Konstantin Makovskiy painted the portrait ‘A Girl, ” in the 1880s. Unfortunately, the artist couldn’t finish the left arm of the girl. Researchers assume that he discontinued the painting when the client decided not to pay the full price for the work. Despite the fact, the artist Konstantin Makovskiy’s skill is so impeccable that even an unfinished portrait made by him is still valuable.
This is a commemorative portrait of a girl. Therefore, the costumes and accessories are chosen with great care. The artist portrayed a baby girl in a light blue fluffy dress. On the side of the dress flaunts a big bow and the wide ribbon is wrapped around the waist. A necklace is seen on the child’s neck. Konstantin Makovskiy successfully worked out the cute round face of the girl — her big eyes attentively and confidently look directly at the viewer. The researchers were unable to find any information about the girl’s name or her family.
Konstantin Makovskiy lived from 1839 to 1915. While still studying at the Academy of Arts, he painted a portrait of Alexander II in one session, and thus instantly gained popularity. Makovskiy had received orders from the Romanov family, and members of the most prominent noble families to do portraits for — the Yusupovs, Stroganovs, and Volkonskiys. The artist recollected: ‘The most attractive women willingly posed for me… I earned a great deal of money, I lived like royalty, and successfully painted a myriad of paintings, decorative panels, portraits, sketches and watercolors.’
An intense academic school taught the artist how to marvelously paint figures of people, and the freedom to explore creatively allowed him to develop his art beyond just academia. The artist created colorful and light paintings. His works were noteworthy for the authenticity of the figures and conventional details, and at the same time their bright colors, expressive patterns and effective compositions were always impressive.
Even his close relationship with the peredvizhniki did not change the artist’s approach. His paintings on the theme of peasant life did not raise any delicate social issues: they retained the hue of the “flamboyant” salon portrait. His women laborers were not engaged in hard labor — the artist portrayed blushing young ladies in folk costumes against the backdrop of beautiful landscapes.
The critic Alexander Benoit said this about Konstantin Makovskiy: ‘If there ever was a popular artist in Russia, then it would be him. Perhaps they did not worship him, they did not call him God, but everyone loved him, and loved his imperfections - the very thing that brought the artist closer to his time.’
