Contents: 20 slides, teaching aid
The slide set tells about the work of the first Russian portrait painters F.S. Rokotova, D.G. Levitsky and V.L. Borovikovsky. Images of portraits of A.P. Struyskaya, Khrushcheva and Khovanskaya, P.A. Demidova, M.I. Lopukhina, Catherine II on a walk in Tsarskoye Selo Park and others are objective and accurate psychological characteristics, express advanced views on personality, its human and social value.
The visual series of the manual includes the following slides
Click on the picture to enlarge
1. F. Rokotov. Portrait of Prince Grigory Volkonsky. 1780
2. F. Rokotov. Portrait of Varvara Surovtseva. 1780
3. F. Rokotov. Portrait of an unknown woman pink dress. 1770s
4. F. Rokotov. Portrait of Countess Elisabeth Santi. 1785
5. F. Rokotov. Portrait of Alexandra Petrovna Struyskaya. 1772
6. F. Rokotov. Portrait of a naked girl. 1780s
7. D. Levitsky. Portrait of Khrushcheva and Khovanskaya. 1773
8. D. Levitsky. Portrait of Ekaterina Molchanova. 1776
9. D. Levitsky. Alexander Kokorinov, director and first rector of the Academy of Arts. 1769
10. D. Levitsky. Portrait of Princess Praskovya Repnina. 1781
11. D. Levitsky. Portrait of the Empress's adjutant Alexander Lansky. 1782
12. D. Levitsky. Portrait of Prokofy Akinfievich Demidov. 1773
13. D. Levitsky. Portrait of Maria Alekseevna Dyakova. 1778
14. V. Borovikovsky. Portrait of the sisters of the princesses A.G. and V.G. Gagarins. 1802
15. V. Borovikovsky. Portrait of Ekaterina Arsenyeva. 1790
16. V. Borovikovsky. Portrait of Skobeeva. 1790
17. V. Borovikovsky. Portrait of Major General Fyodor Borovsky. 1799
18. V. Borovikovsky. Countess Anna Bezborodko with daughters Lyuba and Cleopatra 1803
19. V. Borovikovsky. Portrait of Maria Ivanovna Lopukhina
20. V. Borovikovsky. Catherine II on a walk in Tsarskoye Selo Park. 1794
Fyodor Stepanovich Rokotov- one of the best Russian portrait painters.
In 1762, he was accepted as an adjunct to the newly founded St. Petersburg Academy of Arts for the painting “Venus” presented to it and for the portrait of Emperor Peter III. He was already famous in St. Petersburg high society. When Catherine II ascended the throne, she commissioned him, in 1763, to paint her portrait, for which she gave him sessions in Peterhof: this portrait, depicting the Empress in full height, in profile, among a beautiful architectural setting, was presented to Count G. Orlov and is currently located in the Gatchina Palace.
Another portrait of the great monarch, a half-length one, was also painted by Rokotov from life (probably in Moscow, in 1765). Catherine was very pleased with him, finding that he was “one of the most similar.” The portrait was granted by her to the Academy of Sciences, where it is kept to this day. There are many repetitions of this portrait, both exact and with minor changes in accessories; most of them are attributed to Rokotov himself.
In addition to these two images of Catherine, several portraits of Peter III (one in the Moscow Armory, two in the Gatchina Palace) and Tsarevich Pavel Petrovich (the best one in the same palace) and many portraits of prominent people of Catherine’s era came out from the brush of a talented painter , including I. I. Shuvalov, Count G. Orlov, A. A. and B. A. Kurakin, L. I. Bibikov, P. G. Demidov, G. N. Teplov and others.
The most mysterious work of Rokotov, perhaps, is a portrait of an unknown person in a cocked hat, since until now researchers have not established who is depicted in it: either Catherine in a man’s dress, or illegitimate son empress from Count Orlov.
Portraits of Count Struysky and his wife Alexandra Struyskaya - the count is depicted as an arrogant man who, being an intelligent and educated man, personally flogged serfs and beat his wife. The wife appears in the portrait sad, with sad eyes. “An angel who descended to earth,” they said about her. Despite her husband's cruelty, she treated serfs.
Portrait of Maykov
Incredibly realistic, he perfectly reflects the essence of this person: a poisonous grin, a sly look. All people high society They were afraid of this man because he was witty and cynical, and his epigrams were so caustic that after them, people were afraid to go out into the world.
Dmitry Grigorievich Levitsky is the most significant master of the glorious galaxy of artists of the 18th century. His work is the culmination of the development of Russian portraits of the 18th century. The artist, as it were, summed up what had been done during the previous period and laid the foundations for new achievements in the field of Russian realistic portrait.
What was this man's mission?
The fact is that he showed himself as an example of a painter of rare gift, but the main thing is that he became a mirror that was passed by characters an entire era.
We can see Levitsky’s appearance, with his slightly bilious and passionate face, first, on a small oval of a self-portrait, where he is in the color of youth, in a three-quarter expressive turn, with a proud and dreamy gaze directed slightly upward and into the distance; then in the portrait signed by Borovikovsky: the lips are open, a word is about to fall from them, the gaze, although wide, is tense and suffering, the elbow rests on a thick book.
The history of Russia in faces - this is how we can briefly say about the creative heritage of D. G. Levitsky, a painter of rare gift, whose brush reflected the era of the 18th century on his canvases. Tsars and courtiers, philosophers and socialites, cold beauties and writers, industrialists and diplomats, aristocrats and merchants, officials and military men, parents and children - their portraits speak about the past much more meaningfully than any words. Hundreds of faces, smart and stupid, evil and kind, sensual and cold, faces of the so-called gallant age. Whatever face is character. Every face is a biography.
These are not just representatives of the Catherine century, they are its personification, they are its creators. The artist fully fulfilled his mission as a painter of history (although he did not create a single historical painting) and for this his contemporaries first raised him to the pedestal of glory, and then happily forgot, absorbed in their own affairs, intrigues and calculations. And it is not known under which hill in the old Smolensk cemetery the person who managed to immortalize their images is buried.
Relatively late, at the end of the 1790s, Borovikovsky gains fame as a famous portraitist.
Chamber portraits predominate in his work. In his female images, V.L. Borovikovsky embodies the ideal of beauty of his era. In the double portrait “Lizynka and Dashinka” ( 1794 ) the portrait painter with love and reverent attention captured the maids of the Lvov family: soft curls of hair, whiteness of faces, light blush.
The artist subtly conveys inner world the people he portrays. In a chamber sentimental portrait, which has a certain limitation of emotional expression, the master is able to convey the variety of intimate feelings and experiences of the depicted models. An example of this is the one performed in 1799"Portrait of E. A. Naryshkina."
Borovikovsky strives to establish the self-worth and moral purity of man (portrait of E. N. Arsenyeva, 1796 ). In 1795, V. L. Borovikovsky wrote “Portrait of the Torzhkov peasant woman Christinya,” we will find echoes of this work in the work of the master’s student, A. G. Venetsianov.
In the 1810s, Borovikovsky was attracted to strong, energetic personalities; he focused on citizenship, nobility, and dignity of those portrayed. The appearance of his models becomes more restrained, the landscape background is replaced by images of the interior (portraits of A. A. Dolgorukov, 1811, M. I. Dolgorukaya, 1811, etc.).
V. L. Borovikovsky is the author of a number of ceremonial portraits. The most famous of them are “Portrait of Paul I in a white dalmatic”, “Portrait of Prince A. B. Kurakin, Vice-Chancellor” (1801-1802). Borovikovsky's ceremonial portraits most clearly demonstrate the artist's perfect mastery of the brush in conveying the texture of the material: the softness of velvet, the shine of gilded and satin robes, the shine of precious stones.
Borovikovsky is also a recognized master portrait miniature. In the collection Russian Museum works belonging to his brush are stored - portraits of A. A. Menelas, V. V. Kapnist, N. I Lvova and others. As basics for his miniatures the artist often used tin.
The work of V.L. Borovikovsky is a fusion of the styles of classicism and sentimentalism that developed at the same time.
In his last years, Borovikovsky returned to religious painting, in particular wrote several icons for under construction Kazan Cathedral,iconostasis Church of the Smolensk Cemetery in St. Petersburg. Gave painting lessons to a then aspiring artist Alexey Venetsianov.
In the 18th century, the “Europeanization” of Russian culture took place - the process of introducing Russian culture to European culture.
Fedor Ivanovich Shubin
The remarkable Russian sculptor Fyodor Ianovich Shubin was born near Kholmogory, Arkhangelsk province, into a peasant family. His father had a long-standing friendship with M.V. Lomonosov.
In his youth, Shubin was engaged in an ancient Pomeranian craft - bone carving, and in 1759 he went to St. Petersburg, where he entered the Academy of Arts in the sculpture class.
Shubin studied at the Academy of Arts for more than 10 years, and after graduating, he was sent as a pensioner to Paris. In 1770 he moved to Rome, where he studied the sculpture of antiquity and the Renaissance for three years and worked independently, executing busts of F.N. Golitsina, A.G. Orlova (1771) and others.
In 1773, Shubin returned to Russia with the title of member of the Bologna Academy of Arts and the fame of a skilled craftsman. Soon he was elected academician for his portrait of Catherine II.
In the portrait gallery of Shubin appears Russian society XVIII century. The precision and versatility of the characteristics, the variety and richness of compositional solutions give Shubin’s busts exceptional expressiveness.
The complex human personality is revealed by the portrait of Prince A.M. Golitsyn, created by Shubin immediately after returning to his homeland. The masterfully processed surface of marble gives you the feeling of the warmth of the skin, the splendor of a wig, and the finest lace jabot. No less interesting are the busts of M.R. Pashina, Z.G. Chernysheva, P.A. Rumyantsev-Zadunaisky, V.G. Orlova and many others.
Shubin works hard and quickly, never repeating himself or falling into a pattern. Shubin’s psychological insight was revealed with particular force in his works last period. He enthusiastically sculpts a portrait of his great countryman Lomonosov (1792), emphasizing in his appearance the features of a fearless inquisitive mind, energy, and spiritual breadth. The sculptor in this work is far from any pomp and officiality. Lomonosov's image is deeply democratic.
The bust of A.A., created by the sculptor in 1798, is unusually expressive in its sharpness and merciless characterization. Bezborodko, secretary of Catherine II, an intelligent, powerful, cruel and voluptuous man.
While working hard on portraits, Shubin also found time for monumental and decorative sculpture. In 1774-1775 for the Chesme Palace near St. Petersburg, he made 58 marble medallions with images of Russian princes and tsars, then created several allegorical statues and reliefs for the marble palace being built in St. Petersburg. Later, Shubin participated in the decoration of the Trinity Cathedral of the Alexander Nevsky Lavra, and in 1789-1790. performs a ceremonial statue of Catherine II, the legislator, for the Tauride Palace.
Shubin's work is one of the pinnacles of Russian and world realistic sculpture. Its best traditions were adopted by a whole galaxy of major Russian masters - Kozlovsky, Martos and sculptors of the 19th century.
ABOUT One of the most mysterious and charming authors of the 18th century is the artist Fyodor Stepanovich Rokotov. His delicate, intimate, deeply poetic portraits are imbued with an awareness of the spiritual and physical beauty of man. The artistry and vitality of Rokotov's works delighted his contemporaries. They noted that the painter could, playfully, when describing a face and gaze, reflect both a fiery soul and tenderness of heart.
The painted “Portrait of A.P. Sumarokov” achieved high marks. In the 60s, the “Portrait of V. I. Maykov,” an energetic and mocking poet, the author of the heroic-comic poem “Elisha, or the Irritated Bacchus” and mischievous fables, was created." The colors of Rokotov in the portrait of Maykov are dim, but rich. The face is painted strong, bold.
Rokotov's portraits of women are amazing. Portraits of the unknown woman in a pink dress, V. E. Novosiltsova, P. N. Lanskaya are captivating. I want to look at these faces again and again. They are illuminated by harsh direct light. Dark, slightly closed eyes are full of velvety depth. The corners of the lips are sharply outlined, as if ready to smile. These faces are full of vibrant, vibrant feeling, but they never fully reveal themselves. It’s practically impossible to “read” anything in them; it’s easier to read thoughts or get cheats for CSS. The author uses refined compositional and rhythmic means. Yes, him late works almost all are enclosed in an oval shape. The coloring of the paintings is complex, refined, but unmistakably accurate. In the ratio of tones, Rokotov achieves a subtle, melodic consonance.
The intriguing mystery of Rokotov’s images has survived to this day. Aren't these languidly wise, smiling ladies condescendingly talking with dreaming boys in love and dancing a minuet in dimly lit old halls?
Nikolai Zabolotsky gave a positive assessment of the painting of Fyodor Rokotov in the twentieth century in his poem, seeing in the “Portrait of A. Struyskaya” “souls of changeable signs.”
Among the first artists of the 18th century, named in Russian art century portrait, Dmitry Grigorievich Levitsky takes pride of place. His ceremonial and chamber images of Empress Catherine II, her nobles, famous people in Russia, relatives of the artist, and students of the Smolny Institute of Noble Maidens contributed to European recognition rapidly developing Russian painting. In terms of skill, they were hardly inferior to the masterpieces of Western European portrait painters of that time. Born into the family of a priest, D. Levitsky from childhood became acquainted with, as we would now say, the hobby of his father, who successfully combined his preaching activities with engraving - decorating church books with drawings.
Fate favored young D. Levitsky. He became (before creation Imperial Academy art remained for about a dozen years) as a student who came to Kyiv to paint St. Andrew's Cathedral famous painter A.P. Antropov, in whose “team” the future portrait painter worked for a fair amount of time. The actual year of birth of D.G. Levitsky's mark in great painting began in 1770, when his first portraits were presented at an exhibition at the already functioning Academy of Arts. The success was so impressive that the artist received the title of academician and an invitation to head the portrait class of the Academy. His years began creative success and recognition. However, D.G. Levitsky does not limit himself only to the circle of pictorial problems.
Among Levitsky's friends are leading people of Russia (portraits of some of them, for example, writers N.I. Novikov, N.A. Lvov, A.V. Khrapovitsky, are the pride of Russian painting of the 18th century). The nineteenth century was not so kind to D.G. Levitsky, although after a significant break he, in 1807, again became an adviser to the Academy of Arts. Years, illness, blindness left his highest achievements in the 18th century.
Borovikovsky Vladimir Lukich, Russian artist of historical, church and portrait painting. Coming from a Cossack family. It is assumed that he used the advice of the famous portrait painter D. G. Levitsky, who later became his teacher. From his teacher, Borovikovsky adopted brilliant technique, ease of writing, compositional skill and the ability to flatter the person being portrayed. In the early St. Petersburg period, Borovikovsky painted miniature portraits, painted in oil, but imitating miniatures on enamel. He also excelled in ceremonial portraiture; many of his works in this genre were revered as models. From the 2nd half of the 1790s. Borovikovsky finds a vivid expression of the trait of sentimentalism in his portraits. In contrast to the official class portrait, he develops a type of depiction of a “private” person with his simple, natural feelings, which manifest themselves most fully in the lap of nature. Delicate, faded colors, light, transparent writing, smooth, melodic rhythms create a lyrical atmosphere of dreamy elegance. The artist’s talent was most clearly revealed in the series women's portraits: O. K. Filippova, E. N. Arsenyeva, E. A. Naryshkina, V. A. Shidlovskaya and others. They are not as spectacular as men’s, small in size, sometimes similar in composition, but they are distinguished by exceptional subtlety in the transmission of characters, elusive movements of mental life and is united by a tender poetic feeling. Borovikovsky reproduces in the portrait the typical features of the national Russian landscape - white birch trunks, cornflowers and daisies, golden ears of rye. The national spirit is also emphasized in the image of Lopukhina, who is given an expression of tender sensitivity.
Among the many Russian and foreign artists who worked in Russia, the outstanding masters of portraiture in the 18th century can safely be called
A.P. Antropova, I.P. Argunova, F.S. Rokotova, D.G. Levitsky, V.L. Borovikovsky.
On his canvases A.P. Antropov and I.P. Argunov sought to portray a new ideal of a person - open and energetic. Cheerfulness and festivity were emphasized bright colors. The dignity of those depicted, their corpulence was conveyed with the help of beautiful clothes and solemn static poses.
A.P. Antropov and his paintings
Self-portrait of A.P. Antropov
In the works of A.P. Antropov still has a noticeable connection with icon painting. The master paints the face with continuous strokes, and clothes, accessories, background – freely and broadly. The artist does not “fawn over” noble heroes their paintings. He paints them as they really are, no matter what features, positive or negative, they have (portraits of M.A. Rumyantseva, A.K. Vorontsova, Peter III).
Among the most famous works portraits of the painter Antropov:
- Izmailova;
- A.I. and P.A. Quantitative;
- Elizaveta Petrovna;
- Peter I;
- Catherine II in profile;
- Ataman F. Krasnoshchekov;
- portrait of the prince Trubetskoy
I.P. Argunov - portrait artist of the 18th century
I.P. Argunov “Self-portrait”
Developing the concept of a national portrait, I.P. Argunov quickly and easily learned the language European painting and abandoned old Russian traditions. What stands out in his legacy are the ceremonial retrospective portraits that he painted from lifetime images of P.B.’s ancestors. Sheremetev. His work also predicted the painting of the next century. He becomes the creator of a chamber portrait, in which great attention is paid to the high spirituality of the image. This was an intimate portrait, which became more common in the 19th century.
I.P. Argunov “Portrait of an unknown woman in a peasant costume”
The most significant images in his work were:
- Ekaterina Alekseevna;
- P.B. Sheremetev in childhood;
- the Sheremetev couple;
- Catherine II;
- Ekaterina Alexandrovna Lobanova-Rostovskaya;
- unknown woman in peasant costume.
F.S. Rokotov - artist and paintings
A new phase in the development of this art is associated with the name of the Russian portrait artist F.S. Rokotova. He conveys the play of feelings and the variability of human character in his dynamic images. The world seemed spiritual to the painter, and so are his characters: multifaceted, full of lyricism and humanity.
F. Rokotov “Portrait of an unknown man in a cocked hat”
F.S. Rokotov worked in the genre of semi-ceremonial portrait, when a person was depicted from the waist up against the background of architectural buildings or a landscape. Among his first works are portraits of Peter III and Grigory Orlov, seven-year-old Prince Pavel Petrovich and Princess E.B. Yusupova. They are elegant, decorative, colorful. The images are painted in the Rococo style with its sensuality and emotionality. Thanks to Rokotov’s works, you can learn the history of his time. The entire advanced noble elite sought to be captured on the canvases of the great painter.
Rokotov’s chamber portraits are characterized by: a bust-length image, a ¾ turn towards the viewer, the creation of volume by complex cut-off modeling, and a harmonious combination of tones. Using data expressive means the artist creates a certain type of canvas that depicts the honor, dignity, and spiritual grace of a person (portrait of the “Unknown Man in a Tricorne Hat”).
F.S. Rokotov “Portrait of A.P. Struyskaya”
The artist’s youthful and female images, and even a certain Rokotov type of woman developed (portraits of A.P. Struyskaya, E.N. Zinovieva and many others).
In addition to those already mentioned, the following works brought fame to F.S. Rokotov:
- IN AND. Maykova;
- Unknown in pink;
- V.E. Novosiltseva;
- P.N. Lanskoy;
- Surovtseva;
- A.I. and I.I. Vorontsov;
- Catherine II.
D.G.Levitsky
D. G. Levitsky Self-portrait
They said that the portraits of D. G. Levitsky reflected the entire century of Catherine. Whoever Levitsky portrayed, he acted as a subtle psychologist and certainly conveyed sincerity, openness, sadness, and also national characteristics of people.
His most outstanding works: portrait of A.F. Kokorinov, a series of portraits “Smolyanka”, portraits of Dyakova and Markerovsky, a portrait of Agasha. Many of Levitsky’s works are considered intermediate between ceremonial and chamber portraits.
D.G. Levitsky “Portrait of A.F. Kokorinov”
Levitsky combined in his work the accuracy and truthfulness of Antropov’s images and Rokotov’s lyrics, as a result of which he became one of the most outstanding masters 18th century . His most famous works are:
- E. I. Nelidova
- M. A. Lvovoy
- N. I. Novikova
- A. V. Khrapovitsky
- the Mitrofanovs
- Bakunina
V.L. Borovikovsky - master of sentimental portrait
Portrait of V.L. Borovikovsky, artist. Bugaevsky-Blagodatny
The personality of the domestic master of this genre V.B. Borovikovsky is associated with the creation sentimental portrait. His miniatures and oil portraits depicted people with their experiences, emotions, and conveyed the uniqueness of their inner world (portrait of M.I. Lopukhina). Women's images had a certain composition: the woman was depicted against a natural background, waist-deep, leaning on something, holding flowers or fruits in her hands.
V.L. Borovikovsky “Portrait of Paul I in the costume of the Order of Malta”
Over time, the artist’s images become typical for the entire era (portrait of General F.A. Borovsky), and therefore the artist is also called the historiographer of his time. The artist's portraits are from Peru:
- V.A. Zhukovsky;
- “Lisanka and Dashenka”;
- G.R. Derzhavina;
- Paul I;
- A.B. Kurakina;
- "Beardless with daughters."
For the development of Russian painting, the 18th century became a turning point. Portrait becomes the leading genre . Artists adopt painting techniques and basic techniques from their European colleagues. But the focus is on a person with his own experiences and feelings.
Russian portrait painters tried not only to convey similarities, but also to reflect on their canvases the soulfulness and inner world of their models. If Antropov and Argunov sought to overcome conventions and truthfully portray a person, then Rokotov, Levitsky and Borovikovsky went further. Inspired personalities look out from their canvases, whose mood was captured and conveyed by the artists. They all strove for the ideal and sang beauty in their works, but physical beauty was only a reflection of the humanity and spirituality inherent in Russian people.
Did you like it? Don't hide your joy from the world - share itF.S. Rokotov(1732 ill. 1735/6-1808) - an outstanding portrait painter XVIII century. Early 60s – study at the Academy of Arts. 1765 – awarded the title of academician. The innovative nature of Rokotov’s work (portraits of Grand Duke Pavel Petrovich in childhood and youth, A.G. Bobrinsky in childhood, poet V.I. Maykov, etc.). Moscow period (portraits of the Struisky couple, “Unknown in a cocked hat”, A.I. Vorontsov, “Unknown in a pink dress”, etc.). Poetic spirituality in Rokotov’s portraits of the 80s. (portraits of V.E. Novosiltseva, P.N. Lanskaya, E.V. Santi and others).
Features of Rococo and Classicism in his work.
Great master Russian portrait painting D.G. Levitsky(1735-1822) – creator of images of representatives of different strata of Russian society of the 70-80s of the 18th century. Management of the portrait class of the Academy of Arts (1771-1787).
Portraits of the 60s. Most famous portrait of that time - a portrait of A.F. Kokorinova.
“Smolyanka” is a famous suite of seven portraits (F.S. Rzhevskaya and N.M. Davydova, E.I. Nelidova, E.N. Khrushcheva and E.N. Khovanskaya, A.P. Levshina, N.S. Borscheva, E.I. Molchanova, G.I. Alymova, 1770s).
Portraits advanced people XVIII century – Denis Diderot, P.A. Demidova, N.A. Lvov.
Women's portraits of the 80s - princesses P.N. Repnina, E.A. Vorontsova, N.Ya. Levitskaya, A.D. Levitskaya.
Male portraits of the 80s - M.F. Poltoratsky, A.V. Khrapovnitsky, A.D. Lansky.
Creation of ceremonial portraits of the Empress. "Portrait of Catherine II - the legislator in the temple of the goddess of justice." Program for this portrait.
Portraits of the 90s - V.I. Mitrofanova and M.A. Mitrofanova; I.I., Gauf.
Features of classicism in the works of Levitsky.
The most prominent representative of the new stage in the development of portraiture V.L. Borovikovsky (1757-1825).
Early works masters (portraits of O.F. Filippova, Catherine II).
The lyricism of female portraits. Portrait of M.I. Lopukhina. The role of accessories in revealing the personality image male portrait(portraits of G.R. Derzhavin, D.P. Troshchinsky, F.A. Borovsky).
Work on ceremonial portraits of Paul I, Prince A.B. Kurakin, prince of the Persian Qajar dynasty Murtaza Quli Khan.
Transfer of friendship and strength family relations in group portraits. Portraits of Lizynka and Dasha, sisters of A.G. and I.G. Gagarins.
Features of classicism and sentimentalism in the works of Borovikovsky.
Borovikovsky's participation in early XIX century in work on the iconostasis of the Kazan Cathedral.
Other Russian portrait painters second half of the XVIII century. P.S. Drozhdin(1745 (?) - 1805). Portrait of the artist A.P. Antropova with her son in front of a portrait of his wife. Portrait of Empress Maria Feodorovna.
L.S. Miropolsky(1744/5-1819). Presumably, he is a student of D.G. Levitsky. Portrait of the adjunct rector of the Academy of Arts G.I. Kozlova.
S.S. Shchukin(1762-1828) – portrait painter. From 1788 he taught in the portrait painting class at the Academy of Arts. The significance of the portraits of Paul I by Shchukin for revealing the personality of the Russian emperor.
V.Ya. Rodchev (1768-1803). History painter and portrait painter. Taught drawing in a historical painting class. The thoroughness of elaborating the image of the person being portrayed.
S. Pogodin. Portrait of the engraver and miniaturist G.I. Skorodumova.
M.I. Belsky(1753 (?) – 1794 (?)). Portrait of history and geography teacher Baudouin with two pupils of the Academy of Arts of the first and third age.
N.I. Argunov(1771 – not earlier than 1829). Portrait painter, miniaturist, decorator. Serf of Count N.P. Sheremetev. He painted portraits of artists of the serf theater, ceremonial portraits of Paul I, N.P. Sheremetev and his wife, former serf actress P.I. Kovaleva-Zhemchugova.
Foreign portrait painters. I.-B. Lumpy the Elder(1751-1830) - Austrian painter. Portraits of Empress Catherine II and her favorites.
V. Eriksen(1722-1782) – Danish painter. Portraits of Empress Catherine II. “A hundred-year-old Tsarskoye Selo woman with her family.”
J.-L. Veil(1744 - not earlier than 1806) - French painter. Portraits of members of the imperial family (Grand Duke Pavel Petrovich, Grand Duke Alexander Pavlovich, Empress Maria Feodorovna). Portrait of I.P. Elagina.
A. Roslin(1718-1793) - Swedish painter. He painted portraits of members of the imperial family and high nobility.
Everyday genre in Russian painting
Second half of the 18th century
Interest in human personality, to the life of different segments of the Russian population.
Russian painters I. Firsov(c. 1730 – no earlier than 1785). " Young painter" The influence of the French school of painting on this work. M. Shibanov(? – not earlier than 1789). "Peasant Lunch", "Conspiracy".
Foreign painters who contacted everyday genre. AND I. Mettenleiter(1750-1825) – German painter. "Country Dinner", "Peasants and the Pie Merchant".
Landscape in Russian fine arts
Second half of the 18th century
Landscape in Russian painting of the second half of the 18th century.
S.F. Shchedrin(1745-1804) – founder of Russian landscape painting. Since 1776 - head of the landscape painting class, since 1799 - head of the engraving landscape class at the Academy of Arts.
The artist's works: “Noon. (View in the vicinity of Lake Nemi)”, “Landscape with a cow”, “View in the estate of P.G. Demidov Sivoritsa near St. Petersburg” and others.
F.Ya. Alekseev(1753/4-1824) - one of the founders of the Russian urban landscape. Study in Russian Academy arts, at the Venice Academy of Arts. Since 1803 he taught at the Academy of Arts in the class of perspective painting.
Italian views in the artist’s work. " Internal view yard with garden. Loggia in Venice." Copies of works by A. Canal and B. Belotto.
Russian views in the artist’s work. St. Petersburg: “View of the Palace Embankment from the Peter and Paul Fortress”, “View of the Mikhailovsky Castle in St. Petersburg from the Fontanka”, “View of the Mikhailovsky Castle and Constable Square”. Moscow: “Red Square”, “View of the Moscow Kremlin and the Stone Bridge”.
Oriental views in the artist’s work. "View of the city of Bakhchisarai."
MM. Ivanov(1748-1823) – landscape and battle painter. From 1800 he led the class battle painting, from 1804 – a class of landscape painting.
Reporting pensioner work. Paired paintings “Milking a Cow” and “Shepherd and Shepherdess Returning from the Pasture.”
Service on the staff of the governor of the southern provinces of Russia, Prince G.IA. Potemkin. Paintings created by the artist during a trip to Ukraine, Crimea, Georgia, Armenia. “View of Etchmiadzin in Armenia”, etc.
The role of landscape painting in the master’s battle works – “The Assault of Izmail”, “The Assault of Ochakov”.
F.M. Matveev(1758-1826). Heroic landscape in the style of classicism in the works of Matveev. “View of the city of Tivoli near Rome”, “Landscape with figures in ancient clothes”.
Sculpture of the second half of the 18th century.
Creativity F.I. Shubina
The rise of the national school of sculpture.
The role of ancient heritage in the works of Russian sculptors of the second half of the 18th century. Theme and artistic language characteristic of classicism.
M.I. Kozlovsky(1753-1802). Contemporaries in the image ancient gods. Statue of Catherine II in the image of Minerva, Catherine II in the image of Themis. A.V. Suvorov in the image of Hercules (“Hercules on horseback”) and Mars (monument to A.V. Suvorov). Mythological, literary and historical heroes antiquity in the works of sculpture: “Apollo”, “Sleeping Cupid”, “Cupid with an arrow”, “Hymen” “Narcissus” (“Boy, drinking water"); terracotta based on the Iliad; "Vigil of Alexander the Great".
F.F. Shchedrin(1751-1825). “Marsyas”, “The Sleeping Endymion”, “The Judgment of Paris”, “Venus”, “Diana”.
F.G. Gordeev(1744-1810). "Prometheus".
Monumental sculpture. Civic ideas and high imagery of sculptural monuments of the second half of the 18th century.
EM. Falcone. Monument to Peter I. (Help from the sculptor’s student – M.-A. Kallo in creating the portrait of the emperor). M.I. Kozlovsky. Monument to A.V. Suvorov.
The second half of the 18th century was the heyday of the main genres of sculpture.
Memorial sculpture. Artistic tombstone and memorial theme in Russian art. I.P. Martos(1754-1835). Evolution from the “volubility” of early tombstones to simplicity and brevity artistic language classicism. Tombstone of the statesman, diplomat Count N.I. Panin, tombstone of Princess E.S. Kurakina, tombstone of Princess E.I. Gagarina. Using the experience gained during their creation in the monument to citizen Minin and Prince Pozharsky.
Decorative sculpture. Decorative sculpture of Peterhof. F.G. Gordeev. Bas-reliefs of the Great Peterhof Palace and sculptures for the cascades. F.F. Shchedrin. Participation in the creation of the sculptural complex of Peterhof fountains (“Neva”). I.P. Prokofiev (1758-1828). His works for the Peterhof fountains are “Shepherd Akid”, “Volkhov”, “Tritons”.
Portrait. The work of a portrait sculptor F.I. Shubina(1740-1805). Studying at the Academy of Arts and retirement (relief portrait of I.I. Shuvalov and bust of F.N. Golitsyn). Cycle historical portraits– fifty-eight oval marble reliefs for the Chesme Palace.
Portraiture from life is the main line of the sculptor’s creativity. Busts - Vice-Chancellor Prince A.M. Golitsyn, general-in-chief of His Serene Highness Prince G.G. Orlov, Field Marshal General Count P.A. Rumyantsev-Zadunaisky, Minister of Public Education P.V. Zavadovsky, Field Marshal B.P. Sheremetev, Field Marshal General His Serene Highness Prince G.A. Potemkin-Tavrichesky, Field Marshal Prince N.V. Repnin, Infantry General P.A. Zubov, Admiral V.Ya. Chichagov, Secretary of State and Chief Chamberlain Count A.A. Bezborodko.
Working from memory. Portrait of a great fellow countryman - M.V. Lomonosov.
Portraits and statues of Russian emperors. Numerous portraits of Catherine II. Statue “Catherine II – Legislator”. The closeness of this work to the pictorial portrait of Levitsky and the program created for this work by the architect Lvov. Uncompromising portraits of Paul I.