Goddess of Water by Konstantin Makovsky - Ocean Beauty

Goddess of Water

Goddess of Water by Russian Painter Konstantin Makovsky (1839 – 1915); specializing in Russian Historical paintings showing an idealized view of Russian life in past centuries.

This is a beautiful and playful image of the Goddes of water partially nude with a dark pink cloth wrapped around her, and a string of pearls weaving through her golden hair sitting on an enormous sea shell on ocean waves.

In the sky behind her, is a cherub holding two sets of light violet ribbons in each hand that act as a leash to two pairs of swans that are connected to the sea shell by the ribbon as they move through the water pulling the Goddess along as if it was a chariot.

In the image we can see two of the four swans and in the background a mixing of lightly colored clouds that tend to merge with the spray of the ocean waves.

Dit is 'n geretoucheerde digitale kuns ou meesters-reproduksie van 'n beeld in die publieke domein.

Inligting hieronder afgelei van Wikipedia.org

Konstantin Makovsky was 'n invloedryke Russiese skilder, affiliated with the “Peredvizhniki (Swerwers)”. Baie van sy historiese skilderye, soos Beneath the Crown (1889) also known as The Russian Bride’s Attire and Before the Wedding, het 'n geïdealiseerde siening van die Russiese lewe van vorige eeue getoon. Hy word dikwels as 'n verteenwoordiger van Akademiese kuns beskou.

Konstantin Makovsky is in Moskou gebore. Sy pa was die Russiese kunsfiguur en amateurskilder, Yegor Ivanovich Makovsky. Sy ma was 'n komponis, en sy het gehoop haar seun sal eendag in haar voetspore volg. Sy jonger broers Vladimir en Nikolay en sy suster Alexandra het ook skilders geword.

In 1851 Makovsky het die Moskouse Skilderskool betree, Beeldhoukuns en argitektuur waar hy die topstudent geword het, kry maklik al die beskikbare toekennings. Sy onderwysers was Karl Bryullov en Vasily Tropinin. Makovsky’s inclinations to Romanticism and decorative effects can be explained by the influence of Bryullov.

Although art was his passion, he also considered what his mother had wanted him to do. He set off to look for composers he could refer to, and first went to France. Before, he had always been a classical music lover, and listened to many pieces. He often wished he could change the tune, or style of some of them to make them more enjoyable. Later in his life it came true.

In 1858 Makovsky entered the Imperial Academy of Arts in Saint Petersburg. Van 1860 he participated in the Academy’s exhibitions with paintings such as Curing of the Blind (1860) and Agents of the False Dmitry kill the son of Boris Godunov (1862). In 1863 Makovsky and thirteen other students held a protest against the Academy’s setting of topics from Scandinavian mythology in the competition for the Large Gold Medal of Academia; all left the academy without a formal diploma.

Makovsky became a member of a co-operative (artel) of artists led by Ivan Kramskoi, typically producing Wanderers paintings on everyday life (Widow 1865, Herring-seller 1867, etc.). Van 1870 he was a founding member of the Society for Traveling Art Exhibitions and continued to work on paintings devoted to everyday life. He exhibited his works at both the Academia exhibitions and the Traveling Art Exhibitions of the Wanderers.

A significant change in his style occurred after traveling to Egypt and Serbia in the mid-1870s. His interests changed from social and psychological problems to the artistic problems of colors and shape.

In the 1880s he became a fashionable author of portraits and historical paintings. At the World’s Fair of 1889 in Paris he received the Large Gold Medal for his paintings Death of Ivan the Terrible, The Judgement of Paris, and Demon and Tamara. He was one of the most highly appreciated and highly paid Russian artists of the time. Many democratic critics considered him as a renegade of the Wanderers’ ideals, producing (like Henryk Siemiradzki) striking but shallow works,[2] while others see him as a forerunner of Russian Impressionism.