All Makovsky, Vladimir Oil Paintings

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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Makovsky, Vladimir Bankruptcy oil on canvas


Bankruptcy
Bankruptcy
Painting ID::  19259
  1880 Oil on canvas The Russian Museum, St. Petersburg.
  1880 Oil on canvas The Russian Museum, St. Petersburg.

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Makovsky, Vladimir Night Pasturing of Horses oil on canvas


Night Pasturing of Horses
Night Pasturing of Horses
Painting ID::  35117
  mk100 1879 Oil on canvas 67x77cm
  mk100 1879 Oil on canvas 67x77cm

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Makovsky, Vladimir On the Boulevard oil on canvas


On the Boulevard
On the Boulevard
Painting ID::  35142
  mk100 1886-1887 Oil on canvas 53x68cm
  mk100 1886-1887 Oil on canvas 53x68cm

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Makovsky, Vladimir A Doss-House oil on canvas


A Doss-House
A Doss-House
Painting ID::  35173
  mk100 1889 Oil on canvas 94x143cm
  mk100 1889 Oil on canvas 94x143cm

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Makovsky, Vladimir In the Doctor-s Wating Room oil on canvas


In the Doctor-s Wating Room
In the Doctor-s Wating Room
Painting ID::  49145
  mk193 1870 Oil on canvas 69.4x85.3cm
  mk193 1870 Oil on canvas 69.4x85.3cm

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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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