The artist is Nesterov
The “Russian Parisian” was called the artist Elizabeth Kruglikova, who worked and taught in Paris for about twenty years. Nesterov was delighted with her elegant and at the same time difficult art of engravings, the brightness of her talent and the portrait of meeting after a meeting in Moscow in May 1938 (stored in the GTG). The second portrait of the artist was conceived in 1939. Nesterov did not dare to start him for a long time – age and illness affected him. This time, attention was focused on the face-middle-aged, but still beautiful, illuminated from the inside with the wisdom of the years, bright creative light. The portrait was dear to both the artist and the model, which also remained pleased with his admission to the meeting of the Russian Museum. Alfiya Nizamutdinova. Inspired by man // Mikhail Nesterov. SPb, 2012. WITH. 222.
Kruglikova Elizaveta Sergeevna (1865–1941) – graphic, painter, teacher.
Nesterov created two portraits of the circle. He was familiar with Elizabeth Sergeyevna and extremely highly appreciated her work. When they were a meeting in Moscow by chance in 1938 in Moscow, Mikhail Vasilievich proposed writing her portrait. Elizaveta Sergeevna lingered in Moscow to pose. The work was completed in three weeks, and almost immediately the Tretyakov Gallery acquired it in her collection. In the fall of the same year, another meeting of Mikhail Vasilyevich and Elizabeth Sergeyevna took place, visiting the family and. P. Pavlov in Leningrad. It was decided to write a second portrait. But it was possible to start work only at the beginning of the summer of 1939. Kruglikova came to Moscow, and the artist wrote it with no less hobby than the first time. However, the work was progressing hard, Mikhail Vasilievich felt old and tired. He joked in letters that he was 150 years old with a model. Nesterov was glad that he wrote this portrait, he liked him more than the previous one. The artist believed that a simple definition of a portrait image – “smart” – fell into the very goal that he set for himself. He wanted to “move away from the effect of the posture, move away from the severity of the first portrait, look more closely and deeper into the face of a middle -aged artist, look for her there and look for her art there: to find beauty in the person – the truth of this bright woman”. This time he did not seek to conceal the age of this beautiful “Russian Parisian” who admired him with both his art and human appearance. The proposal for acquisition from the Russian Museum followed. The artist wanted the portrait to be shown at the anniversary celebrations in Leningrad in honor of the 75th anniversary of Elizabeth Sergeyevna, which were outlined in February 1940 (however, the museum did not have time with the acquisition for this time). As a result, the portrait nevertheless adorned the collection of the Russian Museum, which the author and model were satisfied. (A. N.). Russian portrait. XX century: St. Petersburg, 2001. WITH. 258.
Kruglikova Elizaveta Sergeevna (1865, Petersburg – 1941, Leningrad) – schedule, engraver, painter; teacher. The author of theoretical works on graphics techniques. She studied at Mucvz (1890–1895), at the Academy. Witti and studios f. Kolarossi in Paris (1895–1897). Member of the exhibitions since 1892. Russian portrait. XX century: St. Petersburg, 2001. WITH. 397.
