Russia at that time. Who will be chosen by Alexei? There can be no doubt. A fair-haired girl in a cornflower dress. But this is not what the painting tells us. Only curious viewers interested in the history of masterpieces can learn about it.
However, there was no love story there. Upon learning of her happiness, the girl would faint almost immediately, doctors would declare her ill, and she would be exiled to Siberia. The Tsar would not even have time to fall in love with the stately Efimija. His fate would later be connected with a completely different chosen one. But that is a whole other story...
Sedov gave us the joy of witnessing the moment of choice, the moment of Russian nobility, the moment of pride in the state and its greatest history...
The Tsars Choice of a Bride (an essay)
Among the many paintings, my attention was drawn to Grigory Sedovs painting The Tsars Choice of a Bride. The six young women and Tsar Alexei Mikhailovich depicted in the painting have serious faces, reflecting humility. Choosing a life partner has always been an important and serious step. And when it comes to high-ranking state officials, it is also fateful for the country as a whole. History tells us that these six girls were selected by the Tsar from two hundred candidates. They are all daughters of wealthy and influential people. This is evident in their clothing, which is made of expensive fabrics and beautifully trimmed with fur. Each girls head is adorned with exquisite crowns that match the color of their dresses.
Tsar Alexei Mikhailovich is wearing red, indicating his high status. He holds a handkerchief in his hand, which he will likely give to the chosen one. All the girls are looking down, waiting for his decision. The second girl from the left stands out – despite her lowered eyes, there is an air of arrogance and defiance about her appearance.
The first girl in the row of beauties is depicted most prominently. She is tall and fair-haired, wearing a dress the color of cornflowers, but her face seems almost sad. Her hands are limply hanging down, while the other girls have their arms crossed over their stomachs, emphasizing her special status.
The walls decorated with fairytale flowers and the quite bright, checkered floor immediately catch the eye. Despite this, the rooms seem dark and lacking in light.
The Tsar is looking at the girls intently. His face is in shadow, but his composure is clearly visible: a bride will be chosen.
Ставлю полтинник на то что он выбрал третью слева. Поднимите источники, так ли это?? :)
Alexei Mikhailovich Chooses a Bride
In the thirtieth kingdom, in a distant land, there lived a Tsar named Mikhail. Mikhail had many things, and he was proud of them all. He had a beautiful wife and untold riches. The Tsar and his Tsarina lived happily, accumulating good deeds and seeking joy. And one day, joy finally came. A son was born – a handsome young man, and they named him Alexei. He grew up, learning the ways of life from his father and mother, gaining experience, and not shunning education. Alexei Mikhailovich had everything: great wealth, all kinds of entertainment, but something was lacking. And he decided to get married. He told his dear parents about his plan. The Tsar and Tsarina began to think and try to fulfill their sons desire – the handsome young man. They gathered all the beautiful women from the palace, and the son began to look and search. He looked, searched, but couldnt find anyone suitable. One was too simple, another was crooked, none of them were right. It didnt last long; he saw three hundred royal beauties, rich and handsome, in exquisite attire. And then, by chance, he met a common girl. Not just any girl, but Ksyusha. He liked her immediately, and he began to give her jewels. Everyone in the kingdom knew about it, and she knew too. But she didnt leave him; she loved him, and she gave him her warmth. They didnt hide their feelings, but instead, they became friends and fell in love with each other right away. Let there be a wedding, said the Tsar. And so it happened that everything was perfect for them. They loved each other for life, lived happily ever after, and received half the kingdom from their father. The moral is simple: you must love as always. Everything that appeals to your heart should be sought out – without hiding your desires. You must only want to find it, and find your own love.
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The artist has employed a deliberate use of color to differentiate the figures. The young man’s red coat immediately draws the eye, contrasting with the cooler tones of the womens garments – blues, greens, yellows, and pinks. This chromatic distinction subtly emphasizes his position as the focal point of the scene. The background wall is decorated with a stylized floral pattern rendered in muted colors, which serves to flatten the space and direct attention towards the figures themselves.
The expressions on the womens faces are complex and varied. Some appear apprehensive or reserved, while others display a mixture of hope and anxiety. This range of emotions hints at the weighty significance of the occasion – a public selection process with potentially profound consequences for their lives. The young man’s expression is more difficult to decipher; it seems to convey a degree of formality but lacks overt emotion.
The lighting in the painting is soft and diffused, creating an atmosphere of solemnity and grandeur. Shadows are present, adding depth and volume to the figures, yet they do not obscure any details. The overall effect is one of restrained drama, suggesting a moment of pivotal importance within a historical narrative.
Subtly embedded within this scene is a commentary on power dynamics and societal expectations. The young man’s role as selector underscores the patriarchal structures inherent in the depicted culture. The womens passive positioning reinforces their dependence on male agency for social advancement. The painting, therefore, transcends a simple depiction of an event; it offers a glimpse into the complexities of tradition, duty, and personal fate within a hierarchical society.