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Konstantin Somov was born into the family of art historian A. The artist’s house was filled with all kinds of paintings, the whole family breathed art. Education in the visual field, Konstantin Andreevich will begin to receive at the Academy of Arts, but in 1897 he will leave for Paris to study art monuments. In his early paintings traced Russian symbolism, sophistication and daydreaming, which will become the hallmarks of the artist's style.
Being a member of the community "World of Art", the artist was widely erudite in various cultural issues. For five years, he was listed as the art director of the magazine, controlling the selection of illustrations and other design issues. By the way, it was Konstantin Somov who laid the foundation for Russian modernism in graphics and the design of theater programs.
He became famous as a painter for portraits and genre scenes on the plot lines of court balls and masquerades of the 18th century. Here, the taste for detail and refinement of colors are honed, however, along with this, the grotesque and conventional character of the characters is traced. Konstantin Andreevich’s enormous contribution to the field of book illustration, where he took an active part in the design of many magazines on the visual and applied art forms.
In particular, Somov discovered and became the founder of the banned "nude" genre. By the way, the painter’s personal attitude to him was demonstrated on the verge of satire and sensual grin. The painting "Lovers", written by him in 1920, absorbed the main and favorite techniques of the master. Eroticism is barely perceptible here, and, in general, the whole love scene is dramatized and unnatural.
The background for the hugs of lovers are motifs of native Russian landscapes. The fracture of the figures, frozen in a pose of passionate embrace, artificial and simulated facial expressions of lovers, give the impression of vaudeville heroes. Unlike the artist’s early works, this rustic scene is still full of irony.
However, there are no colorful and rich exquisite fabrics, idealism and dreaminess. The colors are cold and the whole range of colors seems gloomy, as before a thunderstorm. Somov here, presumably, applied an experimental technique - oil was applied to paper previously glued to a metal plate. Thus, the canvas created a special effect of refinement.
A landscape with thin branches should be poetic, but excessive toxic tones increase the feeling of depression and the inevitability of separation and regret hanging over the couple. Somov invariably acts as a puppeteer, turning the heroes of his scene into puppets. Thus, he tries to express the drama of life, emphasizing how much in the world remains beyond the control of man.
Children Running From The Storm Composing