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In this respect, Serebriakova’s self portrait is more honest to the “Itinerant” or realist school; even though the pearls signify wealth, her appearance is closer to that of a peasant woman.

In this nude portrait of 1930 we see a real mixture of influences of anachronistic styles.

Compare this nude with the nude by the younger Russian born Art Deco artist Tamara de Lempincka (1898-1980): In the painting there is an interplay between the geometical forms of the torso and the flesh.

It is also stresses sexuality more than sensuality.

The painting above is stylistically similar to the later painting of Ida Rubinstein by Valentin Serov (1865-1911) painted in 1910: In this painting we see the division of the canvas into two principle colour fields, and the use of the scarf to define depth.

Though it is in some respects more decorative than abstract, the painting is “flatter” than his many society portraits.

I for example remember a young woman in her early twenties, sat before a mirror, she is attending to her hair.The composition is rococco in form and oriental in tone (See the Boucher paintings in my previous essay on this site). Unlike the Goncharova nude, here the body is sensual, the sensuality emphasised by the texture and volumes in the fabrics.It is a self portrait and seems more serious than her self portrait at the dressing table – perhaps she painted from life rather than a photograph.Returning to the central painting by Serebriakova you will see that the dressing table has many traditional motifs which belong to Russian folklore and decorative arts: Both Serebriakova and Goncharova, though members of avant-garde movements, were heavily influenced by Russian folklore and culture.This is not surprising as we only have to turn to the early work of one of the greatest abstract artists of the twentieth century, Wassily Kandinsky, (1866-1944), to find Russian folklore informing his key paintings.

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The painting is exuberant, even cheerful in its characterisation of the sitter and in the choice of the palette. It was a portrait of optimism and above all confidence in being a woman.

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