Oil Paintings
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Makovsky, Vladimir Russian, 1846-1920
Painter, brother of Konstantin Makovsky. He studied at the Moscow School of Painting, Sculpture and Architecture from 1861 to 1866 under Sergey Zaryanko and other artists. From 1872 Makovsky was a member of the WANDERERS (Peredvizhniki). In his early pictures, Makovsky usually portrayed contemporary manners and morals in a spirit of gentle irony, as in the Lovers of Nightingales (1872-3; Moscow, Tret'yakov Gal.). Such works reveal Makovsky's skill in defining precisely and carefully the role of each figure in the scene. In the mid-1870s Makovksy began to concentrate on the central theme of most of his subsequent work: the glaring social contrasts of Russian life.
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Painting ID:: 19259
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Makovsky, Vladimir Bankruptcy 1880
Oil on canvas
The Russian Museum, St. Petersburg.
Painting ID:: 35117
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Makovsky, Vladimir Night Pasturing of Horses mk100
1879
Oil on canvas
67x77cm
Painting ID:: 35142
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Makovsky, Vladimir On the Boulevard mk100
1886-1887
Oil on canvas
53x68cm
Painting ID:: 35173
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Makovsky, Vladimir A Doss-House mk100
1889
Oil on canvas
94x143cm
Painting ID:: 49145
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Makovsky, Vladimir In the Doctor-s Wating Room mk193
1870
Oil on canvas
69.4x85.3cm
Painting ID:: 75479
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Makovsky, Vladimir Street Mouizz Dinn In Cairo (1842-1886)
Date before 1886
cyf
Painting ID:: 86379
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Makovsky, Vladimir Portrait of Artist's children 1882(1882)
Medium Oil on canvas
Dimensions 192 x 82 cm (75.6 x 32.3 in)
cyf
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Makovsky, Vladimir
Russian, 1846-1920
Painter, brother of Konstantin Makovsky. He studied at the Moscow School of Painting, Sculpture and Architecture from 1861 to 1866 under Sergey Zaryanko and other artists. From 1872 Makovsky was a member of the WANDERERS (Peredvizhniki). In his early pictures, Makovsky usually portrayed contemporary manners and morals in a spirit of gentle irony, as in the Lovers of Nightingales (1872-3; Moscow, Tret'yakov Gal.). Such works reveal Makovsky's skill in defining precisely and carefully the role of each figure in the scene. In the mid-1870s Makovksy began to concentrate on the central theme of most of his subsequent work: the glaring social contrasts of Russian life.
