Paintings by Maria Bashkirtseva. Bashkirtseva Maria Konstantinovna

Rodnina Irina Konstantinovna (born in 1949) Legendary Soviet figure skater. Three-time Olympic champion (1972, 1976, 1980). Ten-time world champion (1969–1978), eleven-time European champion (1969–1978, 1980), six-time USSR champion (1970–1971, 1973–1975,

Maria Konstantinovna Bashkirtseva (French Marie Bashkirtseff; November 12, 1858, Gavrontsy, Poltava district, Poltava province, Russian Empire - October 19, 1884, Paris, France) - Russian artist, author of the famous diary. She spent most of her life in France.

Maria Bashkirtseva, according to records found in the National Library of France[⇨], was born on November 24, 1858 in the estate of Gavrontsy (Gayvorontsy) near Poltava, Poltava province of the Russian Empire, in the family of the local leader of the nobility Konstantin Bashkirtsev and Maria Babanina. In posthumous editions of the diary, her age was reduced.

Maria spent her childhood in the village of Chernyakovka (the property of Colonel Chernyak), according to the modern administrative division - Chutovsky district, Poltava region of Ukraine. Every year, on Youth Day, an international fair takes place in Mariina Valley, named after Bashkirtseva.

After the divorce, the mother leaves with Maria, who was twelve years old at that time, to Europe: Vienna, Baden-Baden, Geneva. There the girl fell in love with the Duke of Hamilton, and later, in Nice, with the aristocrat Borel. Soon Borel's infatuation passes, and in 1873 the governess of a 15-year-old girl tells her terrible news: the Duke of Hamilton will marry, but, alas, not to her. “It’s like a knife stabbing into the chest,” Maria writes in her diary.

The next objects of her girlish loves are Count Alexandre de Larderel, Paul Granier de Cassagnac, Count Pietro Antonelli (nephew of Cardinal Giacomo), Audifret and others. Fascinated by de Cassagnac, a deputy and speaker, Maria seriously turns to politics. There is evidence that Bashkirtseva writes articles about feminism under a pseudonym, because even in Julian Academy, where a girl studies painting, the ideas of feminism caused laughter.

At the age of sixteen, Maria learns that she has tuberculosis. Now she spends a lot of time at resorts and feels the approach of imminent death. However, the girl also thinks about the fate of her diary, which she decides to publish. Her well-known correspondence with Guy de Maupassant dates back to the same period (1884), who, having first received a letter from a certain modest teacher Joseph Savantin, brushes aside this “writing.” In a response letter, this time on behalf of the girl, and not the teacher, Bashkirtseva refuses what was proposed by the writer himself.

The last pages of the diary are dramatic - Maria’s teacher, the famous French artist, dies of cancer Jules Bastien-Lepage. Musya, as the girl was affectionately called, takes care of her teacher and... dies first. Her last entry in her diary: “...Woe to us! And long live the concierges!.. For two days now my bed has been in the salon, but it is so large that it has been partitioned off with screens, and I cannot see the piano and the sofa. It’s already difficult for me to climb the stairs.”

Maria Bashkirtseva died of tuberculosis at the age of 25. She was buried in Paris, in the Passy cemetery. The Mausoleum of Maria Bashkirtseva, built by Emile Bastien-Lepage, is also the burial place of many other members of the Bashkirtsev-Babanin family. Above the entrance is a line from Andre Terrier, and inside are her easel, furniture, sculpture and some paintings, including one of Bashkirtseva’s last works, “Holy Wives.”

Maupassant, visiting her grave, said:

From the age of twelve until her death, Maria kept a diary in French (one hundred and five notebooks), which later became famous and was repeatedly translated into many languages, including Russian. The diary is imbued with subtle psychologism, a romantic “thirst for glory” and at the same time a tragic feeling of doom.

At the beginning of the 20th century, this book was very popular in Russia, and the most famous admirer of Bashkirtseva’s work and personality was Marina Tsvetaeva, who in her youth corresponded with Bashkirtseva’s mother (who died in the 1920s) and dedicated her first collection of poems to the “brilliant memory” of Bashkirtseva “ Evening album." On the cover of her second book, “The Magic Lantern,” Tsvetaeva announced an entire collection called “Maria Bashkirtseva. 3rd book of poems”, but it was not published (and, perhaps, was not written).

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  Maria Bashkirtseva, according to records found in the National Library of France, was born on November 24, 1858 in the estate of Gavrontsy (Gayvorontsy) near Poltava, Poltava province of the Russian Empire, in the family of the local leader of the nobility Konstantin Bashkirtsev and Maria Babanina. In posthumous editions of the diary, her age was reduced.

  Maria spent her childhood in the village of Chernyakovka (the property of Colonel Chernyak), according to the modern administrative division of the Chutovsky district of the Poltava region of Ukraine. Every year, on Youth Day, an international fair takes place in Mariina Valley, named after Bashkirtseva.

  After the divorce, the mother leaves with Maria, who was twelve years old at that time, to Europe: Vienna, Baden-Baden, Geneva. There the girl fell in love with Duke Hamilton, and later, in Nice, with the aristocrat Borel. Soon Borel's infatuation passes, and in 1873 the governess of a 15-year-old girl tells her terrible news: the Duke of Hamilton will marry, but, alas, not to her. Like a knife stabbing into your chest- Maria writes in her diary.

  The next objects of her girlish loves are Count Alexandre de Larderel, Paul Granier de Cassagnac, Count Pietro Antonelli (nephew of Cardinal Giacomo), Audifret and others. Fascinated by de Cassagnac, a deputy and speaker, Maria seriously turns to politics. There is evidence [ Where?] that Bashkirtseva writes articles about feminism under a pseudonym, because even at the Julian Academy, where the girl studies painting, the ideas of feminism caused laughter.

  At the age of sixteen, Maria learns that she has tuberculosis. Now she spends a lot of time at resorts and feels the approach of imminent death. However, the girl also thinks about the fate of her diary, which she decides to publish. Her famous correspondence with Guy de Maupassant dates back to the same period (1884), who, having first received a letter from a certain modest teacher Joseph Savantin, brushes aside this “writing.” In a response letter, this time on behalf of the girl, and not the teacher, Bashkirtseva refuses what was proposed by the writer himself.

  The last pages of the diary are dramatic - Maria’s teacher, the famous French artist Jules Bastien-Lepage, dies of cancer. Musya, as the girl was affectionately called, takes care of her teacher and... dies first. Her last entry in her diary: “...Woe to us! And long live the concierges!.. For two days now my bed has been in the salon, but it is so large that it has been partitioned off with screens, and I cannot see the piano and the sofa. It’s already difficult for me to climb the stairs.”

  Maria Bashkirtseva died of tuberculosis at the age of 25. She was buried in Paris, in the Passy cemetery. The Mausoleum of Maria Bashkirtseva, built by Emile Bastien-Lepage, is also the burial place of many other members of the Bashkirtsev-Babanin family. Above the entrance is a line from Andre Terrier, and inside are her easel, furniture, sculpture and some paintings, including one of Bashkirtseva’s last works, “Holy Wives.”

  Maupassant, visiting her grave, said [ ] :

  This was the only rose in my life whose path I would strew with roses, knowing that it would be so bright and so short!

  Diary

  From the age of twelve until her death, Maria kept a diary in French (one hundred and five notebooks), which later became famous and was repeatedly translated into many languages, including Russian. The diary is imbued with subtle psychologism, a romantic “thirst for glory” and at the same time a tragic feeling of doom.

  I implore the artists of the future to keep accurate diaries of their spirit: to look at themselves as at the sky and keep accurate records of the rising and setting of the stars of their spirit. In this area, humanity has only one diary of Maria Bashkirtseva - and nothing more. This spiritual poverty of knowledge about the inner heaven is the brightest black Fraunhofer trait of modern humanity.

  Bashkirtseva's diary is often compared to the Diary of Elizaveta Dyakonova. Comparing diaries, critics often gave preference to the Nerekhta provincial. “The late Elizaveta Dyakonova set herself the same goal as Maria Bashkirtseva, to write a “diary” that would serve as a “photograph of a woman,” noted someone under the pseudonym Odysseus in the Petersburg Gazette, “but Bashkirtseva produced negatives that were somewhat dramatized and theatrical.” poses, while Dyakonova is faithful to the truth and real to the last touch.” V.V. Rozanov spoke in the same sense. Even before the completion of the first edition, in 1904, he made an ardent appeal on the pages of Novoye Vremya:

  Read two volumes of the most interesting “Diary” of Ms. Dyakonova! Firstly, how Russian all this is, “it smells like Russia”, if you compare this unassuming “Diary” with the brilliantly vicious “Diary” of the half-French woman Bashkirtseva. There is so much soul, activity, thoughtfulness spilled here, what beautiful pages are devoted to thoughts about death. There is so much care for the people, children, family - not actual care (due to powerlessness), but at least in the soul.

  And twelve years later, after the fourth edition of Dyakonov’s “Diary” was published, Rozanov indicated his passion for it even more clearly, declaring that “this is one of the most beautiful books of Russian literature in the entire 19th century.”

  Dyakonova herself wrote about Bashkirtseva’s diary:

  I finished reading the diary of Maria Bashkirtseva. He didn't make the slightest impression on me. The author's personality is extremely unsympathetic. Find at least one attractive side of her character, indicate a sincere, heartfelt movement in this book! “I” shimmers on all pages with thousands of shades, from dark to light - and vice versa.

  I don’t understand how they could be interested in this diary abroad: Gladstone spoke of it as one of the greatest works of the end of this century. Others praise this book to the skies, because it supposedly “reflected the entire century, the present century, brilliant, but insignificant,” and Maria B. was its most typical representative.

  Poor 19th century! It was reflected in a proud, weak and immoral person! Is it really that, coming to an end, it doesn’t deserve a better comparison?..

  M. B-va, of course, is sincere in her diary, she paints herself as she is. She cannot be called talented; her talent is her brilliance. But this terrible egoism under the brilliant, beautiful appearance is monstrous. If you give this book to a monk to read, he will say: “Lost, unfortunate soul” - and, perhaps, he will be right. It’s sad to see how people are attracted to such books these days...

  Don't think that I am writing this out of female envy. There are few people in the world more worthy of envy!

  The fate of the legacy

  The Bashkirtsev estate was sold in 1900 to Count S. D. Sheremetev.

  In 1917-1919 the estate was destroyed; during the war [ ] not a trace remained of him.

  In 1908, Bashkirtseva’s mother donated a large collection of Maria’s works to the Alexander III Museum (one hundred and forty-one works: among them drawings, sketches, canvases, pastels, sculptural studies). In 1930, two paintings by Bashkirtseva were transferred from this collection to the Dnepropetrovsk Museum; in 1932, at the request of the People's Commissariat of Education of the Ukrainian SSR, the Russian Museum transferred one hundred and twenty-seven works by Bashkirtseva to Ukraine. Several works were transferred in 1929 to Krasnoyarsk. Eight paintings and thirteen drawings by Maria Bashkirtseva remain in the Russian Museum.

  During the evacuation of the Kharkov Art Gallery, sixty-six paintings by Bashkirtseva disappeared without a trace. Today, only three of her paintings remain in Ukraine: in the museums of Kharkov, Dnieper and Sumy.

  Bashkirtseva's original works are now rare due to the fact that most of them were lost during the Second World War during the bombing of Gavrontsy.

  Confession

  Notes

  1. Internet Movie Database - 1990.
  2. ID BNF: Open Data Platform - 2011.
  3. German National Library, Berlin State Library, Bavarian State Library, etc. Record #118653350 // General regulatory control (GND) - 2012-2016.
  4. Marie-Konstantinowna Bashkirtseff
  5. Cercle des Amis de Marie Bashkirtseff

  
  

  Genus. near Poltava November 11, 1860, d. October 31, 1884 Her childhood passed under abnormal conditions: after two years of marriage, her parents separated, and mother and daughter settled with her father, Babanin, a very rich landowner, a very educated man and not without poetic talent. In 1870, Babanin with his daughters and granddaughters moved permanently abroad, accompanied by his entire home staff and, after a short stay in Vienna, Baden-Baden and Geneva, chose Nice for permanent residence. From here the whole family often took trips around Europe and lived for long periods in Paris. Bashkirtseva early became a skilled musician, playing the piano, organ, harp, mandolin and guitar; from 1870 she began to study drawing under the guidance of Benz, and at the age of 16 “in just 35 minutes she sketched sketches of portraits of her father and brother from life.” Since February 1874, she has been studying Latin, and then Greek, reading the classics and is going to take the matriculation exam. “I am immersed,” she notes in 1876, in serious reading and see with despair how little I know... I have a feverish need to learn, but there is no one to guide me... In 1876, Bashkirtseva discovered a voice, according to a review Ave. Faccio, “in 3 octaves minus two notes,” and the strict Professor Wartel predicts her “artistic success if she works on herself.” This discovery delighted Bashkirtseva; she considered herself capable of being a “singer and artist,” since she had a “giant imagination” and she could not come to terms with the idea that her “poor young life would be limited to the dining room and household gossip.”

  After a platonic romance with the 23-year-old Count Antonelli, the nephew of the all-powerful cardinal under Pius IX, Bashkirtseva went to Little Russia in the fall of 1876. And here Bashkirtseva feverishly expands her knowledge, this time on agriculture, but specifically in order to “surprise someone with a conversation about sowing barley or the quality of rye, next to a poem by Shakespeare and a tirade from the philosophy of Plato.” In the spring of 1877, Bashkirtseva took a trip to Italy with her mother, met the artist Gordigiani, who encouraged her to take up painting and predicted a brilliant future for her. But the spoiled girl cannot calm down on anything: “Reading, drawing, music is boring! In addition to all these activities and entertainment, you need to have something alive, but I’m bored.” She cannot give up art, because then her life will be empty, and on the other hand, it seems to her that art in itself is a trifle and “only a means to achieve fame and success.” "If I had all this, I wouldn't do anything." And so she gives herself another year, during which she plans to work on herself even harder than before. In October 1877, she entered the studio of the artist Rodolphe Julian, which rightly enjoyed the reputation of the most serious school for women.

  Julian guessed his student’s great talent from the very beginning. And indeed, already in January 1879, at a competition at school, Lefebvre, Bouguereau, Boulanger and Robert Fleury awarded Bashkirtseva a medal, and in 1880 she, under the name Marie Constantin Russ, submitted to the art exhibition (Salon) a portrait of a “young woman reading "Question de divorce" by A. Dumas." In 1881, under the name "Andrey" she exhibited the painting "Julian's Workshop"; The Parisian press noted this picture as a work full of life, smartly written and successful in color. In 1883, Bashkirtseva appeared at an exhibition under her own name with a female portrait of “Parisian Woman”, painted in pastels; The drawing fully reflected the bright and original individuality of the artist. At the same time, she exhibited a genre oil painting, “Jean and Jacques,” depicting two Parisian schoolchildren; Bashkirtseva received a commendable review for this picture. In March 1884, at the women's art exhibition "Union des femmes" Bashkirtseva gave a painting called "Trois rires". In this sketch, very smartly written, extraordinary powers of observation and richness of colors were revealed. The same exhibition featured the elegant landscape “Autumn,” which captivated the viewer with its heartfelt melancholy. The same landscape was later exhibited by Bashkirtseva at the Salon, along with the “Meeting” genre. These paintings brought the artist wide fame in the world of French artists, among whom Bashkirtseva found an ardent admirer in the person of Jules Bastien-Lepage. The newspapers also started talking about her, first French and then Russian. But this fame did not satisfy Bashkirtseva, who made too high demands on contemporary art in general and on her own creativity in particular. “The other day, we read in the Diary, Tony (Robert Fleury) was forced to agree with me that you need to be a great artist to copy nature, because only a great artist can understand and convey it. The ideal side should consist in choice of plot; the execution must be in the full sense of what the ignorant call naturalism... I am tormented... I do nothing. They say that this torment proves that I am not a nonentity... unfortunately, no! They prove , that I am smart and understand everything... Fools think that in order to be modern or realistic, it is enough to write the first thing you come across, without arranging it. Well, don’t arrange it, but choose and grasp it - that’s all... What What attracts me to painting is life, modernity, the mobility of the things you see. But how to express all this?... Great can only be the one who opens his new path and begins to convey his special impressions, his individuality; my art does not yet exist"... "I have always loved form most of all... painting seems pathetic to me compared to sculpture... In my lifetime I have made two groups and two or three busts; all this is abandoned halfway, because, working alone, without a leader, I can become attached to the only thing that really interests me, where I invest my life, my soul "... A too nervous and stressful life exhausted Bashkirtseva’s strength and undermined her health: in 1878 she lost her voice, began to go deaf and gray in 1880, and consumption quickly began to develop in her in 1881. She was aware of her situation, and the proximity of inevitable death awakened in her soul new, hitherto dormant moods: “It seems to me,” she writes, that no one loves everything as much as I love - art, music, painting, books, light, etc. Everything seems to me from its interesting and beautiful sides: I would like to see everything, have everything, embrace everything, merge with everything" - and adds bitterly: "I find that it was stupid of me not to take up the only thing that gives happiness, makes one forget all sorrows - love." Despite her completely ruined health, Bashkirtseva in the fall of 1884 conceived the painting “Bench on Suburban Parisian Boulevards” for the 1885 exhibition and, while sketching sketches for it, caught a cold. After her death, in 1885, the French Society of Women Artists organized an exhibition of her works; Along with her already known paintings, new things appeared here: the almost completed - according to her own review, her most important painting, “Holy Wives after the Burial of Christ,” (this painting goes against all academic traditions) and about 150 more paintings, sketches, drawings and sculptural studies; all this gave the public the opportunity to become fully acquainted with the energetic, courageous talent of the deceased; her works breathe observation, deep humanity and free individual creativity: “Meeting” and “Portrait of a Model” by Bashkirtseva were acquired by the French government and placed in the Luxembourg Museum; two pastel portraits were received in provincial museums - in Ajan and Neraka. In 1887, on the initiative and at the expense of Dutch artists, an exhibition of Bashkirtseva’s works was held in Amsterdam. - Bashkirtseva was a member of the Paris Circle of Russian Artists (Cercle des artistes russes), and, according to her posthumous will, a prize “named after Maria Bashkirtseva” of 500 francs was established in Paris. , which is issued annually, in the painting department, to an exhibitor - male or female - who deserves promotion by his position.

  Bashkirtseva left behind an extensive autobiography, to which she attributes the significance of an “interesting human document,” but although the writer assures that her confession is “the exact, absolute, strict truth,” she, perhaps unconsciously, is not averse to showing off, and her diaries are not alien to thoughts will sooner or later appear before the public. From her numerous notebooks, Andre Terrier made a selection, which, under the title “Journal de Marie Baschkirtseff”, was published in Paris in the Bibliothèque Charpentier in 1887 in French (in 2 volumes), and then appeared in Russian translation in the Northern Messenger "; Soon the Diary was published as a separate edition in German and English. The best pages of the diary are the last part, where Bashkirtseva, aware of the approach of death, writes simply and sincerely and makes a stunning impression on the reader. "The Diary of Bashkirtseva" evoked a number of enthusiastic reviews in the European and American press, and Gladstone, in an article (published in the winter of 1890 in the Nineteenth Century Magazine) recognizes the work of the Russian artist as one of the most remarkable books of the entire century - in sincerity, artistic observation and convexity of the image of the artist’s struggle with the temptations of secular vanity.

  Larousse, Gr. dictionnaire universel, II supplement p. 485. - M. Baschkirtsefi, "Jourual". - Brockhaus and Efron, Encyclopedic Dictionary.

  (Polovtsov)

  Bashkirtseva, Maria Konstantinovna

  Artist. Genus. November 11, 1860 near Poltava, in a wealthy noble family. B. spent her first years in Kharkov province, on her mother’s estate. In May 1870, the Bashkirtsevs went abroad and, having visited Austria, Germany and Switzerland, settled in Nice. This is where the future artist spent her early youth, who from childhood showed many-sided talent and lively curiosity. At the age of thirteen, B. herself compiled a program for her studies, which included mathematics, physics and chemistry and both ancient languages; She spoke German, English and Italian since childhood, and French was her native language, in which she thought and wrote her diary. At the same time, B. passionately devotes himself to music. However, B.’s education, despite its versatility, was extremely unsystematic and fragmentary: those in charge of B.’s upbringing did not hesitate to take the girl away from her studies for the sake of social pleasures and travel. As for painting, it occupied the very last place in B.’s upbringing, but a love for this art and an unusually subtle artistic taste developed in her in her early years. In 1877, B. moved to Paris and entered the private academy of Rudolf Julian, where he devoted himself entirely to painting under the guidance of Professor Robert-Fleury. After eleven months of work, she received the first gold medal at the workshop’s general competition, unanimously awarded to her by the artists Robert-Fleury, Bouguereau, Lefebvre and others. In 1880, B. exhibited her first painting at the Salon: “A young woman reading Alexandre’s Question du divorce Dumas." At the Salon of 1881, B. exhibits signed Andrey the painting "Julian's Workshop", noted by the Parisian seal as a work full of life, with a solid pattern and warm color. In 1883, B. exhibited a pastel portrait and a large painting under his own name " Jean et Jacques", depicting two small schoolchildren from the poor class of the Parisian population. This picture attracted everyone's attention and aroused rave reviews from the press: the strong, brave, real talent of the artist reaches significant development in this picture. Then B. exhibits the original sketch "Three Laughs" and a large painting depicting schoolchildren gathered in a circle, entitled “Meeting.” The painting, for its remarkable strength of execution, for the extraordinary typicality of faces and figures, for the subtlety and truthfulness of details, took a leading place in the Salon of 1884 and brought the Russian artist the most flattering fame in world of French artists. While working on the painting "Bench on a Country Parisian Boulevard", B. caught a cold, and consumption, which had been slowly developing in her for several years, worsened and took her to the grave. B. died on October 31, 1884, about 24 years old After her death, the French Society of Women Artists organized an exhibition of all of B.'s works, where the public could see the extraordinary diversity and productivity of her talent; B. left about 150 paintings, sketches and drawings and, in addition, several sculptural sketches, revealing her great talent in this direction. After this exhibition, the French press unanimously spoke of B. as a first-class talent, as an artist who promised a number of brilliant works. Indeed, many of B.’s sketches indicate an extraordinary humanity and the depth of her energetic, courageous talent. Started map. “Holy Wives after the Burial of Christ” most certainly confirms this opinion with the originality of its design, which runs counter to the usual academic template. B.'s best paintings were purchased by the French government for national museums. " Meeting" and the pastel "Portrait of a Model" are in the Luxembourg Museum. In January 1887, an exhibition of B.'s paintings took place in Amsterdam - on the initiative and at the expense of the Society of Amsterdam Artists. Dutch art criticism fully confirmed the reviews of the French press. In the same year it was published Charpentier's "Diary of Bashkirtseff" (Journal de Marie Bashkirtseff). This two-volume edition represents a reduction of the enormous handwritten material left by the artist. This reduction, made by the famous novelist Andre Terrier, cannot be called particularly successful. But even in this form, the "Diary" represents a remarkable work, depicting with complete sincerity and purely artistic observation the entire story of B.'s life and her struggle with the temptations of light and vanity. The "Diary" aroused keen interest of the public and the press and in a short time went through several editions. In recent years, the "Diary" has been translated into the languages ​​German and English and caused a new series of enthusiastic reviews in the European and American press. In the winter of 1890, an article by Gladstone dedicated to the Diary appeared in the Nineteenth Century, in which the famous statesman calls the Russian artist’s Diary one of the most remarkable books of our century. Only some pages of the “Diary” were published in Russian in a very small book.

  (Brockhaus)

  Bashkirtseva, Maria Konstantinovna

  (1860-1884) - author of the famous "Diary", Russian artist. The aristocratic environment in which B. was born and raised, with its prejudices and secular, scattered life, did not allow B.’s abilities to develop to their full extent. In the “Diary” B., left alone with himself, tells the whole truth about himself - about his vanity, the desire to be the first everywhere, adventurous plans, and finally, about the emptiness of life, about a serious illness that she carefully hides from others. This “diary” is a wonderful “human document” characterizing a certain class. It has not yet been published in full. An incomplete text with articles by Könne and Gladstone was published in French in 1887 in 2 vols. There are translations into Russian and German. and English language As an artist, B. received insufficiently thorough training. She first performed in Paris, at the Salon, in 1880 (“A Young Woman Reading Dumas”). The main works are "The Meeting", "Jean and Jacques" (Paris, Luxembourg Museum). New criticism does not highly value Bashkirtseva’s artistic works, considering them technically very weak.

  Ed. "Diary" of B.: "From Bashkirtseva's diary", with the appendix of Art. Fr. Coppe and reviews in French. printing, translated by K. Plavinsky, St. Petersburg, 1889; Unpublished diary of Bashkirtseva and correspondence with Guy de Maupassant, edited by M. Gelrot, Yalta, 1904; Diary of Bashkirtseva, ed. Wolf, St. Petersburg, 1910.

  
  

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  Maria Bashkirtseva ... Wikipedia

  - (1860 84), Russian artist. The creative heritage (more than 150 paintings, drawings, watercolors, sculptures), as well as the “Diary” (in French; published in Russian translation in 1892) reflected the mentality and aesthetic trends of the latter... ... encyclopedic Dictionary

  - (1860 84) Russian artist. The creative heritage (more than 150 paintings, drawings, watercolors, sculptures), as well as the Diary (in French; published in Russian translation in 1892) reflected the mentality and aesthetic trends of the last quarter... ... Big Encyclopedic Dictionary

  Bashkirtseva (Maria Konstantinovna) artist. Born on November 11, 1860 near Poltava into a wealthy noble family. B. spent her first years in the Kharkov province, on her mother’s estate. In May 1870, the Bashkirtsevs went abroad and, visiting... ... Biographical Dictionary