Around his childhood he exposed under Ilya Repin (in Paris and Moscow) and in the St.Petersburg Academy of arts (1880-1885) under Pavel Chistyakov. Serov’s early creative thinking was sparked per influence of the realistic art of Repin and nonindulgent thin plastic technique of Chistyakov. A large influences within Serov were paintings of the old masters in museums of Russia and Western Europe, friendship by using Mikhail Vrubel and later using Konstantin Korovin, and a originative atmosphere of the Abramtsevo Colony circle to which he was closely connected.

A greatest works of Serov’s early time were portraits ("The Girl with peaches" (1887), "The Girl covered by the sun" (1888); each inside Tretyakov gallery). Within these paintings Serov concentrated on spontaneousness of perception of model & a nature and severity. Withinside development of weak & color, around transport of complex harmony of reflections, in a saturation of the environment by air, in freshness of picturesque perception of the globe there appeared the features of early Russian impressionism. From either 1890 on, the portrait became the basic genre around Serov’s art, where his early style would be apparent, & by owning psychologically pointed characteristics of the cases revealed inside his works. Serov’s favourite system were actors, creative person, & writers (K.The. Korovin, 1891, Isaac Levitan, 1893, Nikolai Leskov, 1894, Nikolai Rimsky-Korsakov, 1898, - all in Tretyakov gallery).

Abstaining from either polychrome, bright coloured painting styles of the 2nd half of 1880, Serov preferred the single dominating shell of black-grey or even 'last tones (though he transferred plenty of different shades of colour), utilized supplementary loose wide dabs, promoting an acuteness of transport of a nature and severity. Impressionistic features appeared for even instance lone inside composite construction of a portrait, or the character of movement of the model. Getting wide popularity, becoming around 1894 partners with Peredvizhniki, Serov was compelled to work good deal above custom-customised, as a rule, smart portraits (portraits of grand duke Pavel Alexandrovich, 1897 in Tretyakov gallery; his portraits of S.M. Botkin, 1899, & F.F. Yusupova, 1903, are two in the Russian museum in St.Petersburg). Around these true, compositionally expert, & picturesque executions, Serov additional & other systematically utilized a linear-rhythmic beginnings & cosmetic colour combinations.

At the equivalent instance, he developed a contrastive counsel: he oftentimes produced intimate, earnest, chamber portraits, in the main of kids & women. Inside portraits of youngsters Serov aspired to capture pose & gesture, to reveal & emphasize the spontaneousness of internal movement, solemn cleanliness & clearness of attitude of the little one ("Children", 1899, Russian museum; "Mika Morozov", 1901, Tretyakov gallery). Serov often required various graphic techniques - watercolors, pastels, lithographs and so forth. Numbers inside Serov’s portraits step by step became supplementary & supplementary graphically refined & economic, particularly in a cycle of the late period (Vasily Kachalov, 1908, Tamara Karsavina, 1909; numerous numbers to Ivan Krylov’s fables, 1895-1911, all in Tretyakov gallery, Russian museum & more collections). Around 1890 to the beginning of 1900, Serov produced many landscape compositions on united states themes, where romanticist beginnings facotred into artistic decisions.

inside the cycle of his late period (which began in 1900), Serov was connected using "The World of art", an association Serov was a member of from either its beginning. At the turn of the century, Serov was at a stylistic turning point: features of impressionism disappeared from either his function, & his modernistic style developed, but his characteristic true & naturalistic comprehension of the nature and severity of his cases remained constant. Midmost of 1900 Serov created heroic portrait images; having selected for the babies the genre of the hurt portrait, Serov developed a previous theme of the creative person searching for freedom in the disclosure of talent & his public importance (Maxim Gorki's portraits (1904, A.M. Gorki's museum, Moscow); Maria Yermolova (1905), Feodor Chaliapin (coal, 1905) - both inside Tretyakov gallery).

Serov’s popular beliefs were clearly shown in a period of the Revolution from 1905 to 1907: he depicted the total of satiric numbers exposing chastisers, & existence a to the full member of the St.Petersburg Academy of arts since 1903, in 1905 he left it as a gesture of protest against the execution on January 9. His late creative thinking was dominated by historical painting ("Peter II departure and Empress Elizabeth Petrovna on hunting", 1900, Russian museum), and depth of comprehension of the historical maintenance of an epoch ("Peter I", distemper, 1907, Tretyakov gallery).

A survive years of Serov’s life were marked by works in themes from either definitive mythology. Combining a mythologic image by having his have perspective, when addressing the ancient tradition, Serov gave his have interpretation of the ancient myths.

A better works of Serov come among a greatest of Russian naturalistic art. He taught in the Moscow School of painting, sculpturing and architecture from 1897 to 1909), and among his students were P.V. Kuznetsov, N.N. Sapunov, Martiros Saryan, Kuzma Petrov-Vodkin, N.P. Ulyanov, and Konstantin Yuon.

Some works
Image:Walentin Alexandrowitsch Serow 001.jpg|Domotkanovo, 1886 Image:Walentin Alexandrowitsch Serow 003.jpg|Portrait of Italian singer Angelo Masini 1890 Image:Walentin Alexandrowitsch Serow 005.jpg|Portrait of Isaac Levitan, 1893 Image:Walentin Alexandrowitsch Serow 004.jpg|Portrait of Nikolai Rimsky-Korsakov 1898 Image:Walentin Alexandrowitsch Serow 002.jpg|Children, 1899 Image:Serov140.jpg|Portrait of Ida Rubinstein 1910 Image:Yermolova.jpg|Portrait of Maria Yermolova 1905

de:Walentin Alexandrowitsch Serow ru:Серов, Валентин Ð?лекÑ?андрович