Portrait of Maria Yermolova (Russian: Портре́т М. Н. Ермо́ловой) is a painting by the Russian artist Valentin Serov, completed in 1905. Measuring 224 × 120 cm, it was created to commemorate the 35th anniversary of Maria Nicolayevna Yermolova's debut at the Maly Theatre. The portrait was commissioned and funded by members of Moscow’s literary and artistic community. Work on the painting took place at Yermolova's residence on Tverskoy Boulevard, with the actress posing for thirty-two sessions. The painting was formally presented in 1907 at a banquet held in her honour.
During Serov’s lifetime, the portrait was exhibited at the Tavricheskaya Exhibition (1905), organized by Sergei Diaghilev, and at the Russian Art Exhibition in Paris (1906), as well as at Union of Russian Artists exhibitions. In 1920, it became part of the Maly Theatre’s collection and was transferred to the State Tretyakov Gallery in 1935 (Inv. No. 28079). A known preparatory sketch reveals Serov’s early decisions on composition, perspective, and the monumentality of the image, with particular emphasis on Yermolova’s silhouette.
Created during the First Russian Revolution, the painting reflects Serov’s worldview shaped by events such as Bloody Sunday in 1905. In Yermolova’s image, he sought to express idealized traits associated with Russian humanist traditions. Contemporary responses were mixed—ranging from outright rejection to acclaim as a profound representation of the actress’s creative essence. Film director Sergei Eisenstein later noted that Serov’s compositional choices anticipated cinematic montage techniques.
Background
In 1905, Maria Yermolova was preparing to mark the 35th anniversary of her stage debut. Initially, a charity performance at the Maly Theatre was planned for 30 January. However, the outbreak of the First Russian Revolution and the political unrest that followed led Yermolova to cancel all celebratory events. In response, her friends—members of the Moscow Literary and Art Circle, established by artist Alexander Yuzhin and poet Valery Bryusov— decided to commission a portrait as a tribute. The task of securing the commission fell to artist Ilya Ostroukhov, who also persuaded Yermolova, initially reluctant to "expose herself," to agree to pose for Valentin Serov.
At the time, Serov was one of Russia’s most sought-after portraitists, known for his selectiveness. He often declined commissions unless he felt a personal connection to the subject, once describing himself as a "lazy egoist" who chose what was easiest or most appealing. However, Serov held Yermolova in high regard and frequently attended her performances. Both were known among their close circles as reserved and introspective, a quality that fostered a sense of kinship between them.
Lacking a traditional studio, Serov typically worked in the homes of his sitters.Some sources mention that some of Serov's apartments in Moscow still contained studios. At the same time, the artist himself wrote that he refused to receive foreign painters who wanted to visit him at home: "They imagine that each of us has the same palaces, studios, etc., as most of them in Paris or Munich. What should I do, where should I invite, what should I show?" Only a few works, including portraits of Yermolova and Fyodor Chaliapin, were painted in his personal space, known as the “Hall.” The main work on Yermolova’s portrait took place at her residence at 11 Tverskoy Boulevard. The house, parts of which date back to the late 17th or early 18th century,During the restoration of the Yermolova Museum, were discovered bricks dated 1773. had a reputation for being haunted. It was purchased in 1889 by Yermolova’s husband, lawyer Nikolai Shubinsky, who later emigrated after the October Revolution, while Yermolova remained there for the rest of her life.Ostrovskaya R., Pelipeyko T. Музей Марии Ермоловой. [Museum of Maria Yermolova] (in Russian). Эхо Москвы (17 May 2009).
The portrait sessions took place in the mansion’s White Hall, a room adorned with mirrors, arches, and moulded cornices.The information about the date of the work is based on a letter that the art historian Radzimovskaya received from Tatiana Shchepkina-Kupernik in 1949. Over the course of February and March 1905, Yermolova sat for thirty-two sessions. To achieve a monumental effect, Serov positioned himself on a low bench, so the slightly taller actress appeared elevated, almost statuesque. He later described the experience to art historian Igor Grabar as physically demanding, noting the cramped position and lack of space to step back or even shift. The sessions were conducted in near silence, interrupted only occasionally by Shubinsky’s brief appearances.
In preparation, Serov also observed Yermolova on stage, using these impressions to capture her inner character. He later remarked modestly on the finished work: “But nothing, as if something had come out.” For the portrait, Serov received a fee of 1,000 rubles—substantially less than the 4,000 rubles he received for portraits of Nicholas II and Ida Rubinstein. The sum was collected by Ostroukhov from members of the Literary and Art Circle on 27 February 1905; Serov acknowledged receipt of the payment the following day.Валентин Серов в переписке, документах и интервью. Сборник в 2 томах / Сост. И. С. Зильберштейн, В. А. Самков [Valentin Serov in correspondence, documents and interviews. Collection in 2 volumes] (in Russian). Vol. 2. Л.: Художник РСФСР. 1989. P. 20.
Location In 1907, Maria Yermolova, exhausted by conflicts within the theatre administration and dissatisfied with the artistic direction of the Maly Theatre, announced her departure from the stage—though this retirement would later prove temporary. On 11 March, a banquet was held in her honour at the Moscow Literary and Artistic Circle. Attended by approximately 300 guests, the event brought together figures such as Nemirovich-Danchenko, Stanislavsky, colleagues from the Maly Theatre, and artists and intellectuals from across Russia. Numerous speeches praised Yermolova’s contribution to Russian theatre; Nemirovich-Danchenko notably described her as "the singer of women's heroism". During the celebration, Serov’s portrait of Yermolova was ceremonially unveiled. In a dramatic presentation, the actress was led into a darkened hall by Professor Bazhenov. As a white curtain dropped, the portrait appeared illuminated on the stage, prompting a wave of applause. The newspaper Russkiye Vedomosti reported that the painting, "effectively illuminated and surrounded by laurels," became the evening’s centrepiece.
By then, the portrait had already gained public recognition. It was first exhibited in 1905 at the Tauride Exhibition, organised by Sergei Diaghilev at the Tauride Palace. In 1906, it was shown in Paris as part of the Russian Art Exhibition under the auspices of the Société du Salon d'Automnes. It was also featured in Union of Russian Artists exhibitions across cities, including Moscow, St. Petersburg, Kazan, and Kiev.
The first posthumous exhibition of Serov’s work took place in January 1914 at the Academy of Arts in St. Petersburg and later moved to the Art Salon in Moscow. The Portrait of Maria Yermolova, on loan from the Literary and Artistic Circle, was included among the works on display. When the Circle disbanded in 1920, the painting was transferred to the Maly Theatre.Vakar I., Basilashvili K., Larina K. Художник Валентин Серов — портрет артистки Марии Ермоловой. [Artist Valentin Serov - portrait of artist Maria Yermolova] (in Russian). Эхо Москвы (25 November 2007)
In 1935, thanks to the efforts of artist Mikhail Nesterov—who considered the painting a masterpiece that should be publicly accessible—the portrait was placed in the State Tretyakov Gallery under temporary custody. After the 70th anniversary exhibitions of Serov’s work at the Russian Museum and the Tretyakov Gallery, Nesterov lobbied successfully for the portrait’s permanent placement in the latter. A formal transfer order was issued in 1949 by the Committee for Art Affairs. At the same 1935 jubilee exhibition, a preparatory sketch of the portrait, executed in pencil and watercolour, was also displayed.Выставка произведений В. А. Серова. 1865—1911 [Exhibition of the V. A. Serov's works. 1865-1911] (in Russian). М.: ГТГ. 1935. P. 54.According to some sources, in pencil and ink. Inventory number 11310, size 20.2 × 11.8 cm.
Yermolova's representation
In Valentin Serov’s Portrait of Maria Yermolova, there are no overt references to the sitter’s profession—no theatrical gestures, expressive movement, or dramatic facial expression. Yet the painting unmistakably conveys her identity as an artist. Her commanding posture, inner intensity, and the subtle "shadow of tragedy" evoke a spiritual force characteristic of individuals capable of influencing large audiences.История русского искусства [The History of Russian Art] (in Russian). Vol. 10, book 1. М.: Наука. 1968. P. 218.
Yermolova was a dominant figure in Russian theatre, revered by generations of spectators. Her authority was such that she could personally select her roles, even for benefit performances. Among her most celebrated portrayals were Maria Stuart in Schiller’s Maria Stuart, Joan of Arc in The Maid of Orleans, and Catherine in The Storm.And a total of about three hundred roles in fifty years of work in the theatre. Her realism and emotional power on stage were legendary. According to writer Tatiana Shchepkina-Kupernik, during the premiere of Tatiana Repina by Alexei Suvorin, Yermolova’s performance was so convincing that audience members believed she had actually died, leading to scenes of hysteria and fainting.
At the time the portrait was painted, Yermolova was at the height of her powers—physically vigorous, with a striking, austere beauty. Contemporaries often commented on the expressive depth of her brown, deeply set eyes. Maly Theatre actor Mikhail Lenin described them as “swimming in an endlessly raging sea", expressing a temperament so intense it stirred him to the core. Serov paid close attention to these nuances, capturing what art historian Natalia Radzimovskaya described as the “dominant” quality of her gaze—“extraordinary enlightenment.” Vladimir Lenyashin, director of the Russian Museum, likened the spiritual tension in the portrait to “a fire flickering in a vessel".
Offstage, Yermolova was known for her reserve and concentration, traits reflected in the portrait. She appears composed, yet charged with latent energy—embodying a balance between temperament and emotional discipline. Her hands, carefully posed and interlocked, suggest both dignity and resolve. Their sculptural quality has been compared to the dramatic gestures in Auguste Rodin’s The Burghers of Calais.
Whereas some of Serov’s female portraits resemble lyrical sketches, art historian Igor Grabar described the portrait of Yermolova as “a real drama, even a tragedy". Her figure, erect and imposing, evokes the timeless grandeur of a classical statue, further emphasized by the canvas’s vertical format. Yet the focal point remains her face—proud, serene, and detached from the trivial. The painting’s austere palette, dominated by blacks and greys in varied tonalities, mirrors the actress’s character. Serov’s portrait, though devoid of narrative devices, captures Yermolova’s essence through purely painterly means—expressing the gravitas of a performer who captivated audiences during one of Russia’s most turbulent eras.
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