Works of Russian art 18th century. European trends in Russian painting

The 18th century is the period in which colossal transformations occurred in all areas: political, social, social. Europe introduces new genres to Russian painting: landscape, historical, household. The realistic direction of painting becomes predominant. Live man - hero and carrier of aesthetic ideals of that time.

In the history of the arts of the 18th century, he entered the time of picturesque portraits. Have your own portrait wanted everything: from the queen to an ordinary official from the province.

European trends in Russian painting

Famous Russian artists of the 18th century were forced to follow Western fashion at the behest of Peter I, who wanted to Europeanize Russia. He attached great importance to the development of visual arts and even planned to build a specialized educational institution.

The Russian artists of the 18th century mastered new techniques of European painting and depicted on their canvases not only the kings, but also various boyars, merchants, patriarchs who tried to keep up with fashion and often entrusted to local artists to draw a portrait. At the same time, artists of that time tried to enrich portraits of life objects, elements of national costume, nature, and so on. The attention was focused on expensive furniture, large vases, luxurious clothes, interesting postures. The image of the people of that time is perceived today as a poetic story by artists about his time.

And yet, portraits of Russian artists of the 18th century are distinguished by bright contrast from portraits of invited foreign painters. It is worth mentioning that artists from other countries were invited to train Russian artists.

Types of portraits

The beginning of the 18th century was commended by the appeal of portrait artists to semi-parade and chamber species Portraits of painters of the second half of the 18th century give rise to such types as the main, diligendum, chamber, intimate.

The parade is different from other images of a person in full growth. Luxury brilliance - both in clothing and in the objects of life.

Dewal view is an image of a knee model or a belt.

If a person is depicted on a neutral background on breast or belt, then this type of portrait is called chamber.

Intimate view of the portrait involves appealing to the inner world of the hero of the picture, while the background is ignored.

Portrait images

Often, Russian artists of the 18th century were forced to embody in the portrait view of the customer's presentation about himself, but not a valid image. It was important to take into account public opinion about a particular person. Many art historians have long concluded that the main rule of that time was an image of a person not so much as he was actually or as he wanted to be, but the way he could be in his best reflection. That is, in portraits of any person tried to portray as an ideal.

First artists

Russian artists of the 18th century, the list of which is generally small - this is, in particular, I. N. Nikitin, A. P. Antropov, F. S. Rokotov, I. P. Argunov, V. L. Borovikovsky, D . G. Levitsky.

Among the first painters of the 18th century - the names of Nikitin, Antropov, Argunov. The role of these first Russian artists of the 18th century was insignificant. It reduced only to writing a huge number of royal images, portraits of Russian nobles. Russian artists of the 18th century - Masters of portraits. Although often they just helped foreign craftsmen to paint the walls of a large number of palaces, make theatrical scenery.

The name of the painter Ivan Nikitich Nikitin can be found in Peter I correspondence with my wife. His brushes belongs to the portrait of the king himself, Chancellor G. I. Golovin. There is nothing artificial in his portrait of the outdoor hetman. The appearance is not changed or a wig nor court clothes. The artist showed hetman as in life. It is in vitality that the main dignity of portraits of Nikitin is laid.

The creativity of Anthropova has been preserved in the images of the Andreev Cathedral in Kiev and portraits in the Synod. These works are distinguished by the artist's tendency to yellow, olive colors, because he is a painter who studied at the master of icon painting. Among his famous works are portraits of Elizabeth Petrovna, Peter I, Princess Trubetskoy, Ataman F. Krasnoshekova. The creativity of Anthropova combined the traditions of the original Russian painting of the 17th century and the canons of the visual art of the Petrovsky era.

Ivan Petrovich Argunov is a famous fortress portrait of Count Sheremetyeva. His portraits are elegant, poses of people depicted free and moving, everything in his work is accurate and simple. He is the Creator of the Chamber Portrait, which will later become intimate. Significant works of the artist: four Sheremetheva, P. B. Sheremetyeva in childhood.

It should not be thought that at that time there were no more genres in Russia, but the Great Russian Artists of the 18th century, the most significant works created after all the same in the portrait genre.

The top of the 18th century was the work of Rockotov, Levitsky and Borovikovsky. Man in portraits of artists worthy of admiration, attention and respect. Humanity of feelings acts as a distinctive feature of their portraits.

Fedor Stepanovich Rockots (1735-1808)

Almost nothing is known about Fedor Stepanovich Rocky, the Russian artist of the 18th century from the fortress prince I. Repnin. Portraits of women This artist writes soft and air. The inner beauty is felt by Rocky, and he finds the means of embodying it on canvas. Even an oval form of portraits only emphasizes the fragile and elegant appearance of women.

The main genre of his creativity is a sealer portrait. Among his works - portraits of Gregory Orlova and Peter III, Princess Yusupova and Prince Paul Petrovich.

Dmitry Grigorievich Levitsky (1735-1822)

The famous Russian artist of the 18th century - Dmitry Grigorievich Levitsky, student A. Anthropova, was able to capture and recreate mental states and features of people in his paintings. Depicting the rich, he remains truthful and unbiased, his portraits exclude plentyness and lies. His brushes belongs to a whole gallery of portraits of the great people of the 18th century. It is in the parade portrait Levitsky reveals as a master. He finds expressive poses, gestures, showing noble nobles. Russian history in faces - so often refer to the work of Levitsky.
Pictures belonging to the brushes of the artist: Portraits M. A. Lvova, E. I. Nelidova, N. I. Novikova, four of Mitrofanov.

Vladimir Lukich Borovikovsky (1757-1825)

Russian artists of the 18-19th century are distinguished by the appeal to the so-called sentimental portrait. The artist Vladimir Lukich Borovikovsky writes thoughtful girls who are depicted on his portraits with light colors, they are air and innocent. His heroines are not only Russian peasants in traditional outfits, but also respected ladies of the highest society. These are portraits of Naryshkina, Lopukhina, Princess Suvorova, Arsenyeva. Pictures are somewhat similar, but it is impossible to forget them. The amazing subtlety of the transmitted characters is distinguished, almost elusive features of spiritual experiences and combining all images a sense of tenderness. In his works, Borovikovsky reveals all the beauty of a woman of that time.

The heritage of Borovikovsky is very diverse and extensive. There is in his work as the front portraits and miniature, and intimate canvas. Among the works of Borovikovsky, the most famous portraits of V. A. Zhukovsky, R. Dervin, A. B. Kurakina and Paul I.

Pictures of Russian artists

Pictures of the 18th century Russian artists are written with love for man, his inner world and respect for moral advantages. The style of each artist, on the one hand, is very individual, on the other, it has several common features with others. This moment determined the same style that emphasizes the nature of the art of Russia in the 18th century.

The 18th century of Russian artists:

1. "Young painter". The second half of the 1760s. The author Ivan Firsov is the most mysterious artist of the 18th century. The picture shows a boy in a uniform, which writes a portrait of a little beautiful girl.
2. "Farewell to Hector with Androma", 1773 by Anton Pavlovich Losenko. The last picture of the artist. It shows the plot from the sixth song "Iliad" Homer.
3. "Stone Bridge in Gatchina at Connyabl Square", 1799-1801. By Semen Fedorovich Shchedrin. The picture shows a landscape look.

And still

The Russian artists of the 18th century still tried to reveal the truth and genuine characters of people, despite the conditions of serfdom and the desire of rich customers. Portrait genre in the 18th century embodied the specific features of the Russian people.

Undoubtedly, it can be said that, as if the artistic art of the 18th century, it is subject to the influence of European culture, after all, it led to the development of national Russian traditions.

Although it is also necessary to recognize the fact of the emergence of new changes in the XVII century, but at the beginning of the XVIII century new art gets a rapid development and won a decisive victory. Thus, the Russian art of the XVIII century is largely sharply different from medieval Old Russian art, although it has internal ties with it. The characteristic features of the art of the XVIII century are the priority of art t.

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Russian artXVIII century

The XVIII century is a significant period in Russian history.This is the time of fracture, restructuring Economic, political, military, publicrussia, as well as changesin Enlightenment, scienceand art. New transformations were started by Peter's reforms.I.

Peter I turned the country to the path of European civilization.This is the time of the active process of European life.. The transition from ancient Russia to New Russia, from the Middle Ages to a new time was held in Russia for almost three hundred years and occurred with the already formed new forms of life in the West. For some 50 years of Russia, in all areas it was necessary to pass the path of development, which in the West had lasted 2-3 centuries.Development acquires dynamic, intense, active.From here I. the characteristic feature of Russian art is a "sustainability" of development. This suggestion gave rise to in Russian art parallel existence of several style directions at once, the inconsistency of some cultural phenomena with objective conditions, the lack of a sequence in changes and synchronization of them in different fields of art.There is no smooth flow from stage to the stage, and this is a fracture and sharp turns. Although you also need to recognizethe fact of the emergence of new changes still inXVII century, but at the beginningXVIII Centuries New Art gets a rapid development and wins a decisive victory.Peter I. He was a locomotive that pushed the formation of a new era. Accessia on the throne of one who was destined to become the first Russian emperor, meant the end of the Middle Ages with the domination of "religious piety", the cult of statehood and state power, the formation of secular art.

Russian secular art was born under the roar of Petrovsky salutes. Peter as a personality had a certain impact on the formation of new art. The innovations of the Petrovsky era reflected on the violent large-scale life, the invasion of the new fashion. Peter sends people to learn abroad. Peter himself is interested in many things, manifests professional awareness in many matters.

The desire for the knowledge of the world, the development of sciences, the expansion of typography, the creation at the end of the Petrovsky Board of the Academy of Sciences - all this facilitated the strengthening of a new, secular culture. Paphos knowledge, as well as pathos statehood, permeates art.

Russian art goes to the pan-European development paths, refusing to medieval closetness, but by no means glowing with centuries-old national traditions.

Russian acquaintance with European art took place in several ways: Western artists were invited to work in Russia, the European works of art were bought abroad, and the most capable masters went to study in overseas countries as pensioners, that is, for state cat. The first envoys are artists Brothers Nikitin, M. Zakharov and F. Cherkasov - went in 1716 to Italy, Andrei Matveyev went to Holland.

The rest, and there were most of them, remained at home and trained in the traditions of the Armory Chamber, with St. Petersburg Typography, with Kunstkamera or in other government departments.

Since 1706, the office of the city affairs was organized, renamed in 1723 in the office from buildings, which headed all construction work in St. Petersburg and united all the so-called government architects and painters in the public service. Peter hatched the plan for creating the Russian Academy of Arts, disassembled projects offered to him. But the independent Academy of Arts in Peter was not organized. In 1724, the Emperor issued a decree on the institution "Academy, or Societic Arts and Sciences", and since 1726, at the Academy of Sciences, thus there was an artistic department in which the focus was paid to the figure and engraving, purely practical tasks of the most pressing nature. . Only in 1748, the art department was expanded to the classes of architecture, sculptures, painting and prospects.

In this way, russian artXVIII Centuries are largely different from medieval Old Russian art, although it has internal ties with him. Characteristic features of artThe XVIII century are Sampling art, i.e.secular art nature;state, social character;europeanization , borrowing forms of European art; Rightrational thinking and knowledge; Active development of realistic trends.

Evaluation of Russian artXVIII Centuries in Russian and Soviet artificial science was unequal. Already in the 40sXIX. century N. puppeteer complained that webetrayed our past and perceive modern art as a "clarity". Slavophiles in the middle and second halfXIX. in. scolded the art of the previous century forgap. V.V. Stasov, expressing the general position of a democratic criticism, saw in itonly the expression of noble culture, noble ideals, picked him forcopyism and imitation, per "Provincial repetition of French fashion". Violla Le Duc I generally wrote thatuntil XVIII century Russian art was the east, and withXVIII century - West . And only in the last thirdXIX. The centuries are intensified attention to the art of this period, especially we are obliged to "Miriskical". This study began with a "historical exhibition of portraits of famous personsXVI - XVIII BB. " and the works of the compiler of its catalog P.N. Petrova, with the "World Art" exhibitions 1902 (exhibition of Russian portrait painting for 150 years, from 1700 to 1850) and 1905. (the so-called Tavrichesky, for it took place in the Tauride Palace), from the expositions of Russian portrait painting in Paris and Berlin in 1906, from the exhibition "Lomonosov and Elizabetan time" 1912, with the publication of the magazine "Old years", largely dedicated to ArtXVIII Century (1907-1916). However, lovers inXVIII Century "Miriskusniki" saw in the artists of this time, too, only skillful imitators to Western European art.

Study XVIII. century continued B.XX century. Soviet artistic in understanding and evaluation of issuesXVIII There were various periods of century and has a different study nature - from museum-attribution to generalized-theoretical.

"Peter as a historic statesman - wrote N. Kostomaraov, - retained for us in his personality such a highly moral line, which involuntarily attracts the heart to him; This feature is devotion to the idea that he all dedicated his soul throughout his life. He loved Russia, loved the Russian people, loved him not in the sense of the mass of modern and submissive Russian people, but in the sense of the ideal, how much did this people wanted to bring; And this, this love is in it that high quality that encourages us, by our own will, love his personality, leaving both his bloody viols, and his entire demoralizer despotism, which affected by malicious influence and on the offspring. For the love of Peter to the ideal of the Russian people, the Russian man will love Peter until he himself loses the national ideal for himself, and for the sake of this love, he will forgive him everything that a heavy burden fell in his memory "(Kostomarov N. Russian history in his life writings The main figures. T. 3. p. 243).

Adopted next periodization of Russian artXVIII century:

• The first half of the XVIII century:

1700-1725 (first quarterXVIII century) - Petrovskaya era;

1730-1740 - the time of Anna Iannova;

• Mid XVIII century (1740-1760) - the time of Elizabeth Petrovna.
• The second half of XVIII century - time of CatherineII.

Russian art of the first halfXVIII century.

In the first quarterXVIII century in the so-calledpetrovsky Time, everything contradictions and conflicts of the new era are in particularly naked and exacerbated. At this time there is also "Pure" new art, I. old with new elementsand finally justdevelopment in the old direction. Extremely new stylistic techniques were diverse: peculiar mixing elements Baroque, Rococo, classicism. Middle (binder) link in the start style systemXVIII The century is the early baroque, which was called "Petrovskoe Baroque".

Petrovskoe Barochko - Architectural style, in which the influences of Italian baroque, early French classicism and Rococo, Dutch civil architecture and a number of other styles and trends merged. Each on the architects who worked in St. Petersburg, contributed to the appearance of the constructed buildings of the tradition of their country, the architectural school he represented. Thus, Petrovskoy Baroque is not a baroque in its pure form, and this term is sufficiently conditional. At the same time, he certainly reflects the underlying, still implicit tendency of the Petrovsky era and helps to explain the further evolution of Russian architecture to the mature baroque in the middle of the XVIII century.

Russian architecture of the beginningXVIII Century (Petrovskoe Baroque) are characterized by simplicity of volumetric constructions, clarity of memberships and restraint of decorative and sculpture, plane interpretation of facades(Facades are members of pilasters or blades that do not give sharp contrasting shadows). This is especially noticeable in comparison with the end of the endThe XVII century and the middle of the XVIII century. Unlike Naryshkinsky Baroque, popular at this time in Moscow, Petrovskoe baroque was a decisive break with Byzantine traditions.

All architectural features were concentrated on the construction of St. Petersburgwhich was laid as a port and fortress in 1703, and in 1712 he became the capital of the state.

Build a city on the swamps, in the conditions of a difficult northern war was a bold, almost unrealistic thought. ("The most thoughtful city in the world," F.M. Dostoevsky said about him.) All the forces of the state, without exaggeration, were thrown on the construction of a new city (Peter I banned at this time to build stone buildings somewhere except Petersburg) . This does not mean that construction work has not been conducted at all. But the True Center becomes Petersburg, Russia with the West is carried out through it. In the architecture, Moscow and Russian provinces, old traditions live in its pure form.

Peter the winner wanted to be nothing worse than European monarchs, not to give them in shine so for the construction of St. Petersburg and its suburbs, all domestic master-architects and many foreigners were invited: Italians, French, Germans, Dutch.

The appeal to the European architecture brings to Russian soil a different ideal of the city - regularly and rationally planned unified architectural ensemble.In contrast to the Middle Ages, this is no longer the final result of the historical, in many ways of natural development, but a kind ofgiant work created on the basis of the project.

Peter was invited by French Royal ArchitectJean-Batist Leblon(1679-1719) who developsproject planning Petersburg (1716). But some abstract design, as well as the complexity of the local relief, did not allow this project, although the general spirit of the regularity of the Leblon project was preserved in St. Petersburg architecture.

Self the plan of the city with its regularity and symmetry, with its parallel-perpendicular device of the streets, the construction of the red line was new compared to the Old Russian cities.

Urban planning refuses the medieval radial-ring circuit in favor of the rectangular network of streets, the main prospectuses converging at one point, forming a "trident", and other similar planning

The city emerged first as a fortress and port, therefore, one of the first buildings werePETER-PAVEL'S FORTRESS(laid 16 (27) May 1703 on the Ware Island) andAdmiralty (Shipbuilding shipyard), surrounded by fortifications.

The city center was conceived first at the St. Petersburg (Petrogradsky O-c) side, directly under the cover of the fortress, but was soon moved to Vasilyevsky Island. The center of the city was the Admiralty side, where Nevsky and Ascension Avenues were departed from the Admiralty Tower with a spire of three rays and a pea street that arose somewhat later.

Among foreign architects, the largest role in the development of architecture beganXVIII century belongedDomenico Trezini (OK 1670-1734), which at that time became, in fact, the chief architect of St. Petersburg.

Petropavlovsky Cathedral of the Peter and Paul Fortress (1712-1733, after the fire of 1756, was restored in its original form) - the dominant of the new capital,one of the most famous facilities Domenico Trezini. This is a basilical three-penette church, completed in the western part of a high bell tower with a spire and a fluger in the form of a flying angel. Petropavlovsky Cathedral - The Highest Building of St. Petersburg(except for the tune of the television center). Its height is 122.5 meters, the height of the spire is 40 meters, the height of the angel figure is 3.2 meters, the scope of the wings - 3.8 meters.

The bell tower represents the eight of the eight in the fourtics, but a single, in several tiers of the floors an array, resembling European bell tower or tower tower. The cathedral was the tomb of Russian emperors, starting with PeterI.

Secular character general appearance of the Petropavlovsky Cathedral,easy shaped solution, a place construction in the "context" of the city ensemble - All this determined the principal role of the work of Trezini in a number of other monuments of Petrovsky time.

Domenico Trezini Executed also Petrovsky Gate of Petropavlovsk Fortress (1707-1708 - first in the tree, and in 1717-1718 translated into stone) in honor of the victory of Russia in the Northern War. These are the main gates of the fortress, from its eastern part, the only preserved sample of the triumphant structures beganXVIII century. They have a form of a single-span argy, crowned with a massive attic with a semicircular-in-lawy fronton, are decorated with currencies and reliefs. For the decoration of the gate was invited by the sculptor Konrad Ossen Senior, who made a wooden relief "Loading Simon-Vaciation Apostle Peter", in the allegorical form glorifying Russia's victory over Sweden (moved later on the stone gate). The gate niches decorated the statues of the goddesses of the war Belleans and wisdom Minerva, whose authorship is attributed to N. Pinot.

Large buildingD. Trezini was Building of twelve college (ministries) (1722, completed by 1742 with the participation of Mikhail Zemtsov) for senior government agencies. The three-storey high length of a single building is divided into 12 equal elements (cells) - "College" (each with an independent roof) connected by a single corridor and gallery of the first floor (only one has been preserved to our time). Pilasters uniting two upper floors give the whole building of the whole building.

Under Peter was started and at allnew in its appointment and architecture building of the first Russian museum- Kunstkamera which, consistently replacing each other, builtGeorg Johann Mattarnovi, Nikolai Fedorovich Gerbel, Gaetano Chiawery and Mikhail Grigorievich Zemtsov (1718-1734). The final building of the tower was intended for astronomical observations, large twisted halls with choir in the second and third floors - for natural historical collections and libraries.

From the early buildings of St. Petersburg preservedSummer Palace Peter.I in the summer garden (1710-1714, Domenico Trezini, Andreas Sing etc.), a simple rectangular two-story building with a high roof. Located on the shore, the merger of the Neva and Fontanka, the house had a small "Havanets" - the pool, communicating with the fountain and gave the opportunity to fall into the apartments directly from the water. According to the facade, the summer palace is decorated located between the windows of the first and second floors of reliefs, filled with A. Gaiter and his team, on the topics "Metamorphosis" of Ovid. Summer Garden ("Garden", as he was called in Petrovsky time) with its sculptures, fountains and grotows, is an example of one of the first regular parks in Russia. In 1725, M. Zemtsov built in the garden "The Hall for Nice Solemnings" (not preserved).

Palace A.D. Meshikov On Vasilyevsky Island on the banks of the Neva (1710-1720, Arch.Giovanni Maria Fontana and Gottfried Wheel , Restored in the 60-80sXx century), represents a new type of manor residence. The palace complex was stamped from a new stone palace, an old wooden palace, church and an extensive regular garden behind a new building. Of the whole complex to us, only the building of the stone palace came, although in the changed form.

Along with the city estates during this period, construction and suburban residences beginsFirst of all, along the Finnish Bay: Ekateringof, Strelna, Oranienbaum. During this period was laidPeterhof - Country residence of the king. The formation of Peterhof according to the sample of Versailles continued in subsequent states.

In Oranienbaum, the palace and park ensemble is a large Menshikov Palace, erected by the project of architects D.M. Fountain and I. G. Sedeli in 1710 - 1727. The length of the main facade of the Bolshoi Menshikov Palace is 210 meters. The central part of the two-storey palace, one-story galleries are adjacent to it, deployed on an arc and ending with Japanese and church pavilions. For the Japanese and church pavilions perpendicular to the gallery, two fligels were attached, so in the planning the palace is the letter "P". Flegels are the border of the courtyard of the Grand Palace. Palace divides Oranienbaum Park for two unequal parts is a lower garden, which has a regular layout, and a landscape top park. Contemporaries noted the unprecedented luxury of the suburban residence of the bright prince, according to his scope at the time surpassed Peterhof.

Much attention is paid toconstruction of private residential buildings. The office from the buildings headed by Trezini, on his and Leblon projects, it is planned to build with wooden frames with a clay and crushed stone of so-called Mazanko buildings: two-storey, as a rule, stoneware were already built. The houses were differentiated (mainly on property census), but in this framework were compulsory types of links, because of their usual name "exemplary" (i.e.typical). Building a city by private houses was carried out on the Western European model: Buildings put along the sidewalksthe main facade is not to the courtyard, but on the street and together with fences and gatescreated a single line of streets and embankments.

With the advent of brick plants, from about 1710, brick buildings were built, which were placed, were supplemented with plastic parts made of plaster and stained. The second and third floors combined the warmers, the roofs were taking high.

Thus, Petersburg was gradually folded: on the swamps and numerous islands, tested by the winds of the Baltic and floods, located away from the old Russian centers, but the growing growing, it would seem, contrary to any logic.

The most significant structures of the Moscow Architecture of the First HalfXVIII A century, reflecting new trends, are the Arsenal building in the Moscow Kremlin, the Church of the Archangel Gabriel (Menshikova Tower) in Moscow, private house M.P. Gagarin on Tverskaya Street in Moscow(1707-1708, not preserved).

Arsenal Building in the Moscow Kremlin It was built in 1702-36 (architects Christopher Konrad, D. Ivanov, Mikhail Choglockov) between Trinity and Nikolsky Towers and was intended for storing weapons and various military equipment. The building was repeatedly burning, and acquired its final form in 1737, when the architect D. V. Ukhtomsky was tipped up the second floor.

Church of Archangel Gabriel or so-calledMenshikova Tower in Moscow (1701-1707, architectIvan Petrovich Zurtny) - one of the best architecture buildings startXVIII century in which the traditional longline compositionXVII The century is combined with the architectural elements of Baroque ("Moscow Baroque".

Menshikova Tower - Church of the Archangel Gabriel, the only temple-tower in Moscow. It was built on the orders of Alexander Danilovich Menshikov in 1705-1707. There are several versions of the name of the chief architect. Officially, they recognized the well-known Moscow architects I. Zrudechnaya, the Italians worked under whose beginning: Tresini, F.Fontana, Pando, B. Kalla. But sometimes the author is called the Sreszin himself, who built the cathedral of the Peter and Paul Fortress in St. Petersburg.

The wooden church of the Archangel Gabriel in the butchers is celebrated in the records for 1551. Menshikov in the city of Polotsk acquired the image of the Polotsk of the Mother of God, written by the Evangelist Luka and returning to Moscow, he ordered a new temple on the spot of a wooden church.

Once over the existing four stone floors of the tower rummed the wooden fifth, decorated with hours and crowned with a high spire with the statue of the Archangel. In total, the tower was almost a whole meter above the Ivan the Great bell tower. In the upper floor, Menshikova Tower was located the clocks delivered from London.

However, it should be noted that the work on the church was not fully completed - the iconostasis is undervalued, internal works are not completed, and the church itself was not consecrated. For the purpose of the appointment of Menshikov, the governor of the new capital - St. Petersburg and the loss of his interest in the Moscow estate on meat.

On June 13, 1723, Lightning struck the tower spire and lit the dome. In the people, this fact was immediately explained as the punishment of the pride of the bright prince, who set himself above the tsarist. The terrible fire lasted for two hours, and he could not be extinguished because of a very large tower height. The top of the tower burned down entirely, and 50 bells collapsed on Earth, crushing many people who saved church utensils from the fire.

After the fire, the church of the Archangel Gabriel was abandoned for a long time and remained unfinished. Only in 1787, the well-known Moscow Mason Gabriel Zahariev Izmaililov, who lived near meat, who lived in the meat was restored after the fire. Then the strange screw dome appeared. The temple has adapted for Masonic assemblies and decorated with masonic symbols.

In the 1860s, Metropolitan Filaret (Drozdov) ordered to destroy all the symbolic Masonic images and inscriptions inside the temple. The upper tiers never restored. The church remains below its maximum historical height.

Since the church was summer and left without bells, then the temple of Fyodor Pratilate was built nearby, which was warm and had a bell. The figure chafer with a cross on the tower appeared in 1838, after repair.

In 1923, under Soviet power, the church was closed. In the 40s of the 20th century, it was seriously reconstructed, some elements of the 18th century were recreated, and the temple was transferred to the Antioch Patriarchate, and the church became acting. From the temple of Peter and Paul destroyed in 1960 in Transfiguration Sloboda, the iconostasis was postponed.

After Peter's death around the Russian throne, the real sobbar begins the so-called "era of palace coups". "All the impermanence of the world can not be compared with the inconstancy of the Russian court," one of the envoys wrote in 1730.

1730s - the gloomy time of the reign of Anna Ioannovna, the despoticness of state power and the Zasille of Inomes.

After Peter's death, the tastes change, and now in Russia the bestarchitects are building the Palaces of Empress and Sanovnikov. In the 1720-1730s. Work talented architects M.G. Zemtsov, I.K. Bobes and a large town planner P.M. Yeropkin.

Mikhail Grigorievich Zemtsov (1688-1743), Russian architect. Representative of the early baroque. Participated in the creation of a summer garden in St. Petersburg, palace complexes in Petrodvorets and in Ekaterinenthala (Kadriorg, Sovr. Tallinn).

From the cult facilities, the land was the largestsimeon's Church and Anna on Mokhovaya Street(1731-1734).

Ivan Kuzmich Korobov (1700 (01) -1747) - Russian architect and engineer, representative of early baroque. Rebuilt in 1727-38 the building of the Admiralty in St. Petersburg. Korobov belongs to a project of a tower with a high gilded spire carrying a vane in the form of a three-machent ship (1732). When restructuring the Admiralty building at the beginningXIX. A century Zakharov retained the Korobov spire, including it in a new composition.

Peter Mikhailovich Yeropkin (about 1698-1740) - Russian architect and theorist. Under the leadership of Yeropkin, the master plan of St. Petersburg (with a 3-beam composition of the Admiralty part, 1737) was compiled, the first Russian architectural and construction tract "The post of architectural expedition" (1737-41) was created. Executed as a member of the conspiracy A. P. Volynsky against Biron.

The decisive transition from the old to the new, the assimilation of the European Artistic "Language" and the admission to the experience of world art is especially noticeable in painting. However, the sharing of the artistic system of the Old Russian painting happened, as we saw, inXVII century.

Since the beginning of XVIII in. The main place in painting begins to occupy a painting with oil into a secular plot.Under the influence of Western European art, new genres and new plots appear at this time..

Especially significant phenomenon in Russian art beganXVIII century there was a portrait painting. She not only received in these years rapid development, but also achieved remarkable success, which was based on an elevated interest in the human person in his own era.

Flooring portrait paintingXVIII The century was prepared on the one hand a rather high level of duty of Parsuna at the endXVII century, on the other, the influence of Western European painting. The assimilation of Russian artists of new picturesque techniques and figurative decisions occurred Through foreign pensioners, as well as under the influence of invited by Peter foreign artists.

Among foreign painters, the most prominent place was occupied by GermanJohann Gottfried Tannauer (1680-1737) and FrenchLouis Caravac (1684-1754).

Johann Gottfried Tannauer arrived in Russia in 1711 and taught masters at the receptions of the late Western European baroque (portraits of PeterI. , Portrait of Alexey Petrovich, portrait of A.D. Menshikova, 1727). One of his best works -portrait of Count P.A. Tolstoy (1719).

Frenchman Louis Karavak , "The first court molar", created portraits of the entire royal family and introduced the Russians with the art of Rococo:portraits of Peter I, his daughters - portrait of Jesarean Natalia Petrovna(1722), Double portrait of Tsareven Anna and Elizabeth Petrovna (1717), Portrait of the grandchildren of Peter I Peter and Natalia as a child, in Apollo and Diana(1722), later - portrait of Empress Anna John (1730) and portrait of Empress Elizabeth Petrovna (1750).

To upbringing their own frames PeterI. Introduces pensioners, in 1716 the first Russian artists go abroad to learn from new, secular art.

One of the first Russian artists of new secular painting in Russian artThe XVIII century is considered Ivan Nikitich Nikitin (mid 1680x - no earlier than 1742). His biography is largely tragic. The son of the Moscow priest, the nephew of the confessor of Peter, he early formed as an artist and performed portraits of the royal family before the trip abroad:PORTRAIT Praskovy John, Petra's niecesI (1714, TRM); Portrait of Jesarean Anna Petrovna (not later1716, GTG),portrait of Natalia Alekseevna, favorite sister PeterI (1716, GTG).

In the portrait of Praskovyi, Ioannovna many more from old-Russian painting: there is no anatomical correctness, black-free modeling of the form is carried out by taking flames from the dark to light, the posture is static. Color reflexes are missing. Light smooth, scattered. And even the brittle folds of clothing in something resemble the ancient Russian gap. But with all this, in the face of Praskovya, Ioannovna read its inner world, a certain character, self-esteem. This face with big, expressive, sadly looking at the viewer with eyes - the center of the composition. Neither the shade of coquetry, there is nothing showdown in this face, but there is immersion in yourself, which is expressed in the feeling of peace, static, silence. As the poet said, "the wonderful must be great."

Training in Italy lasted from 1716 to 1719. Before leaving PeterI. personally met with Nikitin, wrote CatherineI. So that she commanded Nikitin, who will pass through Berlin, write a portrait of the Prussian King, "... so that they knew that there are good masters from our people." The artist studied in Venice and Florence.

In early 1720, Peter recall Nikitina, made the artist by Hoffmarieler, "Personnel Master", gave him a house in the center of St. Petersburg. The last five years before Peter's death became the flourishing of Nikitin's creativity.

Pensioners helps the artist to free themselves from stiffness, some features of the old Russian painting, but does not change his common artistic worldview, his understanding of the tasks of art, enriching it with the knowledge of all the subtleties of European technique.

Written after returning from abroad"Portrait of Sergey Grigorievich Stroganova" (1726, MRM) depicts the total energy of the elegant court, released from the industrial environment. A portrait of a close to the "Daitalian" portrait of a common composite solution, formulation of a figure in space, colorful gamut. The background always carries a somewhat flat, "icon" character from which "performs" the figure. Accessories do not play a significant role, all the attention of the masters focused on the face.

"Portrait of Chancellor Gabriel Ivanovich Golovkin" (1720E, GTG) depicts a smart, volitional diplomat, which is known all the subtleties of state policy, which has a tense inner life, mental seriousness, concentration, almost melancholy.

"Portrait of outdoor hetman"(1720E, MRM) even more possesses internal psychologism and picturesque virtuosity.

Many times Nikitin wrote PeterI. . He is attributed to the famousPortrait of Peter I (in a circle, start 1620, timing). The Russian emperor is depicted without the attributes of power, which the courteous portraits of European monarchs were eagerly abused. He impresses the magnifier of the appearance of the dealer, the feeling of adamant will and at the same time simplicity and humanity.

From records in the Camera Forerian magazine, it is known that he wrote the emperor "on the Kotlin Island" in 1721. Florence was found in Florence, two paired pictures of Peter and Catherine, written by an artist in Italy in 1717, Peter is presented in armor and with the Order of Andrei First-Called, Catherine - in the Parchov, decorated with jewelry dress and with the Order of St. Catherine. Red, churn, mantles enhance the image of the image. The portrait testifies to the beautiful acquaintance of Nikitin with a pan-European scheme of a representative baroque portrait.

Genuine deep excitement and sincere sorrow of the loss will penetrate the other portrait of Nikitin"Peter I. On mortal bed " (1725, timing). The portrait is written as if in one session, as an etude,a La Prima. , on a red soil, translucent through liquid light virtuoso strokes.

The death of the emperor laid the beginning of the last tragic phase of Nikitin's life. At the board of Anna Joanovna, the artist moved to Moscow, joined the opposition and in 1732. Together with the brothers, he was arrested on charges of storing letters, the seeing vice-president of the Holy Synod of Feofan Prokopovich. After the torture of Ivan Nikitin, in the Petropavlovsk fortress in a single chamber for five years, then beat the whip and in 1737, "in the glands" were driven by stage at the eternal catguard in Tobolsk, where he stayed until 1742. It came to him with pardon, but he did not reach Moscow, most likely died on the road.

His brother Roman who studied with him in Italy and divided the same tragic destiny, continued to work in Moscow after the link. As a portrait of Roman Nikitin was an immeasurably more archaic artist. We can judge about his work only on the portrait of Mary Stroganova (approx. 1722, timing), as well as the earlier portrait of her husband Grigory Stroganova (1715, Odessa Picture Gallery).

The second most famous artist who enriched Russian art of the first halfXVIII A century by the achievements of the European Picturesque School, was Andrei Matveyevich Matveyev (1701-1739).

"On the fifteenth year of life," he himself pointed out in the report, in the royal sumport he went to Holland, where he studied at the portraitist A. Boyonen, and in 1724 he moved to Flanders, to the Antwerp Royal Academy, who was still received by Glory Rubens and Flemish Picturesque schoolXVII Centuries to comprehend the secrets of masters who created historical and allegorical paintings. In 1727 he returned to his homeland.

From the retired period, one subscription and dated 1725, the work of A. Matveyeva"Allegory of Painting". This is the first in Russia that has been preserved to us a glass picture on an allegorical plot. A small size written in a parquet board, she depicts an allegoric figure of painting in an easel surrounded by amurists. She poses Athena Pallada, which she attaches on canvas the features of CatherineI. . Such a metamorphosis should not be surprised if I remember that Matveyev sent this work by Empress with a request to extend his training, and for this he needed to demonstrate his skill. The work carries the features of the Flemish School of Late Baroque and reveals a rich colorful giving artist.

Perhaps and to the student pensioners include written by Matveyevportrait of Peter in Ovale (OK 1725, GE).

Upon returning to their homeland, in St. Petersburg, Matveyev immediately turns on to work on the design of the Chief Cathedral of the city - Petropavlovsky. From 1730, until the death of Andrei Matveyev, the first of the Russian masters, the head of the "picturesque team" of the office from buildings, manages all monumental decorative works, which are conducted in St. Petersburg and its surroundings. Together with his team, he decorates the picturesque panel of the Senate Hall of the twelve colleges (now Petrovsky Hall of St. Petersburg University), writes icons for many St. Petersburg churches, in particular for the Church of Simeon and Anna, built on Mokhovaya Street M.G. Zemtsov, makes a number of other works. But only Matveyev's machinery works reached us, because almost all monumental paintings were killed along with those interiors for which they were performed.

In 1728, Matveyev receives an order forpaired portraits of spouses I.A. and A.P. Golitsyn (Moscow, Frequently. Syric. I.V. Golitsyn). Of these, the most interesting seems toPortrait of A.P. Golitsyna, Princess, State Ladies, and at the same time, "Prince-Igumeny" of the Petrovsky "Communar Cathedral" and "Craciers" CatherineI. , Bat's battles in connection with the case of Tsarevich Alexei.

Matveyev creates an unusually expressive characteristic, informing the face-model of the thinnest mixture of obese, arrogance and at the same time resentment and bewilderment, sadness and fatigue. And it is even more early that the artist has been preserved the usual scheme of a custom portrait: turn turns, proudly planted head, the necessary accessories of clothing. Not condemnation, but the artist conveyed to the model in this portrait.

"Self-portrait with his wife" (1729 (?), Timing) - the most famous work of A. Matveyev. Matveyev the first of the Russian artists created the poetic image of the married union. Imprint and simplicity, credulity and openness, lyricity and spiritual purity - the main features.

On the back of the portrait of the proud inscription: "Matveev Andrey, the first Russian painter and his spouse. The artist himself wrote. "

Matveyeva's painting in this work reaches perfect and testifies to the full bloom of his creative forces.Matveyev's painting is transparent, with fuzzy black-free graduation with soluble contours, rich in lescing, has a thin, elegant flavor.

I. Nikitin and A. Matveyev is rightfully considered the founders of Russian secular paintingXVIII century. Their painting demonstrates a wonderful mastering of the techniques of Western European skills, while maintaining the national spirit and creative personality, be it a rigor, even some asceticity of Nikita images, or the subtlety and poetry of Matveyevsky. Matveyev was a teacher of painters such as Vishnyakov and Anthropov, whose legacy, in turn, retained a kind of "bridge" to the work of famous masters of the second half of the century.

Diverse at the beginningXVIII The century was a portrait miniature, in which the tradition of the tradition of the miniature of manuscripts and books of ancient Russia and painting on the finifsty (enamel). Andrei Grigorievich Ovsov (about 1678-1740 / 50e) and Grigori Semenovich Musician (1670 / 1- after1739) were the largest masters. Effective for the era is "Portrait of PeterI. »S. Muskymy (1723., GE).

Graphics as the most prompt, mobile type of art that quickly responded to the events of time, enjoyed in a stormy Petrovsky, a special success. Large ethambi captured the victory of Russian weapons to the sea and on land, solemn entrances to the cities, cities themselves - city leaders, fireworks in honor of the glorious Victoria, portraits of famous people. Graphics were used for training purposes (calendars, atlases). Engraver Alexei Rostovtsev participated in the creation of the first Russian globe.

Foreign master-engravers, invited by Peter worked in Russia. So, in 1698, a skone-friendly wizard of Schonebek (Schuebek, 1661-1705) arrived, then his relative Peter Pickart (1668-1737) arrived after him.

Mobile, mass art engraving on copper had their long traditions in Russia and especially bloomed at the endXVII Centuries in the workshop of the Armory. It is from there that the origins of creativity of such wonderful engravers of Petrovsky time, as the brothers Alexey and Ivan Zubovy (the sons of the painter of the Gunsoire Chamber of Fyodor Zubova), Alexey Rostovtsev. Having learned from Schuebek a number of new technical techniques, they retained the national character of Russian engraving.

Large master of cutting engraving and etching at the beginningXVIII century was Alexey Fedorovich teeth (1682 / 3- after1749).

Documentary architectural landscapes - the leaders built on a combination of linear perspectives, create an appearance of St. Petersburg, young capital of the giant sea power("Panorama of St. Petersburg" (on eight combined sheets, 1716).

In addition to the architectural motives of the teeth created andgraphic Sheets in the Battle Genre - depicting military campaigns and victories of Petrovskoy flotilla("Solemn input to St. Petersburg taken captivated Swedish frigates", 1720).

In his leaders and battleslaconic stroke drawing prevails, the color of the white paper plays a big role., composition is simple and logical, everything space is most often divided into three plans. In the foreground, the genre scene is played in the foreground, the second plan is engaged in water space, on the third image of the architecture, which gives the name of the whole engraving. Name, by the way, naively preserving archaic traditionsXVII century, placed in the deployed, like a scroll, tape upstairs.

Almost the obligatory motive of the Zubovsky engravings - the ship: enveloped smoke clubs - in battles("Batalia in Greingam", 1721) or elegant sails in the wind - in the lead("Vasilyevsky Island", 1714).

Along with the leaders and battles during this period, the image of fireworks, "fiery fun" (or "funny lights") in honor of a significant event. In 1720-1722, Suite Fireworks createdAlexey Ivanovich Rostovtsev, he also owns an engraving"Siege Vyborg" (1715).

Senior Brother A. ZubovaIvan Fedorovich Zubov Performed mostly engravings with views of Moscow.

Continued to evolve in Petrovsky and folk lubok. The brightly painted plane, the primitive-distinctive folk picture on the tree was the most diverse content: satirical, fabulous epic, domestic, is always preserving the striking decorativeness of the general solution and purely people's humor.

As samples of art first thirdXVIII in. Reached pictures from hand, unique works of graphics of that time. These are household and landscape drawings, apparently, pupils of the drawing school at the St. Petersburg printing house (feather, brush, coal, pencil - timing, Coll. Argutinsky-Dolgorukova), St. Petersburg series of drawings of architect F. Vasilyev for 1718-1722. (Timing). Petrovsky charts worked and in the portrait genre, but it is less interesting than picturesque, for, as a rule, for a graphic portrait, some already famous pictorial sample was used.

Artistic achievements are characteristic of the development of the sculpture of the first halfXVIII century.

"Sampling" and the development of new methods in sculpture is slowerthan in other art types. Watch too longrussian people on a round sculpture like on pagan idols, "Boobs". In fact, during the eight centuries of the existence of ancient Russia, it did not develop.

True, in the first halfXVIII century, and previously, there was a beautifully developed monumental-decorative plastic in the decoration of iconic and secular interiors. Baroquic plastic church of signs in Dubrovitsy and Menshikova Tower, thread of iconostasis churches (iconostasis of Petropavlovsky Cathedral work of Ivan Zherrichny), reliefs of Petrovsky Gate. Petropavlovsk FortressConrad Osner Elder, decorative panel of the Oak Cabinet Peter in the Peterhof Palace of Nicola Pinot,reliefs of Andreas Sothet on the facades of the Summer Palace in the summer garden were undoubtedly a certain step in the study of Western European plastic art techniques.

In ancient Russian artthere was also a polychrome wooden sculpture Perm, Vologda, Actually Moscow School. But she was mainlyreligious content, and secular sculpture needed other ways of development. Therefore, invited to learn the art of sculpture Foreign masters played a prominent role in its formation in artXVIII century. Russian masters of sculpture and abroad studied, mainly at Baratta in Venice.

Acquaintance with the Western European sculpture was carried out and thanks to the purchases abroad of the works of the late Baroque, sculptures of the masters of Bernini Circle, and sometimes even antique. So, the famous Venus was bought in Rome, who later received the name of the Tauride.About the wires with her export of Yuri Kologryvov, who bought it for 196 Efimkov, expressively wrote Peter: "And I will die, than possess them to the statue."

Birth of a secular round sculpture and monument in Russian art of the first halfXVIII century associated with the distribution of baroque and the activity of the Italian sculptorBartolomeo Carlo Rastrelli (Rastrelli Father, or Senior Rastrelli, as historians of art, 1675, Florence -1744, St. Petersburg).

Bartolomeo Carlo Rastrelli, Florentian by origin, who worked in Rome and Paris, brought up in the baroque traditions of Bernini, together with his son came to Russia in 1716 and found the second homeland here. The contract with it included the implementation of a wide variety of orders. He worked both as an architect, and as a sculptor in different genres: from a round sculpture before the construction of fountains and the creation of theatrical scenery.

Bust A.D. Meshikov (1716-1717, Bronze, GE) - First workB.-K. Rastrelli in Russia. A somewhat theatrical, externally spectacular, the majestic image of the "semi-enlightened lord" was created, about whom the Peter himself almost himself was witty if he was conceived in lawlessness, he was born in sins and his stomach catches his belly. "

But the main thing for which Rastrelli was invited to Russia was to create a monument to PeterI. . In 1720, sketches and equestrian monument models were presented with a sculptor, with many allegoric figures - a solution from which he later refused.

The creation of the bust was preceded by a lot of work from nature. In 1919, the sculptor performed a mask from Living Peter, then the wax model of the figure.

In the process of working on the monument was performedbronze Bust Peter.I. (1723-1729, GE; Repetition in cast iron - 1810, TRM). The emperor bust represents a typical product of Baroque: this is a dynamic composition with a screw-like turnover, with black and white contrasts of plastic masses, their painting and underlined by differentifuity. It is rather the image of a whole era than a particular individual, and this generalization gives the Bust of the monumentality, while maintaining the genuine historical truth.

Rastrelli was also created wonderful personal characteristics and plastic expressivenessBust unknown (1732, GTG).

The flourishing of the Russian monumental sculpture begins with the first Russian monument, performed by B.-K. Rastrelli, – Statue of Anna Ioannovna with Arapchonk(1732-1741, MRM), one of the brightest monuments for the integrity of the artistic image and plastic expressiveness.

The statue of Anna Joanovna on a baroque effect, but in the image of an elegant multi-faceted old woman with repulsive face, Asian despotism and sophisticated Western European court luxury merged. ("Fast was a gaze," N. B. Sheremeteva wrote about Anna, - the disgusting face had, so it was great that when there was a head between the cavaliers, all the head and extremely fat "). This is a rare example of a truly exposure parade portrait. Here is a sympathy of Rastrelli to Peter and Antipathy to his successors.

Introduction to the composition of the Arapchonka figure, the characteristic character of the court lifeXVIII The century necessary to the sculptor for the plastic equilibrium of the masses, connected the motifs the main and genre, reinforced the contrast with the "stone-like" figure of the empress. Rastrelli demonstrated not only immaculate ownership of a monumental sculpture language, the skill of generalization while maintaining an individual characteristic, but also deep penetration into the world of Russian life, in the contrasts of the RussianXVIII Century, creating a symbol of the era.

"Take off the genius" B.-k. Rastrelli - the last four years of his life. For 1741-1744 With the new reign of the daughter of Peter Elizabeth Petrovna, to which they looked with hope, as a continuing business of Peter, he creates the equestrian monument of the emperor, finding in its 60 years old creative forces to completely change the first baroque decision of the 1720s.

"Horse monument PeterI "B.-K. Rastrelli Creates the image of a commander, triumphant in tradition, the beginning of which is still in the monuments to Mark Abrelia, "Gattamelte" Donatello and Colloni Colloni. The free formulation of the shape, the clarity and rigidity of the silhouette, the organic fusion of the mass and silhouette with space, the completeness and certainty of all forms we see in the monument instead of the baroque complexity of the movement and pompousness of lush drapets. A courageous, simple and clear plastic language, which Rastrelli glorifies the power and power of Russian state power, undoubtedly continues the antique-renaissance traditions. It was in them that the sculptor was able to create a giant image that personifies the triumphant and victorious Russia, the image of the hero who committed the historical and national feat - the transformation of Russia.

The fate of the monument was more than dramatic. During the lifetime of Rastrelli performed only a model in full size, his son was already casting (1748). After the death of Elizabeth, the clearing of the monument ceased, and then forgot about it. Only with PaulI. The monument was delivered from the Mikhailovsky (engineering) castle, where it is to this day, becoming an integral part of a common ensemble.

Characteristics of Rastrelli would be incomplete without mentioning how fruitfully he was engaged in decorative work in the design of a large cascade in Peterhof, as well as other genres up to the sketches of masquerade dresses. Him and A.K. NARTO owns the architectural design and reliefs of the triumphal pillar in honor of the Northern War. Unfortunately, the work remained unfinished. We know only a series of bas-reliefs (GE and TRM).

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Nice XVIII century! From him in the exciting and dramatic book of Russian history, not just a new chapter begins, but perhaps the whole volume. Rather, this one needs to start from the last decades of the century of the previous one - XVII, when our country, painfully having fallen into the crossroads, began to make a powerful, unprecedented turn - from the Middle Ages to a new time. Face to Europe.

Russia of that pores often compare with the ship. This ship walked forward uncontrollable, dissolving lush sails, not afraid of any storms and stopping at shouts: "Man overboard!". He was led by a firm hand of a brilliant, fearless and ruthless captain - Tsar Peter, who made Russia an empire, and his first emperor. His reforms were tough, even cruel. He imposed his will of his country, breaking tradition, without thinking, was sacrificed by the state interests of thousands and thousands of lives.

Was there any necessity? Was there any other way? The question is very complicated, historians have not yet given a response. However, another thing is important for us. The fact that in just a few decades who passed from the beginning of Petrov's reforms before the time of Catherine Great, Russia, who was in the eyes of Western Europe, a hazardous exotic land, inhabited by unpredictable barbarians, was not just a European power. One of the first European powers! The rapid changes have occurred not only in politics - they affected the most foundations of people's lives, their attitude to peace and each other, life, clothes, many everyday little things, of which, in fact, life and develops. And, of course, art. Russian art over the decades flew through the way Western European flowed in centuries.

Unknown artist. Portrait of "Patriarch" Milak - Boyarin Matvey Filimonovich Naryshkin. 1690th canvas, oil. 86.5 x 75 cm. State Russian Museum

Paphos of an active knowledge that covered Russia of Petrovskaya Pore, partly relate to her with Western Europe of the Renaissance. Then in Italy (and then in other countries), the prudency of culture, the development of practical sciences instead of medieval speculative philosophy and acute interest in self-fledged personality (outside the corporate framework, characteristic of the Middle Ages) stimulated the rapid development of secular art, which raised to the unprecedented height.

For this art, the exact transfer of nature, based on the study of the laws of perspective and human anatomy; And, the main thing is a close and not indifferent peering in a person. Master of Renaissance show us a person primarily as a miracle, the crown of creation, which should admire. By the XVII century, this delight is inferior to a deep and sober psychologist, awareness of the tragic paradoxes of the Being and the very human nature (for example, in the work of Velasquez and Rembrandt).

The Russian art of the XVII century was still in the power of tradition and canon. The secular painting of that time is portraits-Parsuna (from the Latin word "Persona"), which very much resemble the icon painting faces. They are flat, static, deprived of lighting, inaccurately convey the appearance of portrayable (known authors, as a rule, when they are). All this, of course, not from the lack of talent. Before us is a different artistic system designed for spiritual art. Once she called for the life of the masterpiece of Feofan Greek and Andrei Rublev. But times have changed, and picturesque techniques devoid of historical soil turned into archaism.

Running changes in society - and with him in art - began in the nineties of the XVII century. As a characteristic example, you can bring the portrait of the royal jester Jacob Turgenev, written by an unknown master no later than 1695. In general, this is a typical Parsuna: the frozen image on the plane, although the light and shadow are already scheduled. But the main thing is the individualization of the form of the model: face features, eye expression; The inner world is not yet reflected in the portrait, and yet before us, undoubtedly a living person.

Ivan Nikitin. Portrait of Praskovy Ivanovna princess (?), Peter I. 1714 niece.
Canvas, oil. 88 x 67.5 cm. State Russian Museum

Ivan Nikitin. Portrait of Baron Sergey Grigorievich Stroganov. 1726.
Canvas, oil. 87 x 65 cm. State Russian Museum

Ivan Nikitin. Peter I on the mortal bed. 1725.
Canvas, oil. 36.6 x 54.4 cm. State Russian Museum

The fact that the genre of portrait began to develop very quickly, is not surprising. First, he already existed in Russian painting (unlike most other genres, which only had to appear). The main reason is that the significance of the personality - active, thirsty assertion, breaking tradition and class barriers has sharply increased in the Petrovsk Epoch. Such were the "chicks of Petrov's nest" - from Menshikov to Abraha Hannibal - gambling and talented people of many different origins, thanks to which the Russian ship could defeat the stormy sea of \u200b\u200bradical reforms. The fate of these people often folded tragically. Such a fate waited for the first famous artist of the XVIII century, nominated with Peter, Ivan Nikitina.

He was born in the mid-1680s (the exact date is unknown) in the family of the Moscow priest. Early showed uncommon abilities: a very young man taught arithmetic and drawing in the "Artillery School" in Moscow. Seriously study painting began to indicate Peter I, learning about his talent.

The early works of Nikitin (for example, a portrait, an allegedly depicting niece Peter Praskov, John (1714)), is still largely reminiscent of Persons with their flatness, convention and disregard for anatomy. But more and more noticeable in them new features: close attention to the model, attempts to convey its character, internal life. In 1716, Nikitin was included in the number of Petrovsky pensioners - young people who went abroad to study for the state account.

Ivan Nikitin. Portrait of outdoor hetman. 1720-E.
Canvas, oil. 76 x 60 cm. State Russian Museum

Before leaving, the king personally met with the artist, and then wrote his wife (who was then in Berlin) so that she instructs him to write several portraits, including the Prussian king, "in order to know that there are good master masters from our people." And on returning from abroad, Peter did not leave Nikitina with his attention: Gave him a house in the center of St. Petersburg and named the "Horpmaler of personal cases."

The artist tested to the emperor not just gratitude - he admired this mighty person, deeply respected his state genius. Such a relationship is very noticeable in the famous portrait of Peter's Brush Nikitin. The man in the portrait is no longer young; In his glance and stubbornly compressed lips stems bitterness. Obviously, he managed to see and evaluate the root side of the grand accomplishments. But - give up? In no case! He is still the embodiment of the power of the spirit and indispensable energy. And in 1725, the artist had to perform a sorrowful debt: to capture the emperor to Audru's death. This canvas produces a strong impression. The face of the deceased, anxiously lit by the flame of candles (the paintings "behind the sample"), is written strictly realistic and at the same time the genuine greatness is performed.

These and other works of Nikitin testify to the rapid growth of his skill. Here, for example, a portrait of Chancellor G.I. Golovkin. What a clever, thin and ambiguous person is depicted on it! The look of his dark attentive eyes, directed to the viewer, just fascinates. Or a magnificent "portrait of a floor hetman." These pictures are concise, full of domestic dynamism and extremely expressive. The author is no longer scored by the canon, the most complex technical techniques are subject to him.

This stiffness, frost is also visible in the works of another Petrovsky pensioner - Andrei Matveyeva, for example, in a "self-portrait with his wife" (1729?). Poses and expression of the persons depicted on it of a young couple are static and deliberate. At the same time, the portrait attracts some kind of deep sincerity, cleanliness. When we look at it, the distant era suddenly turns out to be near and speaks directly with us ...

After the death of Peter I in Russia, difficult times began. His successors, absorbed by the struggle for power, were little concerned about the fate of the state and his talented subjects. Sad ended with the creative life of Ivan Nikitin. In the reign of Anna Ioannovna, he was arrested for participating in the Moscow opposition circle, from which a pamphlet was released on Faofan Prokopovich. She spent five years in the fortress, then, in 1737, a bit of his whip and exiled to Siberia. Forgiveness was obtained after 1742, when the Empress was not exactly; Alas, too late.

The exhausted and sick artist could not get to the house - died on the way.

The era of palace coups, barely not put everything in the wind, which was achieved under Peter, ended in 1741 by his daughter Elizabeth. Having received the throne by usurpation (the young Emperor John Antonovich was removed and concluded in the fortress), she resolutely took into order in the state. Like the Father, she sought Russia to take a worthy place among the European powers. I knew how to find and maintain talented people - immigrants from a wide variety of social layers. And, unlike the Father, for all the time the reign did not sign any death sentence.

It is not surprising that at this time the high rise of national culture begins. In 1755, Moscow University was established, in 1756 the National Theater was created, in the 1757th Academy of Arts. Russian visual art has become truly professional.

The leading role in painting this period still belonged to the portrait. In the forties and sixties, I. Vishnyakov, A. Antropov, I. Argunov, M. Kolokolnikov, E. Vasilyevsky, K. Golovachevsky worked in this direction. Portrait art developed in two genres: the parade and chamber.

The main portrait is in many ways the burdens of the Baroque style (this direction originated in the XVI century was dominated then in Russia) with its heavy liness and gloomy greatness. His task is not just a person, but an important person in all the brilliance of its high social status. Hence the abundance of accessories designed to emphasize this position, theatrical parade of the posture. The model is depicted on the background of a landscape or interior, but certainly in the foreground, often in full growth, as if suppressing the surrounding space with its greatness.

Ivan Vishnyakov. Portrait of M. S. Begichev. 1825 canvas oil. 92 x 78.5 cm
Museum V.A. Tropinin and Moscow artists of his time, Moscow

It was the front portraits that one of the leading portraits of that pore I.Ya. was famous Vishnyakov (1699-1761). His works follow the traditions of the genre, but have a number of features characteristic of only this master. First of all, the sophistication of the color, refined grace, light ornamentality, that is, features characteristic of Rococo style. Especially indicative in this plan, a portrait of a young Sarah Eleonora Farmore, written in 1749 (a few years later, the artist also created a portrait of her brother).

Thin dark-eyed girl in a frightened wig and a lush dress made of a negligent satin froze against the background of drapes and columns. It is this contrast to fragile youth and parade decorativeness, an underlined entire pinkish-silver gamut painting, pearl overflows of hard folds, a thin pattern lying as if aside from the fabric - like frost on the glass, and a transparent scenery on the far plan. This canvas something resembles a vase from a subtle porcelain, who admire, fearing to touch, so as not to damage the careless movement.

Vishnyakov is the first of the Russian painters, so clearly with the lyricism in the interpretation of images. This line will continue in the work of his younger contemporaries and artists of the second half of the century.

Alexey Anthropov. Portrait of Anna Vasilyevna Bourling. 1763.
Canvas, oil. 60.3 x 47 cm. State Tretyakov Gallery

The most significant works of portrait art of the XVIII century were created in the genre of non-parade, but a chamber portrait. The flourishing of this genre begins in the forties. It is characterized by conciseness, the few of the details (each of which becomes especially significant, adding something to the characteristics of the model), as a rule - a deaf dark background. The main attention of the chamber portrait masters focus on the face given by a close-up, thoroughly mixing the peculiarities of appearance, achieving as much similarity as possible, trying to penetrate into the inner world of the person depicted.

The main achievements in this genre belong to two artists, who, along with Vishnyakov, art historians consider the largest painters of the mid-XVIII century, - Antropov and Argunov.

A.P. Antropov (1716-1795) studied painting from his relative - Andrei Matveev, one of Petrovsky pensioners. Already in his youth, he began working in the picturesque team of the office from buildings under the leadership of First Matveyev, then Vishnyakova. These masters had a great influence on him, and he, in turn, was a levitsky teacher, his works influenced the work of rokotov, later - Borovikovsky and Schukin. So the continuity was carried out in Russian portrait art, passing through the entire XVIII century.

The most famous anthropov canvases are designed in the fiftieth and sixties. At this time, he, according to researchers, can be considered a central figure in domestic painting. Portraits of the spouses of Bourning, A.M. Izmailova, MA Rumyantseva, A.K. Vorontsova, Ataman Krasnoshekova is portrayed very different, but something similar people are representatives of one social layer, one era. Sometimes these paintings are forced to remember the Parsunov: in them (as in the works of Vishnyakov) sometimes lack air and dynamism; There is no accurately accurate external characteristic of models in the inner.

However, where this characteristic is, it reaches impressive. Both, for example, in the portrait of Stats-Lady A.M. Izmail. The face of this elder woman is hidden behind the smooth mask of Belil and Rumba. It is magnificent, full of power and serene consciousness of his own superiority. Involuntarily comes: how difficult it should be, those who have in submission. But the artist shows the ambiguity of human nature: Looking more closely, we notice that the eyes of the shift lady - wiser and softer than it seemed to be the first impression ...

Another example is the parade portrait of the emperor Peter III. This Holstein prince was elected a childless Elizabeth into successors only because of kinship (he was her nephew, the grandson of Peter I), and not because of personal qualities, alas - insignificant. After several months of the inglorious rule, he was shifted from the throne his own wife - the future great Empress Catherine. This nullity of personality is so brightly visible in the portrait (despite the fact that it is simply filled with draperies, orders, mountainous mantle and other attributes of pomp and power) that the unlucky emperor becomes honest, sorry.

Almost Lee Anthropov put his task to debunk a monarch. Just he, as a real master, could not smash. Such fearless accuracy cost the artist of the career: he never became a member of the recently open academy of art.

With the name I.P. Argunova (1729-1802) is associated with a special page in the history of Russian art. He was serfdom throughout his life. The serfdom was strengthened in the XVIII century, turning into actually into a variety of slavery. Veneln-like brilliant imperial yard, competing with each other, built luxury palaces, arranged theaters and art galleries. Creativity of serf architects, painters, musicians, actors were very in demand. Talented people were looking for and dog, created them the conditions for work, but on the whim of the Mr. They could easily lose everything. In this position was Argunov, often forced to be distracted from work to copy paintings, then to managing master's property.

Ivan Argunov. Our Lady. 1753 (?). Canvas, oil. 202 x 70.7 cm. State Russian Museum
Ivan Argunov. Jesus Christ. 1753 (?). Canvas, oil. 198 x 71 cm. State Russian Museum

The benefit is also that his hosts had no worst - Sheremetyev's counts. Now we are talking about both of these families - Sheremetev and Argunov, - that they glorified their name in Russian history: one gave Russia Russians and politicians, the other - architects and painters. The architects were the cousin of Ivan Argunova and his son Paul, they took part in the construction of Palace complexes Kuskovo and Ostankino. Portraitist, as a father, became the second son of Argunova - Nikolai, glorified at the turn of the XVIII-XIX centuries.

On creative manner I.P. Argunov is close to Anthropov. His portraits are especially parade - also forced sometimes to remember the Parsuns. Important Officers - Prince and Princess Lobanov-Rostov, General Admiral Prince M.M. Golitsyn, representatives of the Sheremetev family and others, are immovable at the audience, composed of their own glitter. Like Anthropov, Argunov carefully discharges textures, admiring the overflows of fabrics, sparkling jewels, cascades of air lace. (Admiration for the beauty of the material world, we note by the way, it is characteristic not only by these craftsmen: this is one of the characteristic features of all painting of the 18th century.)

The psychological characteristics of the models is hidden behind this brilliance, but it is and is quite accessible to the view of the attentive viewer. In the chamber portraits of Argunov's brush, this feature is on the fore. Such are the portraits of Tolstoy, her husband and wives of the haircut, unknown peasantry and a number of other depicting people of a very different social situation, age and temperament. The artist peers into the faces of these people intently and interested, noting the slightest features of appearance and character, sometimes frankly admiring them with beauty, primarily inner (this is especially noticeable in the portraits of the haircut and unknown peasant in the Russian costume).

Ivan Argunov deserved the recognition of contemporaries and as an artist (no wonder after the eight of the throne of Catherine II Senate ordered him the front portrait of a young empress, which she remained very pleased), and as a teacher. His disciples were, besides the son of Nicholas, K.I. Golovachevsky, I.S. Sablukov, A.P. Losenko - In the future, famous painters and prominent figures of the Academy of Arts.

A special conversation deserves a genre that appeared in Russian art in recent years of the Board of Peter, which has reached a heyday in the afternoon and received a peculiar continuation in the middle and second half of the century.
It's about still life.

This genre in the European art art of the XVIII century (when, by the way, the term himself arose) was very popular. The luxurious still lifes of Flemish and Dutch artists are especially known: brilliant cups with wine, piles of fruit and bat game - a kind of symbol of carnal joy and material abundance. The renowned world did not cease to amaze and admire the painters, and in Russia, when secular visual arts began to develop rapidly, too.

The first Russian still lifes belong to the brush of several masters, including anonymous. Among them are the most famous name Gregory Teplova. Seminarist, a student of Feofan Prokopovich, subsequently a statesman and a scientist, he created several peculiar and in its own very attractive pictorial work. They are depicted everyday things scattered as it were in a random mess on a wooden board, which canvas disguised. They are discharged so carefully that the illusion of reality is created, it is not for reason that art historians call this kind of still life called "deceptions".

Engraving, hours, notes, flask with medicine, feather and notebook, that is, mostly those items that have entered the use of recently - signs of a new life that has not yet become familiar. This is a life of people who drive acute interest in the world and thirst for knowledge; For which the thing is not just a subject of considerable, but mystery, worthy of comprehension. That is why these undisputed at first glance paintings are such a strong energy. They make us unusually acutely feel the attractiveness of those distant times. As if the "deception" - really a real, living thing, which is now, a moment ago concerned the hand of her long ago of the past owner ...

It took quite a few years - and now life entered the usual rut and the paphos of the discoverer changed the festive ecstay of the joys of life. Such was the atmosphere of Elizavetinsky courtyard - "Merry Elisvet", as contemporaries called her. A rococo style rococo is in the fashion - light, playful, flirty. Anflades Palace Hall are decorated with a whimsical decor.

Boris Sukhodolsky. Astronomy. About 1754. Desundport
Canvas, oil. 100 x 210 cm. State Tretyakov Gallery

Then he received the development in Russian art a peculiar species of still life - desustemports, or prison panels. Vases, flowers and fruits, exquisite landscapes, drapery, ornaments were depicted on them. Designed to decorate and harmonize the interior, they rarely be considered as independent artworks, outside the overall architectural and, no matter how they said, the design solution of space. In this case, they were fulfilled, as a rule, at a very high level.

In the preparation of masters who worked in this area, such a institution played a major role as the St. Petersburg Office of the Strategies mentioned above, in which an architectural and picturesque team had. Artists of the picturesque team performed numerous orders for the painting of palaces, churches, triumphant and festive structures. Among them were allocated to such masters like Ivan Firsov, Brothers Alexey and Ivan Belsky, Boris Sukhodolsky.

The works of Firsov and A. Belsky - emphasized decorative; Depicting vases, fruits and drapery, they did not strive for them to be similar to real. The interiors, decorated with works of these masters, acquired the completeness and shine.

Several otherwise considered its task Sukhodolsky. His desesytems are, as a rule, landscapes. Skirfully inscribed in the interior, they are nevertheless completely perceived and separately. Gardens and parks in the style of Late Baroque - with a thoughtful greens, grotts, ruins and fountains, decorated with statues in the ancient spirit and busts of great people. Such gardens loved to smash in the XVIII century; Some of them, such as the famous Park in Pavlovsk, have been preserved and still. In this park, by the way, with Catherine II, there were special garden libraries: looking at the Busts of the Great, so gratifying serious reading and reflections on the elevated. We can see the figures of the reading people in the Suhodolsky panel (for example, "walk", approx. 1754).

"Beachings" and the desustemports may seem not a very serious topic for consideration next to the high achievements of portrait, historical and genre painting.

But without them, the idea of \u200b\u200bthe art of the XVIII century would be incomplete. They are closely connected with time, they have given it. Perhaps it will not be an exaggeration to say that in them - the soul of this time, his unique charm.

Ivan Sablukov. Portrait of Catherine II. 1770th canvas, oil. 85 x 65.5 cm

In 1762, the Russian throne took the former German princess Sophia Frederick - Empress Ekaterina II. His husband, who is not able to manage the state, nor support at least some prestige of the imperial court, she overthrew with the help of the guard. "The age of women", as they sometimes refer to the XVIII century, continued and reached his heyday.

It was under Catherine that Russia became a truly great power. The successes accompanied her army and diplomacy. New lands were attached, among them the Northern Black Sea region, Crimea, the North Caucasus; The boundaries of the empire moved away far to the south and west. In Europe, Russia was considered a desired ally and a very dangerous enemy;
Conflicts related to European countries were not solved without her participation.

The internal policy of Catherine was decisive and tough. An example for herself she chose Peter I (according to her command he was erected by the famous monument at the St. Petersburg Palace Square). Strengthening the basics of an absolute monarchy, she gave privileges to the nobility - their main support - and strengthened the reassurance of peasants. Being a fan of French enlighteners, she, in order to prevent the obsolence of the states of the state (with the beginning of the revolution in France, this task became particularly relevant!), Passed the peasant riots mercilessly.

Catherine, like Peter and Elizabeth, was able to appreciate the talents. Suvorov, Dashkov, Potemkin, Ushakov, Derzhavin is only a small part of the constellation of the names that glorified her time. In this constellation woven and brilliant names of Russian painters.

Ivan Sablukov. Portrait of a graphate L.N. Kousel. 1770s. Canvas, oil. 65 x 50 cm
Nizhny Novgorod State Art Museum

Russian painting, like culture as a whole, was at that time under the great influence of the ideas of enlightenment. This socio-philosophical course, whose homeland was France, was based on the cult of the mind, able to know the world and transform it on the basis of justice, feasibility and progress. For enlighteners, all these concepts were definitely positive. What prevented progress was subject to condemnation; Irrational, inexplicable was considered false.

Classicism became an expression of these ideas in art. Founded on the perception of antiquity as an ideal, this direction, in contrast Baroque and Rococo, sought clarity and strict simplicity. Beauty is calculated - here is the Credo classicism. There are laws, strictly observing which you can create a perfect work of art. This, on the one hand, is accuracy, proportionality, unity of parts; On the other hand, the "public above is personal", "Demand above Love."

In France, artists, playwrights, architects followed the principles of classicism in the XVII century - long before the era of the Enlightenment; In Russia, the flowering of classic art fell on the second half of the XVIII century. A large role in this was played by activities founded in 1757 in St. Petersburg Academy of Arts.

The value of the academy in the history of Russian art is extremely great. For many decades, she remained the only artistic educational institution in Russia. Having received in 1764 the status of the imperial, she stayed under the constant care of the authorities, which, on the one hand, gave her the opportunity to pay for long-term foreign business trips for the best students, and on the other, to limit the "ideological diversity and slat."

Kirill Golovochsky. Portrait of a Countess of Sofia Dmitrievna Matyushkina in childhood. 1763.
Canvas, oil. 61.2 x 47.5 cm. State Tretyakov Gallery

Anton Losenko. Portrait of the poet and playwright Alexander Petrovich Susharov
Canvas, oil. 74 x 64.5 cm. State Russian Museum

The discharge system of students was, however, quite a democratic, not burdened formalities. Among the first, the academy of the three student I.P. Argunova - Losenko, Sablukov and Golovachevsky. With good training, they not only studied, but also helped teachers to conduct academic classes, and at one time they even headed the classes of painting.

Teaching at the Academy was based, of course, on the principles of classicism. The student boosted the idea of \u200b\u200bthe need to rely on the experience of the past, about the value of tradition, primarily ancient. Art, explained teachers, should strive for the ideal to which the surrounding life, alas, corresponds little. However, ideal patterns are laid in it; A good artist will reveal them and present on the canvas the nature corrected, which which it should be.

With such principles, it is not surprising that at first in painting academician put the historic genre (historical, biblical, legendary and mythological plots were also considered historical. After the opening of the Academy, the flourishing of this genre in Russian art begins.

Among the students I.P. Argunova, who entered the Academy of Arts, the greatest creative success reached A.P. Lovenko. He showed himself an outstanding portrait: Sumarokov was posing, Ivan Shuvalov, the founder of the Russian theater Fyodor Volkov. But first of all, we know and appreciate it as a historic painter - the founder of this genre in domestic art.

Early orphaned son of the Malorosiysk peasant, Anton Losenko was able to break through in life solely due to his talent. In early youth, he sang in the court chore, from there he came to the students to Argunov. Then he was sent to the Academy. It was always distinguished by observation, live curiosity, greedy desire for knowledge. Being abroad (in the sixties, he visited Paris twice, then in Rome), Losenko led the magician and sculpture for me, "which thoroughly analyzed his impressions of the works of great European masters - Rafael, Rubens, Rembrandt, Pushsen, He studied antiquity monuments, determining their own road in art.

Anton Losenko. Death of Adonis. 1764 canvas oil. 77.6 x 105.2 cm

Anton Losenko. Zeus and Fetida. 1769.
Canvas, oil. 172 x 126 cm. State Russian Museum

And subsequently, teaching young artists at the Academy, he did not stop learning himself. It was aimed at perfect ownership of technique, accurate knowledge of anatomy and prospects. His drawings are considered one of the highest advances in the XVIII century graphics; For a long time, they served as a model for students of the Academy in the field of drawing. The first plan for plastic anatomy was drawn up in Russia - "the expressions of a brief proportion of a person ... for the benefit of the youth exercising in drawing ..." was also used at the Academy for several decades.

Artistic principles of Losenko decided on the end of the sixties. Clear logic of classicism seemed at that time a sip of fresh air against the background of decorative stripping and overload by the allegories of the late Baroque and Rococo, in the spirit of which foreign artists who are invited to Russia (for example, S. Torelli and F. Fontenbasso). In 1768, Losenko wrote two "academic figures in the amount of an ordinary person" - the studies of the naked body, conventionally named "Cain" and "Abel", and in a year - the picture "Zeus and Fetid". In these works, he first declared himself an artist of the classic director.

The best works of Losenko are the canvas of the historic genre, written on the topic of ancient and, especially important, domestic history. In 1770, he put the picture "Vladimir and Rogned" at the Academy. At the heart of its plot - the events of the distant X century, described in the "Tale of Bygone Years". Vladimir, in the future, the Grand Duke of Kiev, launched to Polotsk Princess Rogned and, having received a refusal, captured her by force after he crushed Polotsk and killed her father and brothers. Appeal to the plot from Russian history was innovative and at the same time very indicative for the second half of the 18th century, when Russian society in the conditions of the national lift began to be aware of the significance and greatness of its historical past. The heroes of the chronicles and legends stood in one row with antique and biblical characters, demonstrating the same example of strong passions and high feelings.

Anton Losenko. Abraham sacrifice the son of His Isaac. 1765.
Canvas, oil. 202 x 157 cm. State Russian Museum

Anton Losenko. Wonderful fish catch. 1762.
Canvas, oil. 159.5 x 194 cm. State Russian Museum

In the picture, Vladimir appears not a cruel conqueror. He is in love and depressed by the grief of his beloved woman, who himself caused her. Are the arbitrariness and love compatible? The story that Losenko knew well, gave the answer: Vladimir and Rogunda lived in a prosperous marriage for many years ... As long as the prince left it for the Byzantine princes, which was to marry political considerations.

Three years later, the artist presented to the court of spectators another picture on the historical theme - "Farewell to Hecector with Androma", a complex multi-digurized composition, made with a professional brilliance and chanting self-sacrifice in the name of the Motherland.

Following the Losenko to Russian art included a whole Pleiad of historical painters, most of whom were his students: I. Akimov, P. Sokolov, G. Ugrumov, M. Pukhinov. All of them are distinguished by a high level of skill: an honed drawing, free possession of color and light, the use of the most complex methods of composition.

This skill makes a great impression in the picture of the nineteen-year-old Akimov "The Grand Duke Svyatoslav, the kissing mother and children on returning from the Danube to Kiev", written under the great influence of the teacher, but at the professional level a completely mature artist. In the future I.A. Akimov (1754-1814) created another number of paintings, mainly on mythological topics (for example, "self-immolation of Hercules"), he taught a long time at the Academy, one time headed her. In 1804, he was written one of the first essays in Russian art - "Brief historical news about some Russian artists."

Among the works of PI Sokolova (1753-1791) The picture "Mercury and Argus" is particularly interesting, in which the figures are opposed to the trusting of the dormant mighty siller and the cunning cunning of Mercury, which is about to strike his sword. Sokolov is also known as one of the best academic drawers: its images of the simulators with an Italian pencil and chalk on tinted paper art historians belong to the highest achievements of Russian graphics of the XVIII century.

The works of M. Pucunov (1716-1797) distinguishes increased decorativeness, which comes from Russian painting of the middle of the century and, in general, the unusual art of classicism. An example of such a decorative, color-saturated composition is the picture "Date by Alexander Macedon with Diogen", depicting a meeting with the philosopher Alexander Macedon, for which he in 1762 received the title of academician.

Ivan Akimov. Prometheus makes a statue for ordering Minerva. 1775.
Canvas, oil. 125 x 93 cm. State Russian Museum

Ivan Akimov. Saturn with a scythe sitting on the stone and covers the wings of Amur. 1802.
Canvas, oil. 44.5 x 36.6 cm. State Tretyakov Gallery

Matvey Puchinov. Date by Alexander Macedonian with Diogen
Canvas, oil 217 x 148 cm State Russian Museum

A special role in the development of domestic historical painting played G.I. Ugryumov (1764-1823). He was in love with Russian history and plots for his paintings screaming out of it. He wrote mainly large multi-digurities dedicated to important historical events, filling them with ideas close to the Russian society of the centuries. For example, in the picture "The vocation Mikhail Fedorovich to the kingdom on March 14, 1613" (no later than 1800), he develops the topic of authority as debt and burden at all times. Young Mikhail, although not confident in his abilities, will obey the will of the people who choose him to the kingdom, because he feels responsibility to people and fatherland.

Heroes of Ugrumova could become not only the rulers and commander ("The solemn entrance of Alexander Nevsky to the city of Pskov after the victory over the Germans", "Taking Kazan"), but also ordinary people, like the legendary Kiev Kozhemyaki Yana Usmaar ("Test forces Yana Usman" ). For its webs are characteristic, in addition to the semantic fullness, expressive composite solutions, a rich color, a bright game of lighting.

Ugryumov became a teacher of historical painting at the Academy at the beginning of the nineties (shortly after he graduated from him) and remained it for more than twenty years. He enhanced the teaching methodology, making it more free, close to nature. The magnificent technical training that the Academy gave students over the next century is in many ways to his merit.

Grigory Ugryumov. Vocation Mikhail Fedorovich Romanova for the kingdom March 14, 1613. No later than 1800.
Canvas, oil. 510 x 393 cm. State Russian Museum

Grigory Ugryumov. Taking Kazan on October 2, 1552 no later than 1800. Canvas, oil. 510 x 380 cm
National Art Museum of the Republic of Belarus, Minsk

Grigory Ugryumov. Alexander Nevsky's solemn entrance to the city of Pskov after the victory over the Germans won. 1793 (1794?). Canvas, oil 197.5 × 313,5 cm State Russian Museum

Grigory Ugryumov. Yana Usmaar's Force Test 1796 (1797?)
Canvas, oil 283 x 404 cm State Russian Museum

The second half of the XVIII century is the time of high take-off of Russian portrait art. The new generation of craftsmen comes, with new ideas and ideas about what should be a portrait. Classicism has an impact on them, but to a much lesser extent than on historical painters. Move the sharp interest in the human person, they strive to show it as deeply and versatile. The portrait typology is expanding: costume and mythological is added to the already existing parade and chamber. The social circle of models is increasing - and, which is characteristic, mainly due to people of creative work, who, who, who, who earn fame with talent and knowledge, and not high origin. The art of a portrait ceases to be elite, goes beyond the capitals: Residents of the Russian province also want to perpetuate themselves for the descendants and efforts of numerous provincial painters create an extensive gallery of images; The most interesting material for art historians and historians.

In short, the art of the portrait can safely be called the top of Russian painting the second half of the century. On this top - primarily two names: Rockies and Levitsky.

Rockies and Levitsky. Who at least once saw the portraits created by them will forever remain under their charm. Such similar and so different. Graceful Levitsky, playing by images, generously using parts, allegories, angles - it is sometimes not off and swear over his models with quite a love, however, to them. And the mysterious rockers - the faces in his paintings are floating from a vague dusk, worry and attract unusually ... With the apparent monotony of techniques, it reaches the amazing psychological depths and strength of emotional impact. Art historians sometimes compare these artists with two other great portraitists - the British Reynolds and Gainesboro. In fact, the parallel is obvious. Of course, it is not about any influence or borrowing. It is intimate. One era, similar historical processes ... People living in different ends of Europe often discover much more common than for some reason it is considered to be considered.

On s. 65:

Fedor Rockots. Portrait of Praskovia Nikolaevna Lanskaya. The beginning of the 1790s. Canvas, oil. 74 x 53 cm (opal). State Tretyakov Gallery
Fedor Rockots. Portrait of Varvara Yermolaevna Novosillese. 1780 canvas oil. 70.5 x 59 cm (oval). State Tretyakov Gallery

About the life of Fyodor Stepanovich Rokotov we know not so much. Controversial date of birth of birth: 1732 or 1735; And maybe 1736 (the artist died in 1808). It is known that he was born in the family of fortress peasants and got free after he began to engage in painting. Fame reached early: at the end of the fifties, when he was still far to thirty, he was instructed to perform the parade portrait of the Grand Duke Peter Fedorovich (future Peter III). Then he wrote the picture and unusual for his work - one of the first Russian interiors "Cabinet I.I. Shuvalova. " This is not just an interior, it is a kind of "portrait without a model" (however, Shuvalov we still see: his portrait of the work of J.-l. de Velli hangs on the wall of the cabinet). Count Ivan Shuvalov was not only a major statesman, but also one of the most educated people of their time, the founder of Moscow University, an expert and connoisseur of art. The picture of rokotov, with documentary accuracy reproducing the situation of his office, resurrect it to the atmosphere, helping us better understand this outstanding person.

Until the mid hundred and sixties, Rockots lived in St. Petersburg. Already then he had so many orders that, although he worked very quickly, the secondary details of the portraits had to add to students. One of the contemporaries with delight wrote about the magnificent portrait of A.P. Sumorova, created in just three sessions: "... You, almost playing, marked only the kind of face and the sharpness of the Zraq (gaze) Evo, at that hour and the flame soul of EVO, with all Evo tenderness of the heart on a revolved tooth the canvase did not beat Asya ...".

Fedor Rockots. Portrait of Barbara Nikolaevna Surovtsevaya. The second half of the 1780s.
Canvas, oil. 67.5 x 52 cm (oval). State Russian Museum

Fedor Rockots. Portrait of Agraphenes (Agrippines?) Mikhailovna Pisareva (?),
born stupid. The first half of the 1790s.
Canvas, oil. 63.5 x 49.5 cm (oval). State Russian Museum
Fedor Rockots. Portrait of Santi Vasilyevna Vasilyevna Countess, born lachp. 1785.
Canvas, oil. 72.5 x 56 cm (oval). State Russian Museum

Very good written in 1761 Portrait of the Grand Duke Paul Petrovich. For several decades, this person will become a Russian emperor-riddle with an incomprehensible temper and tragic fate. In the meantime, this is just a little boy, lively and capricious; The charm of childhood is emphasized by a warm combination of golden and red tones, on which the color flashes.

In about 1766, the artist moved to Moscow. There in the sixties and eighties and its best works were written: Portraits V.I. Maikova, A.I. Vorontsova, A.M. OBRESKOV, A.Yu. Kwashina-Samarina, V.E. Novoselva, P.N. Lanskaya, E.V. Santi, husband and wives of the jet and harshs and many others. He wrote in a strict chamber manner, with time, showing an increasing gravity to classic simplicity. Minimum details, simple dark background. All the attention of the viewer is caught face model. These faces are very different, combines them that they are all lightweight. Rockots did not write small people, or rather, I knew how to see him, see his depth. Living eyes look at us that mockingly, then sad, then with painful anxiety. They always mystery, the mystery of the life of life. The inability to unravel her worries, makes peer again and again ...

Perhaps the best of all about this hypnotic exposure that Rokolovsky portraits appear on the viewer, said the poet Nikolai Zabolotsky:

... you remember how from the darkness of the past,
Barely wrapped in atlas
With rokotov portrait again
Watched a just on us?
Her eyes - like two fogs,
Semi-cough, semi-foam,
Her eyes - like two deceptions
Millet covered failures.
The connection of two riddles
Half-vestor, half-visual,
Crazy tenderness of the seizure
Anticipating mortal flour ...
(From the poem "Portrait", 1954).

Dmitry Grigorievich Levitsky (1735-1822) was born and conducted early years in Ukraine. Art accompanied him since childhood: his father, the priest, was fond of engraving and was considered one of the best Ukrainian engravers. However, it is difficult to say, as if the fate of Levitsky, if not for the meeting with A.P. Anthropov who came to Kiev to lead picturesque works in the St. Andrew's Church. Anthropov noted the talent of Dmitry and took it into the disciples.

Much adopted Levitsky from his teacher. First of all, the ability to give an accurate and certain characteristic of portrayed. But he went much further than Antropov, filing his works in depth, putting humanism in them and the breadth of sight, relating to him with the Rocky.

The first paintings, allowing to talk about Levitsky as a mature artist, he wrote at the turn of the sixties and seventies. These are portraits A.F. Kokorinov (famous architect, builder of the building of the Academy of Arts) and N.A. Semoleova. In the portrait of Seleases, the appearance of a person depicted is unusual for the art of that time, the face of the peasants depicted. The portrait of Deni Didro, written in 1773, was extremely interesting, and the French philosopher came to St. Petersburg.

In the same 1773, Levitsky received a large order from Catherine II. Until 1776, his work on "Smolyankami" continued - a series of portraits of pupils of the Smolny Institute, that very much that his name would forever glorify, even if he did not write anything else. The overall impression that occurs when one after the other is considering these amazing portraits, you can express in a few words: happiness, delight, holiday! These sly girls in theatrical costumes, the pastoral scenes in front of the artist, are just a miracle as good. This is where the native of the solar moulorsia gave the will of his life, optimism, admiration for the very fact of being. Each portrait is an independent work, each Smolnyanka has its own character. But together they form a wonderful semantic and stylistic unity, and with no less ecstasy than people, the artist discharges their outfits, masterfully transmitting fabric features: silk and satin, velvet, lace and brocade.

But another beautiful picture written by everything in the same 1773. In it, Levitsky showed not only the skill and sense of humor, but also, perhaps an extraordinary courage. This is a portrait of a famous breeder P.A. Demidov. Portrait - Parade: Demidov is depicted in a proud pose, in full growth, behind his back, as it should be, - columns and drapery. However, he is not clouded in a uniform with orders, but in a home cap and sludge and relies not on some folitic or bust of the Great Artist, but on the watering can. The royal hand gesture is facing flower pots: here it is, the main achievement and the matter of life! The ironic meaning of the portrait is, of course, not just in the immersion of the model in the home furnishings: such a reception, which has repeatedly encountered in portrait painting of the 18th century, only added the picture of sincerity and heat. But it is precisely the combination of incompatible helps to give a deadly accurate characteristic of the Demidov, which possessed, on the one hand, an outstanding mind, and on the other hand, a very bizarre temper with pronounced signs of ridiculous self-employment.

This accuracy of characteristics is peculiar to all portraits of Levitsky's brush. He knows how to notice the most important thing in man and create a holistic bright image. And never refers to its model with cold objectivity. If he likes a person, he writes a picture with warmth (portraits M.A. Dyakova-Lvova, the father of the artist and his daughter, her husband and wife of Bakunins and others).

Dmitry Levitsky. Portrait of a priest (K. Levitsky?). 1779.
Canvas, oil. 71.2 x 58 cm. State Tretyakov Gallery

Dmitry Levitsky. Portrait of the architect Alexander Filippovich Kokorinova. 1769.

Dmitry Levitsky. Portrait of the pupils of the Imperial Educational Society of Noble Maiden Feodosia Stepanovna Rzhevskaya and Nastasya Mikhailovna Davydova. 1772.
Canvas, oil. 161 x 103 cm State Russian Museum

Dmitry Levitsky. Portrait of the pupil of the imperial educational society of the noble maiden Catherine Ivanovna Nelidova 1773.
Canvas, oil 164 x 106 cm State Russian Museum

Dmitry Levitsky. Portrait of pupils of the Imperial Educational Society of Noble Maiden Catherine Ivanovna
Molchanova. 1776. Canvas, oil. 181.5 x 142.5 cm State Russian Museum

Dmitry Levitsky. Portrait of pupils of the Imperial Educational Society of Noble Maiden Natalia Semenovna
Borshovoy. 1776. Canvas, oil. 196.5 x 134.5 cm. State Russian Museum

Dmitry Levitsky. Portrait of Ivan Logginovich Gornish-Kutuzov
Canvas, oil. 80.3 x 63.2 cm. State Historical Museum, Moscow

Dmitry Levitsky. Portrait of Alexander Vasilyevich Suvorov. 1786.
Canvas, oil. 80.5 x 62.5 cm. Museum V.A. Tropinin and Moscow artists of his time, Moscow

Dmitry Levitsky. Portrait of Anna Stepanovna Protasova, former Catherine II Camera Freillina. 1800.
Canvas, oil. 81.5 x 64.5 cm. State Russian Museum

Dmitry Levitsky. Portrait of Catherine II. About 1782.
Canvas, oil. State Museum-Reserve "Pavlovsk"

Peter Yezhdin. Portrait of Catherine II. 1796.
Canvas, oil. 251 x 187 cm. State Tretyakov Gallery

Yermolay braids. Portrait of the Honorary Film Composition of the Academy of Art Painter Johann Friedrich Grott. 1780.
Canvas, oil. 134 x 102 cm. State Russian Museum

But the most dazzling exterior brilliance cannot force him to hide arrogance, worn or treacherous where he notices them (for example, in the portraits of Ursula Mnishek and Anna Davia).

However, among the works of Levitsky there is one, in which it does not allow itself to be manifestations of artistic bias. We are talking about the famous portrait of Catherine II (the first option was created in 1783). Here in front of him was a clearly defined task: the creation of an image of the legislauses, the incarnation of the idea of \u200b\u200bthe enlightened monarchy. This idea was popular in the Society then. She divided her and Levitsky himself - why and managed with such a brilliance to create this canvas, similar to the solemn Ode, in the spirit of the Derzhavinskaya Felitsa.

More than fifteen years (from 1771 to 1787) Levitsky taught portrait painting at the Academy of Arts. His student was a wonderful portrait of Schukin, who already belonged to the next generation of Russian artists. Of course, his influence was tested not only those whom he taught painting. We can talk about the whole circle of artists of that time close to Levitsky in style and views on portrait art.
First of all it is PS Yejordin (1745-1805), who studied, except Levitsky, also at Anthropova and wrote in 1776 a very warm and psychologically accurate picture depicting Anthropova with his son in front of a wife's portrait. His portunits of a young man in Blue Kaftane (1775), Twerityanina (1779) and a number of others, which make up the gallery of very different human characters, are also known.

It is impossible not to mention E.D. Kamezhekova (1760- 1818), whose best works ("Portrait of an unknown in a lilac coat", "Self-portrait with daughter Alexander", portraits of a daughter with a nannik, I.F. Gota) also characterize him as an artist of Levitsky's circle.

Mikhail Shibanov. Peasant lunch. 1774.
Canvas, oil. 103 x 120 cm. State Tretyakov Gallery

Of course, we listed far from all portraits worked in Russia of Catherine Pore. They were a lot of them in the capitals and provinces. Including foreigners, with great or less successfully fit into the overall picture of Russian painting (as an example, K. Christinee can be called, on its manner of close rokotov). Portrait art continued to develop continuously. To the nineties of the XVIII century, it entered the new stage.

Unlike the portrait, the household genre in the XVIII century only originated. Its flourishing will come in the next century, known for its democratic trends. In the meantime, artists who estimated the beauty of everyday life, looking for new topics and plots and with careful curiosity looked at opening prospects.

It was opened by the life of a simple people, primarily the peasantry.

The peasant problem in Russia has always stood acutely. Especially after the devastating Pugachev war. Educated society, however, did not want to see in the peasants only the robbers or faceless and powerful miners of material benefits. It born awareness that this is the Russian people. Hence the interest in the peasant life, costume, rites and traditions. He wore in many respects, if it can be expressed, ethnographic character: the Russian nobility (the educated Society of the XVIII century was, as you know, almost exclusively a noble) got acquainted with almost an unknown party of life.

In the light of this interest, we consider the creativity of the founder of the household genre in the domestic painting Mikhail Shibowa.

We do not know anything about his life, except for the origin of the fortress peasants (possibly, Prince Potemkin) and the fact that he wrote their best works in the seventies. And the work is great. Such pictures as the "peasant lunch", "collusion" and especially the "festival of the wedding contract", allow you to put it in a row with the best artists of his time. Of course, he knew that life very well, which he portrayed in his paintings. On the back of one of them it is indicated that it represents the "Suzdal province of peasants" and wrote "in the same province, in the village of Tatar". On the canvases are perfectly discharged Russian costumes, everyday and festive, reliably show the details of the life. But the main thing from Shibowa is faces. They are completely alive. What a variety of characters and sentiment! And the face of the old woman from the "Festival of the Wedding Treaty" - in our opinion, just a real masterpiece.

Mikhail Shibanov. Portrait of Count AM Dmitrieva-Mamonova. 1787.
Canvas, oil. Nizhny Novgorod State Art Museum

Mikhail Shibanov Portrait of Catherine II. 1787. Canvas, oil. 70 x 59 cm
State Park and Park Museum-Reserve "Gatchina"

The skill of characteristics was manifested by Shibanov not only in household painting. He wrote several brilliant portraits: Catherine II in a roadside costume, her favorite A.M. Dmitrieva-Mamonova, Spiridonov, Nesterovy. But in the history of Russian art, he entered, of course, as the discoverer of the folk theme.

I was very different on this topic I. Ermenov (1746 - after 1789), watercolorist and schedule, son of the Konya, who graduated from the Academy of Arts and known for those who participated in the taking of Bastille on July 14, 1789. From his work, it has been preserved quite a bit: a number of graphic sheets, among which is an unusual series, developing images of peasants. It could be called "beggars". It is the beggars that depicts Yermenov in different versions and angles, in a kind of monumental-groteskoy manner. When you look at the sheets of the series, it seems that the meeting with these unfortunate people once shook the artist. Isn't that a shock in the end and threw it in a bloody storm of revolutionary France? ..

The story of the household painting of the XVIII century will be incomplete if we do not mention the wonderful picture of I. Firsov "Young painter" - one of the first people relating to this genre. A few mysteries are connected with this picture and its author. Is this firroads, who in the fifties as part of the picturesque team of the office from buildings created a baroque desundest? When and where is the picture written? There is an assumption that in Paris and that the French family is depicted on it. However, the latter is not important. The picture is really wonderful - with its fresh flavor, ease of composition, charming character character, especially children. It is created as if in one breath. And, like "Smolyankam" Levitsky, gives us to feel that light, drunk air, which has breathed Russia XVIII century.

Epoch Ekaterina Great ended in 1796. She left Russia a mighty, prosperous, but burdened by serious problems, while still smoldering, but tangible, they had to fully manifest themselves in the next century. The external situation was complex. The revolution overwhelmed in France completely bold peace and equilibrium of Europe. What was perceived as unshakable turned into fragile and short-lived.

Under these conditions, symmetry and the moral certainty of classicism could no longer correspond to spiritual quest. The world turned out to be much more contradictory. The fashion (again first in France) includes transformed classicism - Ampire style, "Imperial" - emphasized by antiquity, but already deprived of that strict, commensurate clarity, which was characteristic of him earlier.

For artists of this time, the desire for naturalness and acute interest in the finest movements of the human soul are characterized. It is not by chance that precisely by the end of the century in Russian painting, the landscape becomes an independent genre.

In the design of the landscape as a genre played the role of the previously created and worn, if possible, the cognitive-topographic nature of the city, parks, palaces and various memorable places; As well as - theatrical scenery, interior paintings and panels, landscape components of portraits and multifigure paintings. The landscape served as an ornament or background, at best, enhancing an emotional impression of the work. But by the end of the century, the realization is strengthened in Russian art that, firstly, the nature of nature is valuable in itself, and secondly, that the most complex human moods can be expressed through it.

The founder of Russian landscape painting can be considered Seeds Fedorovich Shchedrin (1745-1804). He is the first representative of the Dynasty of artists, illustrated by the bright landscape of the first half of the XIX century Sylvester generous, but also his own work played a very important role in the development of Russian art.

Following the principles of classicism, Generin believed that in his paintings to "correct" in nature, detecting proportionality in it, hidden for erratic and random. At the same time, he, in the spirit of moods, characteristic of the artistic medium of the end of the century, was looking for poetry and unique beauty in nature.

His landscapes of the seventies-eighties are mainly images of fictional places, emphasized expressive, with beautiful trees in bright lace foliage. From the nineties, his views on landscape painting are changing, becoming in many ways innovative. He opens beauty in real landscapes. Writes the views of famous parks in the vicinity of St. Petersburg - Gatchina, Pavlovsk, Peterhof: "View of the Gatchina Palace from the Long Island" (1796), "Stone Bridge in Gatchina at the Connyabl Square" (1799-1801). And also - St. Petersburg itself (for example, "view of the big sky and the country of Stroganov", 1804), in the image of which nature remains the main thing for him, and architectural structures are perceived as part of it.

Of course, it was nature, ordered by the hands of a person. Carrying it to canvas, generin carefully observed classic symmetry, dividing space for three plans, etc. But the color of the sky and clouds, the haze, a blurring horizon, glare on Nevskaya water, was becoming increasingly important for him, the light-air medium, in the image of which the artists of the next century was achieved in the image of which the artists of the next century.

The road for these artists, Shchedrin prepared not only by his works. Since 1799, he, in conjunction in I. Clauber, led the class of landscape engravings at the Academy of Arts, from which the wonderful engravers S.F. Galaktionov, A.G. Ukhtomsky, Kozmma and Ivan's brothers. Soon, this class began to prepare and landscape painters - the landscape in the walls of the Academy finally found full status.

The best achievements of Russian painting and at the end of the century were still associated with a portrait. At this time, generations change occurs, new masters appear. Artists are increasingly striving for the image of the internal life of a person, his depth experiences. The portrait becomes more intimate. It reflects the idea of \u200b\u200bsentimentalism - currents popular at the turn of the centuries and in the early years of the XIX century. With the greatest completeness, these trends were expressed in the work of VL. Borovikovsky (1757- 1825) - one of the best masters of a portrait genre in Russian art.

Borovikovsky was born in Ukraine, painting studied at his father. And perhaps, for life, there would be a provincial portrait, if it were not for the journey of Empress to the south of Russia, which she took in 1787. Catherine liked the paintings of the temporary palace made by Borovikovsky. And the artist went to Petersburg to be improved in painting. He studied at I.B. Lamp-older and possibly Levitsky. He became famous quickly, received many orders. His brushes belong to the brilliant parade portraits of Prince Kurakina (1801-1802), Paul I in a suit of grandmaster of the Maltese Order (1800) and others. Bright psychological characteristics are given in chamber portraits - G.R. Derzhavina, DP Trochinsky, General F.A. Borovsky.

Vladimir Borovikovsky. Portrait of a Countess Anna Ivanovna Bezborodko with daughters love and Cleopter. 1803.
Canvas, oil. 134 x 104.5 cm. State Russian Museum

But first of all, Borovikovsky is a master of female chamber, more precisely, a home portrait. He even wrote Ekaterina II in the image of the "Kazan landowner", walking in the garden in the warm salope. His heroines are dreaming ladies and ladies with a smiling smile on the lips, with a flower or an apple in her hand posing against the background of thoughtful landscapes. Their curls, in accordance with the tastes of sentimentalism, are slightly disheveled, the outfits are intentionally simple. The character of everyone reads exactly, one does not confuse on the other. Such are portraits OK Filippova, V.A. Schidlovskaya, E.A. Naryshkina, M.I. Lopukhina, E.N. Arsenyeva, sisters of Gagarines, the peasants of Christine (the latter is also wonderful and the fact that for Borovikovsky is not the "ethnographic" image of the fortress peasant, but, as in the portraits of the noble girls, the inner world).

Over the years, the artist's gaze becomes tougher, the blurring of his painting, based on halftones, is replaced by a strict plastic modeling (for example, in the portraits of "Ladies in Türban" - allegedly French writer A.-l.-zh. de Stal, - D.A. Derzhavina and M.I. Dolgoruki, written in the tenth years of the XIX century).

The name of Borovikovsky in the Russian portrait art of the binding centuries is not alone. A very bright and peculiar portraitist was a student Levitsky S.S. Schukin (1762-1828). His whole life was connected with the Academy of Arts, where he was still a boy from an educational house, and subsequently headed her portrait class. In his portraits, even early, there is a premonition of romanticism - flow in culture, which will conquer positions only at the beginning of the next century, sweating classicism and sentimentalism. Self-portrait of 1786 and the portrait of Emperor Paul I in a simple officer Mundir, with a cane in his hand, are especially indicative in this regard.

Very interesting creativity M.I. Belsky (1753-1794). He, like some modern artists, believed that the truth of life is more expensive than the poetic harmony of the image, and, following the faithfulness of character, did not avoid sharpness and contradictions. These views were reflected, for example, in the portrait of the composer D.S. written in 1788 Bortnian.

Vladimir Borovikovsky. Portrait of Daria Alekseevna Derzhavina. 1813.
Canvas, oil. 284 x 204.3 cm. State Tretyakov Gallery

Us. 117:

Stepan Schukin. Portrait of the architect Adrian Dmitrievich Zakharov. About 1804.
Canvas, oil 25.5 x 20 cm State Tretyakov Gallery

Mikhail Belsky. Portrait of a composer Dmitry Stepanovich Bortnian. 1788.
Canvas, oil. 65.7 x 52.3 cm. State Tretyakov Gallery

Nikolai Argunov. Portrait of an adjutant general adjutant Alexander Matveyevich Dmitrieva-Mamontov. 1812.
Canvas, oil. 151 x 125.6 cm. State Tretyakov Gallery

Nikolai Argunov. Portrait of Matrery Ivanovna Sokolova. 1820 canvas oil. 67.1 x 52.8 cm State Tretyakov Gallery
Nikolai Argunov. Portrait of T.V. Slip. 1789 canvas oil. 79 x 55 cm (oval)
State Museum of Ceramics and "Usadba Kuskovo XVIII century", Moscow

Finally, N.I. is one of the most prominent masters of this period. Argunova (1771 - after 1829). The son and student of the famous fortress portraitist, Nikolai Argunov himself was serfs to forty-five years. On an outstanding talent, his youthful works are also testified: "Laughing peasant", "a peasant with a glass in hand" and especially - the poetic portrait of the Sheremetyevsky theater of Tatyana Shlyan-garnet, written when the artist was about eighteen years old. In the future, Argunov created many more wonderful works, among which portraits of the famous Praskovi Kovaleva-Pearls are allocated - also a fortress actress, which has become the wife of Count N.P. Sheremetyeva and died in youth, shortly after the birth of the son. The portrait on which she is depicted in the last weeks of pregnancy - on a black background, in a black and red hood, with anxious expression on the disgraced face, is permeated by the foreboding of the tragedy.

The work of these artists, as a magic bridge, combined the left and approaching century. The rapid path that has done Russian art from the Poros, led to excellent results. Ahead lay a new road. Passionate hobbies, desperate search for novelty, stormy conflicts and real battles due to views on art - all this was waiting ahead. Russian painting of the XVIII century did not know this yet. Her task was to comprehend a person. And it performed this task with glitter.

Nikolai Argunov. Portrait, Ivan Yakimova in an Amur costume. 1790.
Canvas, oil. 142 x 98 cm. State Russian Museum

Nikolai Argunov. Portrait of angry Kalmuk. 1767.
Canvas, oil. 62 x 50 cm. State Museum of Ceramics and "Usadba Kuskovo XVIII century", Moscow

Nikolai Argunov. Portrait of a secret adviser to Senator Pavel Stepanovich Rounic. 1817.
Canvas, oil. 134 x 103 See State Russian Museum

Nikolai Argunov. Portrait of Emperor Paul I. 1797
Canvas, oil. 285 x 206 See Moscow Museum-Manor Ostankino

Until the early XVIII century, in Russian painting, they developed predominantly iconographic traditions.

According to the memoirs of contemporaries, in Russia at that time, any images were taken for the icons: often, coming into the house of an alien, the Russians on their customs were the first painting on their eyes. However, in the XVIII century. Painting gradually began to acquire European features: the artists mastered the linear perspective, allowing to convey the depth of space, sought to correctly depict the volume of objects with the help of lighting, studied anatomy to accurately reproduce the human body. The technique of painting by oil was spread, new genres arose.

Special place in Russian painting XVIII century. took a portrait. The earliest works of this genre are close to Personne XVII century. Characters are solemn and static.

Ivan Nikitich Nikitin (1680 - about 1742) was one of the first Russian portraitists. Already in his early portraits - the older sister of Peter I Natalia Alekseevna (1715-1716) and his daughter Anna Petrovna (until 1716) - with a rare skill for that time, the volume and natural pose of the model were transmitted. However, in these works, some simplistic is obvious: the figures are taken from the darkness of an indefinite space of a bright light beam and exist outside the connection with the medium; The artist still ineptly depicts the structure of the shape and the texture of materials - velvet, fur, jewels.

Returning to Petersburg after a four-year trip in Italy, Nikitin created the best works in which the increased artist's skill was manifested. This is a portrait of Chancellor G. I. Golovkin and a portrait known called "Outdoor Hetman" (both - 20th).

A lot of foreign masters who worked in different styles and genres settled in the Petrovsk Epoch. Johann Gottfried Tannaauer (1680-1737), who came from Germany, wrote portraits of the members of the Imperial Family and

approached Peter I, as well as battle canvases. His famous painting "Peter I in Poltava Battle" (10th) is a common portrait type of a commander in Europe against the background of the battle.

Louis Karavakk (1684-1754), the French master invited to Russia soon reached the big glory and the provisions of the court painter. He worked in Russia for many years and wrote portraits of all Russian monarchs from Peter to Elizabeth. His brushes belong to the famous parade portrait of Anna John in a coronation dress (1730), which served as a model for the rest of the works of this genre. In the portrait, not only the appearance of the empress - women of the mighty physique depicted in a solemn and majestic pose, but also her nature, superstitious and suspicious. Many Russian painters of the middle of the XVIII centuries left the workshop of Caravacca.

By the end of the 20s - 30th. XVIII century It refers to the short, but the bright creativity of the painter Andrei Matveyevich Matveyeva (1701 - 1739). Having spent more than ten years in Holland and Flanders, he became the first Russian master who was able to "write stories and person", that is, not only portraits, but also paintings on mythological and historical stories.

However, Matveyev is most famous as a portraitist. The most famous product is the "portrait of spouses" (about 1729). Disputes of art historians about who is depicted on it, do not subside until now. Most likely, it is a self-portrait of an artist with his wife, that is, the first self-portrait in the history of Russian painting.

From 1727 and until the death of Matveyev, headed the "picturesque team" of the office from buildings. In it, almost all artists studied and served before the opening of the Academy of Artists.

By 40-50th. XVIII century Creativity of Ivan Yakovlevich Vishnyakova (1699-1761). The most exquisite portrait of Vishnyakova depicts Sarra Eleonora Farmore, the daughter of the head of the office from the buildings (1749). Young girl in a luxurious silver-gray satin dress, embroidered flowers, is preparing to make a renewress. In his hand, she gracefully holds a fan. Hand brushes on the webs of Vishnyakov are almost always written with a special grace: the fingers only touch the objects slightly, as if they slip on their surface. In the "Portrait of Sarry Farmor", attention and fine painting lace, and a decorative landscape background, whose motifs echo with embroidery on the dress are drawn.

Alexey Petrovich Antropov (1716-1795) So it was not possible to overcome some iconographic flatness of the image: in its portraits the viewer does not feel space surrounding the model. So, on the "Portrait of Stats-Lady A. M. Izmailovaya" (1759), women elderly and rudely, the bright colors of the foreground and absolutely dark, "deaf" background are opposed. In the portrait of Peter III (17b2), depicted by the artist in the form of a commander with a marshal rod in his hand, strikes the contrast between the puppet-graceful figure of the monarch and the pompous atmosphere with the attributes of the imperial power - mantia, power and crown - on the background of the battle.

In the second half of the XVIII century, new genres appeared in the painting of Russian masters - landscape, household and historical, which the Academy of Arts considered the main thing. However, the most significant works were still created in the portrait genre.