339:
154:
146:
138:
40:
322:
223:” in Saint Petersburg. The painting made a real sensation. While the exposition was held, Vrubel came to this painting every morning, and until the noon, while there were few visitors, he redrew the demon, wiped away and imposed dyes, changed the figure's pose and the background, but most changes were made in the demon's face.
124:
The painting was made on canvas with oil. Its background is a mountainous area in a scarlet sunset. The composition emphasizes the constraint of the demon's figure, as if pressed between the upper and lower bars of the frame. The painting is created in Vrubel's unique style with the effect of crystal
231:
One can believe the Prince of the World posed for him. There is something deeply true in these terrible and wonderful paintings, agitating to tears. His Demon was faithful to his nature. He who came to love Vrubel still deceived him. Those seances were entirely scorn and mockery. Vrubel saw now one,
195:
had lunch with us. Very nice
Viennese artists, they are delighted with Misha and want to take everything to an exposition; unfortunately, his “Demon” will be too late for this exposition. He has a lot of work in general. Everyone requires his sketches and his advice, invite him to expositions, elect
253:
All relatives and acquaintances noticed something was going wrong with
Mikhail Aleksandrovich, but they still constantly doubted, because there was never any nonsense in his speech; he recognized all, remembered all. He only became much more self-confident, ceased feeling shy with people and spoke
182:
Vrubel suddenly sent a note to von Meck asking to send photos of the
Caucasian mountains: “I won’t fall asleep until I get them!” Upon receiving photos of Elbrus and Kazbek soon afterward, that night behind the demon's back grew pearl-coloured peaks, “fanned with the eternal cold of death”. While
258:
was brought to St. Petersburg for an exposition of “Mir
Iskusstva”, and Mikhail Aleksandrovich, though the painting was already on display, redrew it every day since the early morning, and I saw with terror that there were changes every day. There were days when
248:
was sold to
Tretyakov Gallery, where it is situated until now, being its most prominent exhibit. In early 1902, people around Vrubel began to notice symptoms of a developing mental disorder in him. His wife told her sister Ekaterina Ge about that as follows:
338:
263:
was very dreadful, and later deep sadness and new beauty appeared in the expression of Demon’s face again… In general, despite the disorder, artistic ability did not leave Vrubel; it's even as though it grew, but it already became unbearable to live with
177:
near the drawing-room, there was a small room decorated with an arch. Along its entire length, from the window to the wall, a giant canvas stood. Vrubel broke it down in squares with a rope and coal. His face was excitedly cheerful. “I begin,” he
183:
Vrubel was considered sane in general, people around him noted his irritability. Despite the mainly negative responses of contemporary critics, his popularity among painting lovers grew over time. In autumn of 1901, his spouse
232:
now another side of his deity, now both of them, and in the pursuit after that subtlety, he started quickly moving toward the abyss which his passion for the occult pushed him to.
436:
404:
377:
431:
272:, and then believed he would become the General-Governor of Moscow; then he turned into the Russian sovereign, and then he suddenly became
125:
edges, which makes his paintings look like stained glass or panels. That effect was achieved with plain strokes made with a
280:. He heard choirs of voices, claimed to have lived in the Renaissance age and painted walls in the Vatican together with
153:
145:
268:
Finally, they had to institutionalize Vrubel with a mania. The painter would imagine himself as Christ, then
426:
137:
244:, when in 1902 the board of directors of the Tretyakov Gallery decided to not buy it. Later, in 1908, the
184:
321:
170:
311:
207:
was finished in
December 1901 and displayed for several days in Moscow as an unfinished painting.
289:
400:
373:
86:
328:
305:
273:
237:
224:
192:
105:
27:
161:
In 1900, Vrubel approached the theme of "Demons" again. Having not yet finished the piece
303:
The image of a demon often appears in
Mikhail Vrubel's art. In 1890 he drew the painting
197:
126:
113:
50:
196:
him a member of various societies; they only pay a little money, but his glory grows.
420:
220:
285:
68:
39:
165:(1900), in 1901 the painter started drawing preliminary sketches for the painting
394:
367:
227:, who had observed Vrubel's attempts to change the finished painting, wrote:
369:
Utopian
Reality: Reconstructing Culture in Revolutionary Russia and Beyond
236:
Vladimir von Meck, one of the organizers of the exhibition, and his uncle
78:
139 cm × 387 cm (55 in × 152 in)
281:
269:
277:
90:
219:
was brought from Moscow to an exhibition organized by the society “
366:
Lodder, Christina; Kokkori, Maria; Mileeva, Maria (2013-10-24).
240:
acquired many canvases of Vrubel's. This included a variant of
315:
where the demon is depicted as a mighty ruler of the world.
292:
who first discovered the painter's mental disorder.
82:
74:
64:
56:
46:
21:
200:has left jail and also requires Misha’s sketches.
399:. Knopf Doubleday Publishing Group. p. 64.
8:
288:. Vrubel was examined by the psychiatrist
18:
254:incessantly. By that time, the painting
152:
144:
136:
358:
317:
7:
112:) is a piece by the Russian painter
437:Collection of the Tretyakov Gallery
393:Wullschlager, Jackie (2008-10-21).
16:Painting by painter Mikhail Vrubel
14:
337:
320:
38:
1:
116:, created around 1901–1902.
432:Paintings by Mikhail Vrubel
211:Exposition of Mir Iskusstva
191:Recently, delegates of the
453:
109:
37:
26:
266:
234:
202:
180:
158:
150:
142:
372:. BRILL. p. 28.
309:. In 1899 he created
251:
229:
189:
187:wrote to her sister:
175:
156:
148:
140:
290:Vladimir Bekhterev
217:The Demon Downcast
205:The Demon Downcast
167:The Demon Downcast
159:
151:
143:
101:The Demon Downcast
22:The Demon Downcast
406:978-0-307-27058-0
379:978-90-04-26322-2
171:Vladimir von Meck
110:Демон поверженный
97:
96:
87:Tretyakov Gallery
32:Демон поверженный
444:
411:
410:
390:
384:
383:
363:
345:The Demon Flying
341:
329:The Demon Seated
324:
312:The Demon Flying
306:The Demon Seated
225:Alexandre Benois
193:Vienna Secession
163:The Demon Flying
111:
42:
19:
452:
451:
447:
446:
445:
443:
442:
441:
417:
416:
415:
414:
407:
392:
391:
387:
380:
365:
364:
360:
355:
348:
342:
333:
325:
301:
215:In early 1902,
213:
185:Nadezhda Zabela
135:
122:
17:
12:
11:
5:
450:
448:
440:
439:
434:
429:
427:1902 paintings
419:
418:
413:
412:
405:
385:
378:
357:
356:
354:
351:
350:
349:
343:
336:
334:
326:
319:
300:
294:
212:
209:
198:S. I. Mamontov
157:A sketch, 1901
149:A sketch, 1901
141:A sketch, 1901
134:
131:
127:painting knife
121:
118:
114:Mikhail Vrubel
95:
94:
84:
80:
79:
76:
72:
71:
66:
62:
61:
58:
54:
53:
51:Mikhail Vrubel
48:
44:
43:
35:
34:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
449:
438:
435:
433:
430:
428:
425:
424:
422:
408:
402:
398:
397:
389:
386:
381:
375:
371:
370:
362:
359:
352:
346:
340:
335:
331:
330:
323:
318:
316:
314:
313:
308:
307:
299:
295:
293:
291:
287:
283:
279:
275:
271:
265:
262:
257:
250:
247:
243:
239:
233:
228:
226:
222:
221:Mir Iskusstva
218:
210:
208:
206:
201:
199:
194:
188:
186:
179:
174:
172:
168:
164:
155:
147:
139:
132:
130:
128:
119:
117:
115:
107:
103:
102:
92:
88:
85:
81:
77:
73:
70:
69:Oil on canvas
67:
63:
59:
55:
52:
49:
45:
41:
36:
33:
29:
25:
20:
395:
388:
368:
361:
344:
327:
310:
304:
302:
297:
286:Michelangelo
267:
260:
255:
252:
245:
241:
235:
230:
216:
214:
204:
203:
190:
181:
176:
166:
162:
160:
123:
100:
99:
98:
31:
120:Description
421:Categories
353:References
173:recalled,
75:Dimensions
274:Skobelev
93:, Russia
83:Location
396:Chagall
282:Raphael
270:Pushkin
238:Nikolai
133:History
106:Russian
28:Russian
403:
376:
347:, 1899
332:, 1890
298:Demons
296:Other
278:Phryne
91:Moscow
65:Medium
47:Artist
261:Demon
256:Demon
246:Demon
242:Demon
178:said.
169:. As
401:ISBN
374:ISBN
284:and
264:him.
60:1902
57:Year
276:or
423::
129:.
108::
89:,
30::
409:.
382:.
104:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
