Mikhail Vasilevich Nesterov

Adam Albrecht Aivazovsky Ivan Konstantinovich Aken Joseph van Aladar Padly Backer, Attributed to Jacob de Backhuysen Ludolph Balen I Hendrick van Barker of Bath Thomas Bassano Workshop of Jacopo Bassano II Francesco Baumgartner-Stoiloff Adolf (Constantin) Beer I. de Begeyn Abraham Jansz. Benois Albert Nikolayevich Benois Nikolai Leontjewitsch Berchem Nicholaes Berckheyde Gerrit Adriaensz. Blaas Julius von Bloemaert Abraham Blommaert Abraham Bogaert Hendrick Bogoliubov Alexei Petrovich Boilly Louis Léopold Boissieu Jean-Jacques de Boitmanis Ulrihs Bordone Paris Borisov Alexander Alekseevich Bossche Balthasar van den Bossoli Carlo Boudewijns Adraen Frans Bough Samuel Bray Jan de Brewer Henry Charles Bristow Edmund Broeck Elias van den Brueghel II Jan Bryullov Karl Pavlovich Burhardt Feodor Karlovich Carlone Giovanni Andrea Casanova Francesco Giuseppe Casteels Pauwels Castro Lorenzo A. 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Klodt von Jurgensburg Baron Mikhail Konstantinovich Koerner Ernest Karl Eugen Kolchin Petr Petrovich Kolesnikov Stepan Feodorovich Kollmann Karl Ivanovich Kondratenko Gavril Pavlovich Koninck Daniël de Kotov Nikolai Grigorievich Krachkovsky Josef Evstafievich Kravchenko Aleksey Ilyich Lagorio Lev Felixovich Lallemand Attributed to Jean-Baptiste Lancerey Yevgeny Alexandrovich Landseer Charles Langer Olaf Viggo Peter Lattry Mikhail Pelopidovich Le Prince Jean-Baptiste Lee Frederick Richard Lingelbach Johannes Loo Carle van Loutherbourg, R.A. 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Wyck Thomas Yakovlev Aleksandr Evgen'evich Zeeman Reinier Nooms, called Zhukovsky Rudolf Kazimirovich Zommer Richard Karlovich Zucchi Attributed to Antonio

esterov Mikhail Vasilevich

(Ufa, now in Bashkirskaya Republic of Russia 1862 - Moscow 1942)

Biography

Hayricks by the River

Biography

Mikhail Nesterov was a Russian painter (1862-1942). From 1877 to 1881 and again from 1884 to 1886 he studied at the Moscow School of Painting, Sculpture and Architecture under the Realist painters Vasily Perov and Illarion Pryanishnikov. Between 1881 and 1884 he worked under Pavel Chistyakov (1832–1919) at the Academy of Arts, St Petersburg. At the estate of Savva Mamontov at Abramtsevo he met the most influential painters of the period, then at the epicentre of the development of Russian Art Nouveau. Nesterov sought to combine this style with a deep Orthodox belief; however, in his desire to revive religious art he was influenced more by French Symbolism, particularly by Bastien-Lepage, than by old Russian icon painting. All of Nesterov’s canvases are marked by a lyrical synthesis between the figures and their landscape surroundings, as in Hermit (1888–9; Moscow, Tret’yakov Gal.), which shows the stooped figure of an old man against a northern landscape of stunted trees and still water. The large oil painting Vision of Young Bartholomew (1889–90; Moscow, Tret’yakov Gal.) depicts the legend of the childhood of the Russian saint Sergey of Radonezh. A monk appears to the young Bartholomew (the future St Sergius) and prophesies a glorious future for him. The simplified outlines and muted colours of the Abramtsevo landscape recall the works of the French artist Puvis de Chavannes, which Nesterov saw on a trip to Paris in 1889.
In the 1880s–90s Nesterov executed many wall paintings for churches, for example those that decorated the new church of St Vladimir in Kiev, which had been built in the old Byzantine style in 1882. After 1900 he painted many of the famous figures of his day including the writer Lev Tolstoy (1907; Moscow, Tolstoy Mus.) and the physiologist Ivan Pavlov (1935; Moscow, Tret’yakov Gal.). Nesterov continued to paint portraits of prominent figures, including the sculptor Vera Mukhina (1940; Moscow, Tret’yakov Gal.). Nesterov shows the sculptor at work on a plaster model, which she moulds through her sheer physical energy. The composition, on a diagonal, reinforces the effect of energy and is quite different from that of the portrait of the scientist Pavlov, who is shown in profile in a horizontal format that emphasizes the quiet processes of contemplation. Nesterov’s most ambitious and large-scale pre-revolutionary painting was In Rus [The Heart of the People] (1916; Moscow, Tret’yakov Gal.), an attempt to present a generalized image of Russia on the eve of threatening and irreversible changes.

Mikhail Vasilevich Nesterov (1862 - 1942)