In what year was a tropinin born. History and ethnology

Creativity of Vasily Andreevich Tropinin

(1776-1857) Vasily Andreevich Tropinin belonged to the generation that brought forward the first Russian romantics. Tropinin was until the age of 45 a serf artist on the Ukrainian estate of Count Morkov, and combined with painting classes the duties of a confectioner and senior footman. At the whim of a landowner, he was unable to complete his education at the Academy of Arts. Tropinin's years of youth were spent on self-taught, in spite of obstacles, to master technical skills and achieve professional excellence. Count Carrot, who decided to have a painter in his house, in 1799 considered it profitable for himself to appoint a capable serf as an "outsider student" of the Academy of Arts. It was here that Tropinin studied portrait art with S.S. Schukin. At an academic exhibition in 1804, Tropinin's work "A Boy Yearning for a Dead Bird" attracted the attention of the Empress herself. Tropinin studied brilliantly and soon received silver and gold medals. President of the Academy S. Stroganov began to petition for the release of a talented young man, but did not have time: the serf Tropinin received an order from the owner to move from St. Petersburg to the new estate of Morkov - Podolia, in Ukraine. There Tropinin was reminded that he was a serf, appointed to the post of confectioner and lackey, and also charged with making copies from paintings by Western European and Russian artists, who later decorated the count's house, as well as painting the local church, painting icons for it. Tropinin was also instructed to make picturesque portraits of the hosts. Gentle and kind by nature, Tropinin humbly endured the vicissitudes of fate, did not become hardened, did not become depressed from the consciousness of the discrepancy between his own talent and the position that he occupied, on the contrary, he perceived his stay in Ukraine as a continuation of his studies, a kind of internship. “I studied little at the Academy, but I learned in Little Russia: I painted there without rest from life, and these works of mine seem to be the best of all that I have written so far,” he later recalled. The color of these works is soft, muted - grayish, ocher, green tones predominate.

"Portrait of the son of Arseny". The artist worked on this portrait with a special enthusiasm. He pours out his soul. With intimate intimacy, he reveals his faith in the bright destiny of man, in the value of the human personality. Before the viewer appears the world of a young dream, illuminated by a particularly poignant and poignant confidence. The master seems to reveal to us his secret, a precious secret that the artist carefully keeps.. Illuminated by a quivering light, the boy's face appears. Just now he was busy with children's games and amusements, so the collar of his shirt was unbuttoned, his hair was slightly tossed, but now something attracted his attention, and he is unusually serious. . The head is turned to the left. The gaze of wide-open, focused eyes is also directed there. How much grace and nobility, inner beauty, in the appearance of this child! Everything is harmonious in this canvas: slightly raised anxious eyebrows, an affectionate but restless look, a chaste, softly contoured mouth, a rounded chin. Everything, everything to the smallest line in the canvas is filled with the artist's love for his offspring, his hope /. In 1821 Tropinin said goodbye to Kukavka forever. The return to Moscow was joyful for him. Having gained respect and popularity in Moscow, the artist, nevertheless, remained a serf, which caused surprise and discontent in the circles of the enlightened nobility. Tropinin A.A. was especially bothered. Tuchkov - general, hero of 1812 and collector, P.P. Svinin, N.A. Maikov. However, Count Carrot was in no hurry to give freedom to his serf painter, whose talent and human qualities he greatly appreciated. This happened only in 1823. Tropinin's wife and son Arseniy remained in serfdom for another five years.

"Lacemaker"(1823) - one of the most popular works Tropinin. A pretty girl weaving lace is depicted at the moment when she briefly looked up from her work and turned her gaze to the viewer, who thus becomes involved in the space of the picture. .

Laces, bobbins, a box for needlework are carefully and lovingly painted. The feeling of peace and comfort created by Tropinin convinces of the value of every moment of everyday human existence. Similar paintings Tropinin wrote a lot. Usually they depict young women at needlework - gold embroiderers, embroiderers, spinners. Their faces are similar, they clearly show the features of the artist's female ideal - a delicate oval, dark almond-shaped eyes, a friendly smile, a coquettish look. For this and other works in 1823 V.A. Tropinin was awarded the title of "appointed to academician".

The long-awaited freedom came only in 1823, when Tropinin was already forty-seven years old; the heyday of his talent belongs to this time. It was during this period that his own, independent art system arose, which in a peculiar way reworked the legacy of classicism and painting techniques XVIII century, and the genre of intimate everyday portrait created by Tropinin finally took shape.

At the beginning of 1827, Pushkin commissioned Tropinin to present a portrait to his friend Sobolevsky. this somewhat naive statement contains, in essence, a whole program that characterizes Tropinin's tasks and his attitude to reality. In Tropinin's portraits, the intimate, "homely" appearance of the people of his era is conveyed; Tropinin's characters do not "pose" in front of the artist and the viewer, but are captured as they were in privacy, around the family hearth. “Sobolevsky was dissatisfied with the smoothed and pomaded portraits of Pushkin, which then appeared. He wanted to keep the image of the poet as he is, as he used to be more often, and he asked Tropinin, one of the best portrait painters of that time in Moscow, if not Russia, to draw him Pushkin in a dressing gown, disheveled, with the coveted ring on his finger, ”says , according to Tropinin himself, one of his contemporary memoirists. This, apparently, was the original idea of ​​​​the portrait. The artist's job was only to capture the image of Pushkin with all possible accuracy and truthfulness, without asking himself the complex tasks of psychological analysis and revealing the inner content of the image. In a sketch drawn directly from life, Tropinin came closest to realizing Sobolevsky's wishes. He gave an unpretentious, but, undoubtedly, quite accurate and similar image of Pushkin - "in a dressing gown and tattered," as Sobolevsky asked. But in the very appearance of the poet there was something that so distinguished him from ordinary Muscovites, the usual models of Tropinin, that the solution of the image could not enter the already established, familiar Tropinin system. Working on the portrait, Tropinin, in fact, moved very far from his original intention. This does not mean, of course, that he has departed from the truthful reproduction of nature. There is no doubt that Pushkin posed not only for a sketch, but also for a portrait, and the reconstruction of the living image of the poet was still Tropinin's main task. The similarities in the portrait are no less than in the sketch, but the very understanding of the image has become different. From the original idea, only the external attributes of “homeliness” remained - a dressing gown, an unbuttoned shirt collar, disheveled hair, but all these details were given completely new meaning: they are perceived not as evidence of the intimate ease of the posing, but rather as a sign of that "poetic disorder" with which romantic art so often associated the idea of ​​\u200b\u200binspiration. Tropinin did not write the "private man Pushkin", as Sobolevsky asked him to do, but an inspired poet, catching in his appearance an expression of deep inner significance and creative tension. In its figurative structure, the portrait of Pushkin echoes the works of modern romantic painting by Tropinin, but at the same time Tropinin managed to create a romantic image without sacrificing realistic accuracy and truthfulness of the image. Pushkin is depicted sitting, in a natural and relaxed pose. The right hand, on which two rings are visible, is placed on a table with an open book. Apart from this book, the portrait does not contain any accessories associated with Pushkin's literary profession. He is dressed in a spacious dressing gown with blue lapels, and a long blue scarf is tied around his neck. The background and clothing are united by a common golden-brown tone, on which the face stands out, shaded by the whiteness of the lapel of the shirt - the most intense colorful spot in the picture is at the same time its compositional center. The artist did not seek to "embellish" Pushkin's face and soften the irregularity of his features; but, conscientiously following nature, he managed to recreate and capture his high spirituality. Contemporaries unanimously recognized in Tropinin's portrait an irreproachable resemblance to Pushkin. In Pushkin's gaze, tense and intent, the content of the portrait characteristic is expressed with the greatest force. In wide open blue eyes the poet shines with genuine inspiration. In accordance with the romantic plan, Tropinin sought to give his gaze the expression that he took in moments of creativity. In comparison with the famous portrait of Pushkin by Kiprensky, Tropininsky's portrait seems more modest and, perhaps, intimate, but is not inferior to him either in expressiveness or in terms of pictorial power. The portrait of Pushkin, no doubt, belongs to one of the first places in the iconography of the poet and in the work of Tropinin. In this portrait, the artist most clearly expressed his ideal of a free man. He painted Pushkin in a dressing gown, with his shirt collar unbuttoned and a tie-scarf carelessly tied. Tropininsky Pushkin is not at all mundane - he is so regally majestic that it seems impossible to disturb his thoughts. A special impressiveness, almost monumentality, is imparted to the image of the poet by a proud posture and a steady posture, thanks to which his dressing gown is similar to an antique toga.

H and the 1830s-1840s account for the largest number of portraits painted by Tropinin. They said about the artist that he rewrote "literally the whole of Moscow." He paints portraits of the first persons of the city, statesmen, nobles, merchants, actors, writers, artists.

" Self-portrait" Tropinin was painted by the artist in the later years of his life. Before us is an elderly master, calmly looking ahead. Tropinin, as it were, sums up the life he has lived, showing himself as a calm, despite the experienced thunderstorms, a person who has reached a strong position, stable fame, which differs significantly from the loud and fleeting success of the St. Petersburg masters. The master depicts himself at the window of the workshop with a marvelous view of the ancient Kremlin. He calmly leans on the mastbel - an ancient painter's tool, so convenient in working on a picture that requires precision drawing and a smooth painting surface. Vasily Andreevich has a palette and brushes in his hands, he stands against the backdrop of his favorite view with the signs of his profession - this is how he will forever remain in the memory of his descendants, to whom his calm and affectionate gaze of a good-natured and hospitable Moscow resident is fixed. Tropinin conveys the cold coloring of the armchair and his suit in the interior of the studio, immersed in the evening dusk, as if eternity enters the room. Outside the window, the warm light of a gentle pink sunset spreads - a Moscow evening comes, when the bells fill the city with crimson ringing and black rooks circle in flocks among the clear sky.

Vasily Andreevich Tropinin lived a long creative life. His art was in intense interaction with the aesthetic ideals of the era. He died on May 3, 1857, and was buried at the Vagankovsky cemetery.

The biography of Vasily Tropinin, obeying the laws of the romantic era, develops into a harmonious story - the story of a talent that, thanks to perseverance and hard work, makes its way through the most unfavorable circumstances.

The testimonies of people who knew him paint the artist as a kind, sympathetic and sensitive person. This impression of his personality is fully consistent with the impression born from his art. Tropinin's portraits are easily recognizable by the benevolent facial expression characteristic of his characters. He endowed his heroes with his own calmness and goodwill.

Vasily Tropinin was born on March 30 in 1780 (1776) in the village of Karpovka, Novgorod province, as a serf of Count A.S. Minikha. Subsequently, he passed into the possession of Count I.I. Morkova as part of the dowry for Minich's daughter, Natalya. His father, who was the manager of the count, received his freedom for faithful service, but without children.
Tropinin, as a boy, attended a city school in Novgorod, and then, when the ability to draw became obvious, he was sent as a confectioner's apprentice to the house of Count Zavadovsky in St. Petersburg.

Moving to St. Petersburg was of great importance for Tropinin. After numerous requests, Morkov agreed to assign his talented serf to study painting. The Imperial Academy of Arts did not forbid serfs from attending academic classes as "outsiders", freelance students.
Tropinin took drawing classes and entered the workshop portrait painting, which was headed by S.S. Schukin. It is significant that in the 1810s, in the portrait class of Shchukin, students and pensioners were asked the following topics: "The return of a warrior to his family", "Russian peasant wedding", "Russian peasant dance" and "Divination on the cards". Thus, Shchukin oriented his students to the truthful transmission of scenes folk life. The stylistic and technical foundations of Tropinin's painting were also laid in Shchukin's workshop. Being a serf, Tropinin lived in the teacher's house, rubbed paints for him, stretched and primed canvases. Hence - a certain similarity of the palettes of artists. Tropinin's favorite juxtaposition of reddish ocher tones with deep olive greens and light bluish grays evokes one of the best works Russian painting at the turn of the 18th and 19th centuries - Shchukin's "Self-portrait".

According to Nikolai Ramazanov, who first described the biography of the artist, Tropinin "by the gentleness of his character and constant love for art, he soon acquired the friendly disposition and respect of the best students of the Academy who were at that time in sight: Kiprensky, Varnek, Skotnikov." He was favored by the professors of the Academy. At the academic exhibition of 1804, his painting "A Boy Yearning for His Dead Bird", painted after Greuze's painting, was noticed by the Empress herself. They started talking about Tropinin as a "Russian Dream". Tropinin copied and quoted this painter all his life. French J.-B. Grez was then very popular in Russia. The Russian audience was impressed by the sentimental sensuality of his works.

As a student of the Academy, Tropinin got the opportunity to join the world artistic culture. The Academy of Arts had a significant collection of paintings Western European masters. Academy students also copied from paintings in the Imperial Hermitage. Copies of Tropinin show his predominant interest in the Dutch and Flemish masters - Rembrandt, Jordaens, Teniers. If Tropinin was close to Grez by the sentimentalist-enlightenment worldview inherent in both of them, then in the works of the Dutch and Flemings he found support for his realistic orientation, searches in the field of the genre.

He studied brilliantly and soon received a silver and gold medal. As a student of the Academy, Tropinin was in the center artistic life Petersburg. In addition to Shchukin, he talked with Yegorov, Shebuev, Andrei Ivanov, Ugryumov and Doyen.

Shchukin informed Count Morkov about the success of his serf, and he ... recalled Tropinin from the Academy. He was ordered to go to Ukraine, to Podolia - to the new estate of the Carrots. The count needed a serf artist, a manor painter, and not one of the best portrait painters of the era, as he eventually became. The knowledge with which Tropinin left the Academy differed from the usual academic program. Based on his early drawings, it can be concluded that he did not study anatomy, attended drawing classes from life a little, and had a poor command of perspective and the art of composition. Tropinin overcame the lack of academic education long years. Early work Tropinina is very uneven.

In the estate of the Morkovs, Vasily was made to understand that he was just a serf, and was appointed to the post of confectioner and footman. In addition, his duties included making copies from paintings by Western European and Russian artists, which later decorated the house of Morkov, painting the local church and painting icons for it, and also working on the gallery family portraits their owners.

For the next twenty years, with short breaks, Tropinin lived in Ukraine, in the estate of Morkov Kukavka. Gentle and kind by nature, Vasily Tropinin humbly endured the vicissitudes of fate, did not become hardened, did not fall into depression from the consciousness of the discrepancy between his own talent and the position that he occupied, on the contrary, he perceived his stay in Ukraine as a continuation of his studies, a kind of internship. “I studied little at the Academy, but I learned in Little Russia: I painted from life there without rest, and these works of mine seem to be the best of all that I have written so far,” he later recalled.

Among the works of this period, a group portrait of the Morkov family (1813), sketches of Ukrainian lads and elderly peasants, and an image of a rural wedding have been preserved.
He captured the beauty of the national Little Russian type, somewhat idealized, in the paintings "Ukrainian Girl from Podolia" (1800s), "Boy with a Pity" (1810s), "Ukrainian with a stick", "Spinner" (both 1820s) and others. In an effort to create lively, unconstrained images, the artist asserts purity and integrity folk characters. The color of these works is soft, muted - grayish, ocher, green tones predominate.

Images of peasants, everyday folk scenes are also known in the 18th century. However, these were episodic phenomena; they had no national traditions and were perceived by contemporaries with a touch of exoticism. Only in XIX century on the basis of the peasant theme, a permanent, developing direction of Russian art begins to take hold. The strengthening of this direction in the second half of the 1820s is associated with the work of A. G. Venetsianov, and then his students.
The Tropinin cycle immediately precedes the Venetian cycle. And how Venetsianov opened to society national character and the life of the Russian people, so Tropinin discovered the people and nature of Little Russia, this "Russian Italy", in the words of his contemporaries. Incomparably more modest in all respects, Tropinin's work did not have such an obvious influence on subsequent Russian painting as the work of Venetsianov, but the artist stands at the origins of the same progressive trend associated with the depiction of folk life. Further development it received in line with the realistic Art XIX century.

Traces of active work on the Ukrainian theme are revealed by Tropinin's graphics. In his watercolors and drawings of the 1810s - early 1820s, there are images of women in Ukrainian costume, a hunchbacked violinist, teenagers, shepherds, Ukrainian peasants. The artist's best genre sketches - "Reapers" and "At the Justice of the Peace" - are also connected with Ukraine.

A picturesque sketch of the harvest scene and two preparatory pencil sketches for it have been preserved. The artist managed to convey the significance of peasant labor.
The idea immediately preceding Venetsianov's painting "In the Harvest. Summer" is imbued with the same epic mood.

In 1807, under the leadership of Vasily Andreevich, the construction of the Kukava Church was completed. After its consecration, Tropinin was married to Anna Ivanovna Katina, a free villager who was not afraid to marry a serf artist. They lived in love and harmony for almost fifty years.

The Patriotic War of 1812 changed the peaceful course of Kukava life. "On August 6, the silence of Shalvievka (the estate of Morkov, four versts from Kukavka) was broken by a bell pouring under an arc," writes Ramazanov. A courier who arrived from St. Petersburg announced the order of Alexander I, who, at the choice of the Moscow nobility, appointed Morkov the head of the Moscow militia. The count immediately left Kukavka, and instructed Tropinin to take his property to Moscow in a convoy. The serf artist went after the count and wandered for a long time through war-torn Russia. Tropinin was among the first residents who entered Moscow after the fire. In the summer of 1813, the militia returned home. Through the efforts of Tropinin, the Moscow house of the Carrots was ready to receive the owners. However, during a fire, all the works of the artist that were there burned down.

The years from 1813 to 1818 were very fruitful for the artist. Moscow was recovering after the invasion of Napoleon. In the mid-1810s, the publisher P.P. Beketov, who conceived a series of engraved portraits of famous Russian figures. At the same time, Tropinin was commissioned by the most famous poet in Moscow, I.I. Dmitriev. These early portraits, half-length against a neutral background, date back to the tradition of Russian chamber painting. portrait XVIII century. Gradually, the circle of Tropinin's customers is expanding. He paints portraits of heroes Patriotic War- Generalov I.I. Alekseeva, A.P. Urusova, F.I. Talyzina, P.I. Bagration.

In 1821 Tropinin said goodbye to Kukavka forever. The return to Moscow was joyful for him. Having gained respect and popularity in Moscow, the artist nevertheless remained a serf, which caused surprise and discontent in the circles of the enlightened nobility. Tropinin A.A. was especially bothered. Tuchkov - general, hero of 1812 and collector, P.P. Svinin, N.A. Maikov. However, Count Carrot was in no hurry to give free rein to his serf painter, talent and
whose human qualities he greatly appreciated. This happened only in 1823. Tropinin's wife and son Arseniy remained in serfdom for another five years.

With the support of Shchukin and the publisher Svinin, who repeatedly helped the artist, Tropinin presented his works to the Council of the St. Petersburg Academy of Arts in September 1823 and was soon awarded the title of "appointed to academician" for the paintings "Lacemaker", "The Beggar Old Man" and "Portrait of the Engraver E.O. . Skotnikova".

In 1824, Tropinin was recognized as an academician of portraiture for his "Portrait of the medalist K.A. Leberecht". The Council of the Academy of Arts suggested that he stay in St. Petersburg and accept the position of professor. But the cold bureaucratic Petersburg and the prospect of official service did not attract the artist. Several important factors played a role in Tropinin's choice of Moscow. And purely personal - the family of its former owner, Count I. Morkov, lived in Moscow, whose serfs were the artist’s wife and son, and the feeling of freedom that Tropinin clearly felt, which Moscow life gave him, as well as the artist’s desire, new to the artistic life of Russia, to secure an independent professional position. Art in Russia has always been a matter of state. The Imperial Academy of Arts distributed state orders, "pensioners" and subsidies and determined the fate of artists. Tropinin, living in Moscow exclusively on private orders, managed to win the fame of one of the best portrait painters, to create for himself an independent position, which very few Russian artists possessed.

Vasily Andreevich took in the Moscow cultural life the niche that was empty before him, and became the most famous Moscow portrait painter, reflecting in the images of his contemporaries both the harmony and the inconsistency of Moscow life.

Living and working in Moscow, Tropinin did not take part in academic exhibitions and - as a result - remained almost unnoticed by criticism, mainly associated with the Academy and its shows. However, this circumstance did not prevent his recognition at all. He enjoyed the fame of the best portrait painter both among clients and professionals. Karl Bryullov, refusing to paint portraits of Muscovites, said: "You have your own excellent artist."

In Moscow, Tropinin settled in Pisareva's house on Lenivka, near the Bolshoi stone bridge. Here, in his studio, he wrote famous portrait A.S. Pushkin. At the beginning of 1827, Pushkin commissioned a portrait from Tropinin for a gift to his friend Sobolevsky. In this portrait, the artist most clearly expressed his ideal of a free man. He painted Pushkin in a dressing gown, with an unbuttoned collar of his shirt and a tie-scarf carelessly tied. Tropininsky Pushkin is not at all mundane - he is so regally majestic that it seems impossible to disturb his thoughts. A special impressiveness, almost monumentality, is imparted to the image of the poet by a proud posture and a steady posture, thanks to which his dressing gown is likened to a solemn antique toga.

This portrait had a strange fate. Several copies were made from it, and the original itself disappeared and appeared only many years later. It was bought in a Moscow exchange shop by the director of the Moscow archive of the Ministry of Foreign Affairs M.A. Obolensky, whom Tropinin wrote when he was still a child. The artist was asked to confirm the authenticity of the portrait and renovate it, as it was badly damaged. But Tropinin refused, saying "that he does not dare to touch the features laid down from nature and, moreover, by a young hand," and only cleaned him up.

The 1830-1840s account for the largest number of portraits painted by Tropinin. They said about the artist that he rewrote "literally the whole of Moscow." He has a wide and varied range of clients. Here are the first persons in the city hierarchy, state people, private individuals - nobles, merchants, as well as actors, writers, and artists spiritually close to Tropinin. Among them are the "Portrait of S.S. Kushnikov" (1828) - the former military governor of Moscow, a member of the council of the Moscow Orphanage, and "Portrait of S.M. Golitsyn" (after 1828) - "the last Moscow nobleman", trustee of the Moscow educational county, chairman of the board of trustees. Prince Golitsyn loved Tropinin and patronized him. The same relationship of patronage and respectful friendship connected the artist with A.A. Tuchkov. Gradually, Tropinin's fame becomes very wide. To fulfill orders, he was invited by the Society of Amateurs Agriculture, Racing Society. He also painted portraits famous actors Maly Theater M.S. Shchepkina, P.S. Mochalov, actor of the St. Petersburg "Alexandrinka" V.A. Karatygin.

The peaceful course of Moscow life was stirred up by the arrival of Karl Pavlovich Bryullov in December 1835. Dinners in honor of the famous painter were arranged by the Moscow Art Class, art lover and collector Egor Ivanovich Makovsky, sculptor Vitali. Makovsky brought Bryullov to Tropinin's workshop.
Ramazanov recalls: “Karl Bryullov, struck in the old man by an extraordinary clarity of mind, a fresh memory of everything past, warmth of feelings, a life-giving look at art and an amazing conversation about him, fell in love with Tropinin with all his heart and a rare day did not visit him. More than once it happened that, invited to a luxurious dinner of an aristocrat, Bryullov changed this word and came to share simple cabbage soup and porridge at the table of Vasily Andreevich. Bryullov highly appreciated the art and human charm of the first Moscow portrait painter. And Tropinin was delighted with his famous colleague in the craft. Communication with Karl Pavlovich did not pass without a trace for him. The influence of Karl Bryullov swept throughout Russian art in the 1830s and 1840s. Tropinin also has works big size with all the tricks and accessories of a large formal portrait. In the portrait of Bryullov himself (1836), Tropinin emphasizes the artistic originality of the artist with a magnificent background with antique ruins twined with vines, smoking Vesuvius. "Portrait of P.N. Zubov" (late 1830s) almost exactly repeats the composition of "Portrait of A. Perovsky", painted by Bryullov in 1836 in Moscow. However, the comparison of these portraits is not in favor of Tropinin, who did not quite succeed in coping with the large portrait form. (At the same time, "Portrait of A.A. Perovsky" in a dressing gown by the window could have been written by Bryullov under the influence of Moscow impressions, and in particular from the works of Tropinin).

The merits of Vasily Andreevich Tropinin to the Russian fine arts did not go unnoticed. In 1843, he received official recognition - the Moscow Art Society elected him an honorary member for his "zealous contribution to the benefit and prosperity of the Society and the school under it." This Society was formed in 1833 through the efforts of artists and art lovers and thanks to the "enlightened sympathy of private individuals." Its chairman was the Moscow Governor-General Prince D.V. Golitsyn. People close to Tropinin - artists E. Makovsky, F. Künel, K. Rabus, sculptor I. Vitali - were the founders of the Society. Officially, Tropinin was not a teacher at the school, but he often attended drawing classes, helped novice artists with his advice and enjoyed great prestige among them.

Among Tropinin's self-portraits (1810s, 1824, 1830s), the most symbolic is "Self-portrait with brushes and a palette against a window overlooking the Kremlin" (1844).
The self-portrait was commissioned by the Society. In it, Tropinin not only announces his life calling, but also affirms the creative credo of a truly Russian artist - it is no coincidence that he shows himself against the backdrop of the Kremlin, the ancient national monument. Vasily Andreevich depicted himself in a dressing gown, with brushes and a palette. The artist has an open face, endowing a big man inner strength who turned out to be able to fulfill his destiny and remained faithful to art, despite all the vicissitudes of his fate.

Vasily Andreevich Tropinin lived a long creative life. His art was in intense interaction with the aesthetic ideals of the era. Being" last son XVIII century", at the end of his life he caught the main trends mid-nineteenth centuries - fidelity to nature, an analytical view of the world - and came close to critical realism second half of the century.
He died on May 3, 1857, and was buried at the Vagankovsky cemetery.

Centre.smr.ru›win/artists/tropinin…tropinin.htm

The purpose of this article is to find out the reason for the death of the famous Russian portrait painter VASILY ANDREYEVICH TROPININ by his FULL NAME code.

Watch in advance "Logicology - about the fate of man".

Consider the FULL NAME code tables. \If there is a shift in numbers and letters on your screen, adjust the image scale\.

19 36 51 67 77 91 101 115 118 119 137 147 159 169 179 180 194 199 216 222 228 231 241 265
T R O P I N I N V A S I L I J A N D R E E V I C
265 246 229 214 198 188 174 164 150 147 146 128 118 106 96 86 85 71 66 49 43 37 34 24

3 4 22 32 44 54 64 65 79 84 101 107 113 116 126 150 169 186 201 217 227 241 251 265
V A S I L I Y A N D R E V I C T R O P I N I N
265 262 261 243 233 221 211 201 200 186 181 164 158 152 149 139 115 96 79 64 48 38 24 14

TROPININ VASILY ANDREEVICH \u003d 265 \u003d 169-MYOCARDIAL ISCHEMIA + 69-ISCHEMIA.

265 \u003d 198-OUTCOME FROM INFARCTION + 67-MYOKAR \ yes \.

198 - 67 = 131 = LETHAL.

265 \u003d 201 LETHAL OUTCOME + 64 ISCHEMI / I \.

To clear our conscience, let's check the correctness of this statement:

10 35 41 54 64 96 10 35 41 54 64 96 109 119 134 145 146 163 168 169
I S E M I I I I S E M I I I M I O K A R D A
96 86 61 55 42 32 169 159 134 128 115 105 73 60 50 35 24 23 6 1

Reference:

Diseases of the myocardium, the muscle tissue of the heart, can occur unexpectedly in any person. One of them is ischemia. This disease has no borders, as it affects people different positions and age. Sometimes it is called coronary sclerosis or coronary disease.

Ischemic myocardial disease occurs due to its insufficient blood supply. This means that the amount of oxygen delivered to the muscle does not match its needs. Simply put, less oxygen is absorbed than necessary.
cardio-life.ru›ishemiya/miocarda.html

Clinical signs of ischemia

The term "myocardial infarction" refers to the death of cardiomyocytes due to ischemia, which is the result of a mismatch between blood supply and demand for it. In the clinic, ischemia can be suspected based on the history of the disease and ECG data.

Sudden cardiac death, cardiac arrest (often with symptoms characteristic of myocardial ischemia) ...
health-ua.org›Archive›urgent/104.html

265 \u003d 179- \ 169-LIFE INTERRUPTION + 10-I (chemia) \ + 86- ... SHEMIA.

179 - 86 \u003d 93 \u003d INFARCTION.

It turns out the following picture:

In the sentence TROPININ VASILY, let's add the last two numbers: 169 + 179 = 348.

Let's add two numbers: 96 ISCHEMIA + 86-... ISCHEMIA = 182.

Subtract: 348 - 182 \u003d 166 \u003d 93-INFARCTION + 73-MYOCARDIA.

265 = 166-MYOCARDIAL INFARCTION + 99-QUICK, OVER.

166 - 99 \u003d 67 \u003d DIED, DEprived \ of life \.

265 = 67-DIED + 198-SUDDEN DEATH.

198 - 67 \u003d 131 \u003d STARVING MYO \ arda \\ \u003d MYO INFARCTION \ card \.

251 = Narrowed lumen of the vessel \ in \
_______________________________________
24 = CE \ hearts \

251 - 24 = 227 = LACK OF OXYGEN.

265 \u003d 227-OXYGEN LACK + 38-MYO \ karda \.

DATE OF DEATH code: 05/03/1857. This is = 03 + 05 + 18 + 57 = 83 = DEprivation \ of life \ = ... NFARK.

265 \u003d 83 + 182-\ 89-DEATH + 93-INFARCTION \.

Code DAY OF DEATH \u003d 96-THREE, ISCHEMIA, SUDDEN + 46-MAY, INFA \ rkt \\ \u003d 142 \u003d MIOC \ arda \.

Code of the full DATE OF DEATH \u003d 142-THIRD OF MAY + 75-HEART- \ 18 + 57 \-\ code of the YEAR OF DEATH \ \u003d 217.

217 = DEATH BY HEART.

265 \u003d 217 + 48-DIE ​​\ no \.

Code for the number of full YEARS OF LIFE = 164-EIGHTY + 44-ONE = 208 = 115-FATAL + 93-INFARCTION.

265 \u003d 208-EIGHTY ONE + 57-POKO \ ynik \.

Let's look at the column:

107 = 44-ONE + 63-DEATH
_________________________________
164 = EIGHTY

164 - 107 \u003d 57 \u003d POKO \ ynik \.

VASILY ANDREEVICH TROPININ (1776-1857),
great Russian painter, portrait master

Vasily Andreevich was born in the village of Karpovka, Novgorod Region, into a serf family. He showed his ability to draw as a boy, when he studied at the Novgorod city school. At the age of nine, Tropinin was appointed to the pupils of the Imperial Academy of Arts.

Tropinin entered the portrait painting workshop, headed by Stepan Semyonovich Shchukin (the best portrait painter of the Academy of Arts). Tropinin lived in the teacher's house. To pay young artist there was nothing for accommodation and food, so Tropinin tried to be useful to the teacher who sheltered him: he prepared paints for him, stretched and primed canvases. Vasily Andreevich studied brilliantly and received silver and gold medals.

"Family Portrait of the Carrots"

The portrait of Natalia Morkova is one of the most inspired works of the artist:

In 1823, one of Tropinin's most popular works, The Lacemaker, appeared. A pretty girl weaving lace is depicted at the moment when she looked up from work for a moment and turned her gaze to the viewer. The artist also pays attention to details, we see lace, a box for needlework.

Similar paintings Tropinin wrote a lot. Usually they depict young women at needlework - gold embroiderers, embroiderers, spinners.

"Zolotoshveyka"

At the beginning of 1827, Alexander Sergeevich Pushkin commissioned a portrait from Tropinin for a gift to his friend. He painted Pushkin in a dressing gown, with his shirt collar unbuttoned and a tie-scarf carelessly tied. A proud posture and a stable posture give the poet's image a special impressiveness. This portrait had a strange fate. Several copies were made from it, and the original itself disappeared and appeared only many years later. It was bought by M. A. Obolensky. The artist was asked to confirm the authenticity of the portrait and renovate it, as it was badly damaged. But Tropinin refused, saying "that he does not dare to touch the features laid down from nature and, moreover, by a young hand," and only cleaned him up.

“Portrait of A.S. Pushkin"

Vasily Alekseevich Tropinin wrote about 300 works during his life. They said about the artist that he rewrote "literally the whole of Moscow."

Portraits of S. S. Kushnikov, former military governor of Moscow and S. M. Golitsyn, trustee of the Moscow educational district.

"Portrait of D. P. Voeikov with his daughter and governess Miss Forty."

Being already recognized artist, Vasily Tropinin remained a serf of Count Carrot. In the Ukrainian estate of the Morkovs great artist Tropinin acted as a house painter and footman.

For one of the greatest Russian painters of his time, a middle-aged man burdened by a family, the position of a serf became more and more bitter and humiliating. Dreams of creative freedom, of a way of life independent of the whims of an autocratic nobleman, did not leave the artist. And latently they affected this non-commissioned home portrait, filling it with an amazing feeling of emotional looseness and purity.

“A portrait of a person is painted for the memory of people close to him, people who love him” - these words of Vasily Andreevich Tropinin are remembered when you look at the portrait of his son, Arseny.

"Portrait of a son" ... How much grace and nobility, inner beauty in the appearance of this child!
Painted in warm, golden tones, the portrait of Arseny Tropinin remains one of the best children's portraits in world painting today.

The artist Vasily Tropinin received freedom only at the age of 47, and his son Arseny remained a serf, and this was a great grief for the artist.

Tropinin is an excellent portrait painter of the 19th century. A whole series of paintings is dedicated to children's portraits. The artist was very fond of children. He saw in children pure in soul and dreamy people. Vasily Andreevich painted a portrait series belonging to the […]

The great Russian artist Tropinin differs from other masters of painting in that he complements each painting of a certain direction with his characteristic detail and technique. The heroes, who were embodied in the paintings of the artist, are depicted in luxury […]

Tropinin was born and raised in the Novgorod province. Received education in the ordinary public school. Also in early childhood he showed artistic ability. However, Count Carrot considered it necessary to send Vasily Tropinin to study confectionery […]

Tropinin is one of those artists whose work was influenced by the trends of such a trend as sentimentalism. This direction was supposed to reflect in the works the cult of nature and sincere emotions and human feelings. The artist was inspired by nature […]

Nikolai Mikhailovich Karamzin was not only a legendary writer, talented poet, an excellent translator, but also an excellent historian. He had a great influence on the formation of language and literary culture countries. It was he who translated many works [...]

For this picture, Vasily Andreevich Tropinin received the title of academician. The artist was an incredibly talented portrait painter who lived and worked in Moscow. He painted portraits of the most noble people of the capital, besides, he captured […]

This work, dates back to 1850. At that time, the glory of its author - Vasily Tropinin, a magnificent portrait painter, who became the founder of a new unique household genre, unfortunately, is slowly fading away. However, this state of affairs is […]

Vasily Andreevich Tropinin (March 19, 1776, Karpovo village, Novgorod province - May 3, 1857, Moscow) - Russian painter, master of romantic and realistic portraits.

Vasily Andreevich Tropinin was born (30) March 1776 in the village of Karpovo, Novgorod province, into the family of a serf, Andrei Ivanovich, who belonged to Count Anton Sergeevich Minikh. The daughter of the count married the outstanding military leader I. M. Morkov, and the village of Tropinin and he himself became the property of Morkov. Other serfs hated Vasily, since his father was a headman, but Vasily never complained about the beatings and bullying of the serfs, including the fact that since childhood he had been drawing people and discovering them character traits in your drawings.

Around 1798, Vasily was sent to St. Petersburg to study as a confectioner, since confectionery also required the ability to depict figures of people and animals. After his training in confectionery, the cousin of Count Morkov persuaded him to send the young man, who had a natural talent and a penchant for drawing, as a volunteer to the St. Petersburg Academy of Arts. Here he studied with S. S. Schukin. But when Vasily twice won first place in the competitions of the Academy and, according to the tradition that had developed at the Academy, had to get free, instead, in 1804, he was recalled to the new estate of Count Morkov - the Podolsk village of Kukavka in Ukraine - and became at the same time a servant, a shepherd, an architect and Count's artist. A free settler married him, and the husband and wife were supposed to have equal status by law, but instead of granting freedom to Tropinin, the count recorded his wife as his serfs, and their children were to become eternal serfs of Morkov and his heirs. But Tropinin a kind person in his memoirs he wrote that he was grateful to the owner, since Ukraine made him a great artist.

He had a son - Arseny. Until 1821 he lived mainly in Ukraine, where he painted a lot from life, then he moved to Moscow with the Carrot family.

In 1823, at the age of 47, the artist finally gets freedom - under the influence of new trends, the count releases him free of charge. After a while, his relatives also become free. In September 1823, he presented the paintings "The Lacemaker", "The Beggar Old Man" and "Portrait of the Artist E. O. Skotnikov" to the Council of the St. Petersburg Academy of Arts and received the title of appointed artist. In 1824, for the "Portrait of K. A. Leberecht" he was awarded the title of academician.

Since 1833, Tropinin has been working on a voluntary basis with students of the public school that opened in Moscow. art class(subsequently Moscow School painting, sculpture and architecture). In 1843 he was elected an honorary member of the Moscow Art Society.

In total, Tropinin created more than three thousand portraits. He died on May 3 (15), 1857 in Moscow. He was buried at the Moscow Vagankovsky cemetery.

In 1969, the "Museum of V. A. Tropinin and Moscow artists of his time" was opened in Moscow.