The Russian Bride's Attire by Konstantin Makovsky - The Big Day

The Russian Bride’s Attire

The Russian Bride’s Attire c1889 by Russian Painter Konstantin Makovsky (1839 – 1915); specializing in Russian Historical paintings showing an idealized view of Russian life in past centuries.

The Russian Bride’s Attire is a wonderful scene depicting a young bride to be getting ready for the ceremony as the final touches are applied to her attire; with all the bridesmaids, her mother, brother and sister, who is sitting on the floor be her knees holding her hands.

In the far right at the door entrance to the room we can see the groom with a gift box in hand being stopped from entering the preparation room.

Ity dia kanto nomerika nohavaozina nataon'ny tompony taloha amin'ny sarin'ny sehatra ho an'ny daholobe.

Ny fampahalalana eto ambany dia avy amin'ny Wikipedia.org

Konstantin Makovsky was an influential Russian painter, affiliated with the “Peredvizhniki (Wanderers)”. Many of his historical paintings, such as Beneath the Crown (1889) also known as The Russian Bride’s Attire and Before the Wedding, showed an idealized view of Russian life of prior centuries. He is often considered a representative of Academic art.

Konstantin Makovsky was born in Moscow. His father was the Russian art figure and amateur painter, Yegor Ivanovich Makovsky. His mother was a composer, and she hoped her son would one day follow in her footsteps. His younger brothers Vladimir and Nikolay and his sister Alexandra also went on to become painters.

In 1851 Makovsky entered the Moscow School of Painting, Sculpture and Architecture where he became the top student, easily getting all the available awards. His teachers were Karl Bryullov and 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. From 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.). From 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.