In 1909, the day before the student exhibition, a young student at the painting school Sasha (Alexander) Gerasimov met the eminent writer and journalist Vladimir Alekseyevich Gilyarovsky. Alexander Gerasimov made a vibrant description of the writer’s appearance, “Quite original-looking, somewhat reminiscent of Taras Shevchenko.” Fascinated with the landscapes of the young artist, Gilyarovsky recognized the Tambov governorate in them at once. Thus began their friendship, which lasted a quarter of a century until Vladimir Gilyarovsky passed away in 1935.

Alexander Gerasimov visited Gilyarovsky at his dacha in Gilyayevka near Ruza in the hot summer of 1912. They often drank tea on the terrace, resting in wicker chairs. This relatable scene provided the artist with material for portraits of Vladimir Gilyarovsky and his family, the first one being a portrait of the writer’s daughter and theater historian Nadezhda Gilyarovskaya.

Nadezhda Gilyarovskaya is depicted on her favorite terrace in a light wicker chair, sitting at a table with flowers, fruits and berries. The artist managed to capture the atmosphere of relaxation, the scene from an unassuming country life, where everything invites interaction, creativity, and art. The sitter’s image is deeply lyrical; she seems to be half observing the artist, while still perfectly at ease. Her face and blouse reflect numerous patches of sunlight. The artist uses the technique of small impasto strokes, inspired by pointillism, which was popular at the beginning of the century (from the French “pointe”, which means “point” or “tip”).

Alexander Gerasimov reminisced, “At that time, we, students at the School of Painting, were interested in painting as such. Human psychology fascinated us much less than painting techniques.” Gerasimov shows a play of light; he adds a joyful atmosphere to the painting by making the most of the paints, and the rich coloring conjures up images of summer, sun, and verdure.