Zinaida goes to Morocco...

My first encounter with Zinaida Serebriakova was sighting her fresh and beautiful self-portrait in Whitney Chadwick's book: Women, Art and Society (now in it's fifth edition). I was struck by it's openess; by the painting's many access points: the direct and honest gaze - a moment shared with the artist as she brushes her hair, in the morning, at her dressing table. I sense the morning light by the brightness of the room and the unlit candles. All that reflected light bouncing off the white walls, pale textiles and the mirror itself. There is eagerness in her eyes for the day ahead I feel.....

​The oil painting is titled: At the Dressing Table - 1909.
Before she painted this self portrait, at the age of 25, she had studied with Ilya Repin and Osip Braz, spent time in Italy (1902 - 1903) and attended the Academie de la Grand Chaumiere in Paris 1905 - 1906.
Zinaida was born in 1884 on the estate of Neskuchnoye near Kharkov (now Kharkiv, Ukraine) into one of the most refined and artistic families in the Russian Empire.
You can read more details about her life HERE​ including her battles, sacrifices and heartaches  (taking note of where and when she appears in history) as she tried to make a living, for herself and her family, from her artistic practice.

A couple of years ago, the image below, popped up on my FB feed on the Female Artists in History page. Instantly I recognised the women as Moroccan, loved the loose and proficient style of the artist's pastel sketch and searched for more of her work online. What a delight to find out this was Zinaida Serebriakova's work AND that she had visited Morocco on two occasions - 1928 and 1932. 

Here are more of Zinaida's excellent pastel drawings from Morocco - lively depictions of individuals, and she certainly honours the individual; clothed in their everyday dress, quietly sitting for their portraits. She captures the unmistakable light of Morocco; whether blazing and bouncing around a market square or filtered through greenery in a Riad courtyard.
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I'm attracted by her compelling combination of expressive lines;
​depicting contour, decoration, volume.....

Notice the way she works the pastel using it's side or point and also blending,
probably with her fingers, to achieve a more painterly effect and bring intensity to the faces. Lovely colours in the skin, working all their tonal values to achieve form and likeness.

I encourage you to research more of her work and techniques.
​Her oil paintings are beautiful, I specially like the family portraits....

Also the way her pastel drawing style is evident in her handling of oil paints;
​there is the active brush line, used both wet and dry, and the strong contour. 

I believe, a portrait made in the midst of another culture, in a traditional house (dar, riad or kasbah) or market place (souk), carries not just observations from sight, but the line created in time, holds sounds, smells, textures; sensory memories that enhance and deepen the drawing experience for the artist, and also in the end, the seeing experience for the artist's audience.
There are opportunities on my tours for portrait sessions - if you request them. These are always significant experiences for everyone involved. For example, if we draw en plein air, our sitter can translate the comments that passers-by make (sometimes very witty). Also the ever inquisitive children, who huddle and whisper quietly behind you, have the opportunity to glimpse a process they may long to emulate. It's also fun!

Any of my tours can include portrait sessions. Feel free to contact me via my Contact Page if you would like to arrange these for yourself and friends, perhaps your painting or craft group.
You can work in whatever medium you feel comfortable with. It doesn't have to be drawing or painting. It can be photography or work with fibres and textiles, even inspiration for jewellery.