Portrait in Russian art front and chamber. Portraits of Russian royal persons of the 18th century
Most often, picturesque representations of royalty (and especially in the 18th century) are formed on the basis of ceremonial portraits, from which copies were actively removed and distributed. Such portraits can be “read”, because the model on them is always placed in such an environment that contributes to creating a feeling of significance, unusualness, solemnity of the image, and each of the details contains a hint of the real or imaginary merits and qualities of the person we see in front of us.
Most of the formal portraits are impossible not to admire. But the question of how true the portrait is, remains open.
So, for example, the image of Catherine I, created by Jean-Marc Nattier in 1717:
But the more intimate portrait of Catherine in a peignoir, written by Louis Caravacom in the 1720s.
It seems that the researchers came to the conclusion that initially the empress was depicted in the portrait with a neckline, and then a blue ribbon appeared, which can be understood as a hint at the ribbon of the Order of St. Andrew the First-Called and the high status of the person. The only hint.
Louis Caravaque received the appointment of the official court painter - Hoffmaler only under Anna Ioannovna, but before that he managed to paint a number of portraits of the family of Peter the Great. Among them are some unusual by modern standards.
Firstly, I personally immediately remember the portrait Tsarevich Peter Petrovich as Cupid
Here, of course, it should be said that Russia took over from Europe the gallantry of the rococo, along with its special atmosphere of a masquerade, playing heroes and gods of ancient mythology, and manners, which could not but affect the painting tradition.
And yet there is something peculiar in the fact that we see little Peter, “Shishechka”, as his loving parents called him, who had high hopes for him, we see just like that. But the birth of this boy, who did not live even four years, as well as his relatively strong health at first, actually sealed the fate of Tsarevich Alexei.
We can also imagine the elder sister of Pyotr Petrovich Elizaveta, remembering the portrait of the work of the same Caravak, written in 1750: 
Or a portrait by his student Ivan Vishnyakov, painted in 1743:
But even during the life of the Empress, another portrait of Elizaveta Petrovna, painted in the middle of the 1710s by Caravak, in which she is depicted in the form of the goddess Flora, enjoyed great success: 
The future empress is depicted naked and lying on a blue robe lined with ermine - a sign of belonging to the imperial family. In her right hand she holds a miniature with a portrait of Peter I, to the frame of which is attached St. Andrew's blue ribbon.
Yes, a tradition, but there is a certain kind of piquancy in such an image. N. N. Wrangel left an interesting remark about the portrait: “Here is a little girl, an eight-year-old undressed child with the body of an adult girl. She is reclining, coquettishly holding a portrait of her father and smiling so affectionately and tenderly, as if she is already thinking about Saltykov, Shubin, Sievers , Razumovsky, Shuvalov and all the others whom this beautiful creature loved after."
However, he also noted that Elizabeth had many images.
Here is Elizaveta Petrovna in men's suit, which went like this to her:
A.L. Weinberg considered the portrait to be the work of Caravaque and dated it to 1745. S.V. Rimskaya-Korsakova believed that this was Levitsky's student's copy of Antropov's work, going back to the iconographic type of Caravak.
And here is another portrait of Elizabeth in a man's costume - the textbook "Portrait of Empress Elizabeth Petrovna on a horse with a black child", written by Georg Christoph Groot in 1743:
This portrait can be called front. Here is the Order of St. Andrew the First-Called, a blue moire sash with a badge, a marshal's baton in the hand of the Empress, a Transfiguration uniform, and also the fact that Elizaveta Petrovna sits on a horse like a man, and the navy seen in the bay.
Caravak also has a “Portrait of a boy in a hunting suit”, about which various versions were built. They called it both the Portrait of Peter II, and the portrait of Peter III and ... the portrait of Elizabeth. For some reason, the latest version is very close to me.
There are a lot of ceremonial portraits of Catherine II. They were painted both by foreigners invited to Russia and by Russian artists. We can recall, for example, a portrait of Catherine painted by Vigilius Eriksen in front of a mirror, in which the artist uses a peculiar technique that allows him to show the Empress both in profile and in full face.
The profile image of the empress was used for the ceremonial portrait painted by Rokotov:
Catherine herself apparently loved another portrait painted by Eriksen, depicting her on horseback: 
Still would! After all, the portrait symbolizes the fateful day for the Empress on June 28, 1762, when she, at the head of the conspirators, goes to Oranienbaum to carry out a palace coup. Catherine sits astride her famous horse Brilliant and is dressed in a military style - she is wearing the uniform of an officer of the guards infantry.
The portrait was a huge success at court; by order of the Empress, he repeated his work three times, varying the size of the canvas.
Eriksen also painted a portrait of Catherine II in shugay and kokoshnik:
One can recall the informal portrait of Catherine II in a traveling suit, painted by Mikhail Shibanov, an artist about whom almost nothing is known. Is it just that he was close to Potemkin?:
I remember the non-ceremonial portraits of Catherine the Great, it is impossible to pass by the image created by Borovikovsky.
The artist showed Catherine II “at home”, in a fur coat and a cap. old age the lady slowly walks along the alleys of Tsarkaselsky park, leaning on a staff. Next to her is her beloved dog, an English greyhound.
The idea of such an image probably originated in the literary and artistic circle of Nikolai Lvov and is closely connected with a new trend in art, called sentimentalism. It is significant that the portrait of Catherine II was not executed from nature. There is evidence that the artist was dressed in the dress of the empress by her beloved camera-jungfer (room servant) Perekusikhina, who posed for the artist.
By the way, the fact that in the 18th century only 8 official court painters worked in Russia, among which only one was Russian, and even then ended his life almost tragically, is quite interesting. Therefore, it is not surprising that Russian artists did not have the opportunity to paint emperors and empresses alive.
For this work, Borovikovsky, about which Lumpy fussed, was awarded the title of "appointed" to academicians. However, despite the recognition of the Academy of Arts, the empress did not like the portrait and was not acquired by the palace department.
But it was in this image that Pushkin captured her in the "tale of honor" "The Captain's Daughter".
The ceremonial portrait differs from other portraits of different directions and styles in that the ceremonial one has a special solemnity and expressiveness.
In the history of Russia, the ceremonial portrait appeared during the time of the Petrine era. Peter I sought to bring to Russia all the innovations of Europe, and there the fashion for ceremonial portraits was just widespread. Further, the tradition of ordering a ceremonial portrait for important celebrations was firmly established among the most noble and wealthy people of that time.
In Russia, ceremonial portraits of the military were common - in full combat uniforms, young charming young ladies in the best outfits, etc. And today the ceremonial portrait has not lost its relevance, still being a symbol of security, status and influence.
We invite you to renew the old tradition and combine the luxury of a classic canvas and the modernity and everyday life of photography. This is an unusual and expensive gift for your loved ones, colleagues, boss, friends.
Trying on the image of past years means getting closer to bygone eras, feeling like a beautiful noblewoman of the 19th century, recently returned from another ball, or a brave military man, a hero of the war of 1812. Everything depends only on your imagination, and with ArtPhoto its limits can be unlimited.
Historical ceremonial portrait
A historical portrait is a portrait that depicts a figure from past eras. Ceremonial portrait - not only conveys the visual appearance of the person depicted, but also exalts his character, showing his best qualities and status.
Are you not a person who deserves to remain forever? Or do you want to capture one of your relatives, colleagues in such an interesting role, or maybe you want to give your boss an expensive and solid gift that will do justice to his influence and respectability? A historical ceremonial portrait will be a wonderful gift that will forever perpetuate the name and appearance of the person depicted on it.
In the 19th century, it was popular to commission a formal portrait, where the character was depicted in military uniform. Such a canvas was a symbol of courage, strength and influence of the depicted person. ArtPhoto invites you to order a historical formal portrait as a gift to your boss.
Let your leader appear in the image of a military man of the highest ranks of the 18th and 19th centuries. In order to choose the desired image, you only need to look at the gallery of images on our website. Here you can find solid male images, sophisticated feminine, cute and slightly naive children. ArtPhoto provides you with a huge number of original images for every taste and for every occasion.
Ceremonial portrait as a gift
A significant date is planned, and you just need to pick up a significant, solid and original present?
ArtPhoto offers you its unique solution - to present a formal portrait as a gift for any celebration. Historically, the ceremonial portrait was created with such important event, as the coronation of a royal person, etc. while the monarch was likened to a deity. When a portrait of a nobleman was made, where the depicted one looked like an emperor. So you can order a ceremonial portrait from a photograph, in which the hero of the occasion will appear in a solid image of a monarch or a powerful aristocrat.
Or you can move away from the traditional view of the canvas, and choose an original fantasy or expressive look. When creating such canvases, they always tried to “historicize” the depicted. This influenced the color of the canvas, thanks to which the formal portrait looked equally perfect in any room.
So today, the front portrait will be the best decoration of any interior. The ceremonial portrait was always large, as it assumed that the image of a person was from head to toe. So you can order a canvas of any scale in ArtPhoto (up to 150 cm on the smaller side).
In a word, if you want to buy an expensive gift - contact our ArtPhoto studio and choose a picture or portrait and you won't go wrong!
Order a formal portrait
Ceremonial portraits for members of royal families were ordered from the most famous and talented artists different times. And the famous painter was assigned honorary title court painter.
For example, the famous portrait painter Georg Christopher Grooth “Portrait of Grand Duchess Ekaterina Alekseevna with a fan in her hands” (1740s, oil on canvas, 161x117 cm, State Russian Museum, St. Petersburg) had such a title. The portrait of young Catherine shows her heroine in the full bloom of youth, beauty and greatness.
You can order a formal portrait from ArtPhoto by contacting us by phone numbers listed on the site or by sending a request by mail. Even if you live outside of Moscow, it will not be difficult to order a formal portrait from a photograph, because ArtPhoto works throughout Russia, in the CIS countries and abroad. In addition, we value the time of our customers, and your order will not only be executed with high quality by real professionals, but also in the shortest possible time - 1-4 days.
In painting - one of the most fruitful. The image of a person, the most subtle and spiritual reproduction of his features on canvas, touched people of different classes and wealth. These images were half-length and full-length, in the landscape and in the interior. Greatest Artists sought to capture not only individual features, but to convey the mood, the inner world of their model.
court genre
Portraits are genre, allegorical, etc. And what is a formal portrait? It is a kind of historical. This genre arose at the court during the reign of monarchs. The meaning and purpose of the authors of the ceremonial portrait was not just the ability to convey as accurately as possible, but to write in such a way as to glorify, glorify a person. The masters of this genre almost always received wide popularity, and their work was generously paid for by customers, because usually ceremonial portraits were ordered by noble persons - kings and their high-ranking associates. And if the painter identified the monarch himself with the deity, then he likened his dignitaries to the reigning person.
Distinctive features
A majestic figure in all the brilliance of regalia and symbols of power, placed in a magnificent landscape, against the backdrop of slender or in a lush interior - this is what a ceremonial portrait is. The social status of the hero of the canvas comes to the fore. Such works were created in order to capture a person as a historical figure. Often a person appears in the image in a somewhat pretentious, theatrical pose, designed to emphasize her importance. The mental structure and inner life were not the subject of the image. Here on the faces of aristocrats we will not see anything but a frozen, solemnly majestic expression.
Epoch and style
What is a formal portrait in terms of the style of the era? This is an attempt to "historicize" reality in the faces of significant figures, inscribing them in an environment and setting that is noticeable for the time. Elegant and pompous was the general color of such paintings in decorative and refined, it turned out in the days of Rococo, acquired a solemn restraint and clarity in classicism.
Varieties of ceremonial portrait
The parade can be divided into several types: coronation, in the form of a commander, equestrian, hunting, semi-parade.
The most important, from an ideological point of view, was the coronation portrait, in which the artist depicted the emperor on the day of accession to the throne. All the attributes of power were here - a crown, a mantle, an orb and a scepter. More often the monarch was depicted in full growth, sometimes sitting on the throne. The background of the portrait was a heavy drapery, reminiscent of the backstage of a theater, designed to reveal to the world something beyond the ordinary, and columns, symbolizing the inviolability of royal power.
This is how we see Catherine the Great in the portrait of the brush created in 1770. In the same genre, the portrait of Jean Auguste Ingres "Napoleon on the Throne" (1804) was painted.
Often, the ceremonial portrait of the 18th century represented a regal person in the form of a military man. In the portrait of Paul I, created by Stepan Shchukin in 1797, the monarch is depicted in the uniform of a colonel of the Preobrazhensky regiment.
A portrait in a military uniform with awards indicated a certain status of the person embodied on the canvas. Usually such masterpieces captured glorious commanders after significant victories. History knows numerous images of Alexander Suvorov, Mikhail Kutuzov, Fedor Ushakov.
The canvases of European masters eloquently demonstrate what a ceremonial portrait of a ruler on horseback is. One of the most famous is the canvas by Titian, on which the greatest Italian painter of the Renaissance depicted in 1548 Charles V riding a stately stallion. The Austrian court painter Georg Prenner painted an equestrian portrait of the Empress with her retinue (1750-1755). The impulsive grace of magnificent horses personifies the bold and ambitious plans of the queen.
A hunting portrait, in which the aristocrat was most often depicted in the company of hounds or with game in a proudly raised hand, could symbolize the masculinity, dexterity and strength of the nobleman.
The semi-ceremonial portrait met all the basic requirements, but represented the person in a half-length version, and not in full height.
Interest in this genre exists to this day.
Until the beginning of the 18th century, mainly icon-painting traditions developed in Russian painting.
According to the memoirs of contemporaries, in Russia at that time any images were taken for icons: often, when they came to a stranger's house, Russians, as usual, bowed to the first picture that caught their eye. However, in the XVIII century. painting gradually began to acquire European features: artists mastered linear perspective, allowing to convey the depth of space, sought to correctly depict the volume of objects using chiaroscuro, studied anatomy in order to accurately reproduce the human body. The technique of oil painting spread, new genres arose.
A special place in Russian painting of the XVIII century. took the portrait. The earliest works of this genre are close to the parsuna of the 17th century. The characters are solemn and static. Ivanov A. B. Stories about Russian artists - M. Enlightenment 1988
At the beginning of the XVIII century. foreign painters worked in Russia, in particular, I.G. Tannauer and L. Caravacc.
The Academy of Arts, founded in 1757, determined the path of Russian art in the second half of the 18th century. Revived by the Academy, pensionership was no longer a simple apprenticeship, as at the beginning of the century, it became more of an artistic collaboration that brought European recognition to Russian artists. The leading direction of academic painting was classicism, the main principles of which were most consistently rallied in the historical genre, which interpreted ancient, biblical and national-patriotic subjects in accordance with the civil and patriotic ideals of enlightenment. Frolova A. R. Fedor Rokotov laid his hand // Panorama of Arts 9. M., 1989. Founder historical genre in Russia there was A.P. Losenko (1737 - 73). An early orphaned peasant son, he spent his childhood in Ukraine. Then, by chance, he ended up in St. Petersburg, where he first sang in the court choir. Then, having received the first lessons from I.P. Argunov, one of the first graduated from the Academy of Arts and retired in Paris and Rome. In his work, features of classicism appeared, in which in the 2nd half of the 18th century. realistic tendencies are strong ("Vladimir and Rogneda", 1770, State Russian Museum; "Farewell of Hector to Andromache", 1773, State Tretyakov Gallery). With genuine skill, Losenko painted portraits of his contemporaries, and mostly eminent figures Russian culture (portraits of F. Volkov. State Tretyakov Gallery and the State Russian Museum; A.P. Sumarokov. I.I. Shuvalov, actor Ya. D. Shumsky, all in the State Russian Museum). At the turn of the XVIII - XIX centuries. G. I. Ugryumov (1764 - 1823) was an outstanding master of historical painting, in whose works the growth of public interest in national history was manifested ("The solemn entry into Pskov of Alexander Nevsky after his victory over the German knights", 1793-94; "The calling of Mikhail Fedorovich to kingdom", c. 1800, both in the timing, etc.). Savinov A. N. [Introduction. Art.] // Fedor Stepanovich Rokotov and artists of his circle: Exhibition catalogue. M., 1960.
leading genre in Russian painting second half of the 18th century. was a portrait. Development portrait genre in the Petrine era, it was determined by the influence of Western painting, but at the same time it was based on the tradition of the previous century (parsuna). The formation of portraiture was associated with the work of I.I. Nikitin and A.M. Matveev. Lomonosov M.V. complete collection compositions. T. 8. M.; L., 1959
Engraving became a new phenomenon in art. Most famous master was A.F. Teeth. Rokotov ceremonial portrait
Artists of the second half of the 18th century began to become more interested in the personal merits of a person, his moral qualities, his inner world. They see art as a means of education and therefore strive to make it reasonable, clear, and logical. Other genres of painting are also developing. A system of genres is taking shape (portrait, monumental and decorative painting, landscape, historical painting). The most significant authors of the historical genre were A.P. Losenko and G.I. Ugryumov. Two trends emerged in the development of the portrait: an increase in the artistic level and realism of the image, and the flourishing of the formal portrait. In the work of A.P. Antropov, the traditional features of the parsuna were especially strong. He became one of the creators of the genre of chamber portrait (portrait of Izmailova). Portraits of F.S. Rokotov are distinguished by intimacy, subtlety and psychologism (portrait of A.P. Struyskaya). D.G. Levitsky worked a lot in the genre of ceremonial portrait. Creativity V.L. Borovikovsky (the turn of the 18th - 19th centuries) is associated with the ideas of sentimentalism. He first introduced the landscape background in portraits. Balakina T. I. History of Russian culture - tutorial. M Publishing Center 1996
At the end of the XVIII century. paintings appear with scenes from peasant life(M. Shibanov, I.P. Argunov, I.A. Ermenev), there was an interest in the landscape landscape (S.F. Shchedrin), an urban architectural landscape was born (F.Ya. Alekseev).
The main difference between the ceremonial portrait and historical portraits of other styles and trends is its catchy expressiveness and solemnity. Ceremonial portraits were created mainly for persons of high class and rank, having a high status and authority in society. The historical portrait in the ceremonial military uniform is still relevant today, many influential people want to capture themselves in the same way as their ancestors from the noble class of the century before last. Romanycheva I. G. To the biography of F.S. Rokotova // Monuments of culture. Yearbook. 1989. M., 1990.
The ceremonial portrait in the 18th century is a bright, figuratively expressed print noble man, created by an artist who has his own exclusive set of tools to describe a formal portrait, his own tonal coloring and historical visibility, in which a bright costumed image plays an important role.
The military uniform indicates belonging to a certain military status, orders reflect special merits to the fatherland. The uniform of the 18th century model existed until the beginning of the October Revolution of 1917, and was the most coveted award for the highest bureaucratic leadership.
A ceremonial portrait in a military naval uniform, in terms of beauty of perception, occupies a special place in portrait art and was often created by artists after glorious military victories and victorious naval battles of the Russian fleet.
In our time, it has also become a fashionable phenomenon to portray modern man in military uniforms of the 18th-19th centuries, military portraits of those times hung with various awards, beautiful and bright orders, add to the ceremonial portrait that very unusual splendor of our time of perception.
Historical portraits of military men in beautiful uniforms are always solemn and create an uplifted mood among their owners.
A historical portrait in full dress military uniform of the 18th-19th centuries is a glorious continuation of the traditions of our ancestors.
In the years when Antropov was still creating his portraits - accurate, somewhat dry and heavy in terms of painting - a whole galaxy of young masters of the second half of the 18th century had already come out, resolutely asserting a new understanding of the image of a person and the pictorial means of its embodiment. In a short time, these masters put Russian portraiture on a par with the best works of contemporary Western European art. . Savinov A. N. [Introduction. Art.] // Fedor Stepanovich Rokotov and artists of his circle: Exhibition catalogue. M., 1960.
At the head of this galaxy were Rokotov and Levitsky.
Fyodor Stepanovich Rokotov (1735/36-1808/09) is one of the most remarkable masters of the Russian portrait of the 18th century. The originality of his work was already fully reflected in the 60s, marked by the appearance of a number of the best works Antropova. However, even comparison early works Rokotova with the mature works of Antropov quite clearly testifies to the onset of a new period in the development of Russian art, a new stage in ideas about the human personality. Rokotov's portraits are distinguished by such humanity and lyrical depth, which had not previously been characteristic of Russian portraiture. Voronina N. Brilliant portrait painter of the 18th century. - Artist 1972 No. 5
Municipal educational institution
Additional education children
"Children's art school»
FEMALE IMAGES IN 18TH CENTURY PORTRAITS
(F.S. Rokotova, D.G. Levitsky, V.L. Borovikovsky)
Completed: student 4-A class.
MOU DOD Children's Art School Zelenogorsk
Grigorieva Anastasia Vladlenovna
Scientific adviser: teacher
Art History MOU DOD DKhSh
Solomatina Tatyana Leonidovna
Zelenogorsk
The place of a woman in Russian society of the 18th century and the art of portraiture …………………………………………………………………………………… 3
The image of a Russian woman in a portrait art XVIII century…………4
2.1. parade female portrait first half of the 18th century:
2.1. Features of the front portrait;
2.2. AND I. Vishnyakov
2.3. D.G. Levitsky
Chamber female portrait of the second half of the 18th century:
Features of a chamber portrait
2.2.2. V.L. Borovikovsky
2.2.3. F.S. Rokotova
Female portrait of the 18th century is one of the highest achievements of Russian portraiture…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
List of used literature……………………………………17
List of illustrations………………………………………………………18
Applications……………………………………………………………….19
The place of a woman in Russian society of the 18th century
And the art of the portrait
Since the beginning of the 18th century, from a rather primitive depiction of a human face, artists have brought their skills to extraordinary perfection. Learning from foreign painters, the domestic masters not only adopted their knowledge, but also surpassed them and added a deeply Russian flavor to their art (http://www.referat77.ru/docs/1415/1866/2.html).
Portraits of the beginning of the century depict mainly the social affiliation of a person, his best sides, his pomposity, sometimes fictional beauty. But throughout the century, the state, the public mood, as well as the attitude of the artist to the depicted person, changed greatly. The masters no longer set themselves the task of making the portrait look like a model. They were not so much interested in the solemnity of the presentation, but in the inner world of a person, his essence, his predisposition to spirituality. By the end of the 18th century, painters convey the soul of their models, the subtlest moods, and the variability of characters.
The purpose of my work is to prove this trend, i.e. gradual transition from external characteristics person to the transmission of his inner state.
To solve this problem, I focused on the portrait work of the following outstanding Russian artists:
AND I. Vishnyakova;
F.S. Rokotova;
D.G. Levitsky;
V.L. Borovikovsky.
To characterize the portrait work of these artists, I used a fairly wide range of sources, a list of which is given at the end of the work. Among the books that I used, there are works on the art of the selected period (1,4,5,6,7, 8, 11, 12,14,16,17), as well as monographs dedicated to the work of individual artists (2,3, 9,13,15).
The Image of a Russian Woman in the Portrait Art of the 18th Century
Ceremonial female portrait of the first half of the 18th century
The leading role in the painting of the first half of the 18th century belonged to the portrait. Portrait art developed in two genres: ceremonial and chamber.
Features of the front portrait
The ceremonial portrait is largely a product of the Baroque style, with its heavy splendor and gloomy grandeur. His task is to show not just a person, but an important person in all the splendor of her highly social position. Hence the abundance of accessories designed to emphasize this position, the theatrical splendor of the pose. The model is depicted against the backdrop of a landscape or interior, but certainly in the foreground, often in full growth, as if suppressing the surrounding space with its grandeur. (12)
It was with ceremonial portraits that one of the leading portrait painters of this time, I.Ya. Vishnyakov.
The impeccable "eye" of the artist and impeccable taste brought Vishnyakov among the best portrait painters of that time. Not without reason, he was allowed not only to copy, but also to paint portraits of reigning persons, and then "replicate" them for numerous palaces, public institutions and private dignitaries. (http://www.nearyou.ru/vishnyakov/0vishn.html)
The artist liked the decorative luxury of the ceremonial dresses of his era, their theatricality and festivity. With admiration, he conveys the materiality and objectivity of the world, carefully, lovingly writes out the amazing costumes of the 18th century, with their fabrics with complex patterns, various colors and textures, with the finest embroideries and lace and decorations. As a master decorator, Vishnyakov creates an exceptional range of colors. And although the pattern seems to be superimposed over the rigid folds of clothing, it is tangible, and resembles, according to the art historian T.V. Ilyina, (6) the source “the field of a luxurious old Russian miniature of the 17th century or the floral ornament of a fresco of that time. And above all this wealth of the material world, the faces of people look and breathe.
In 1743, Vishnyakov painted a portrait of Empress Elizabeth - representative, those magnificent. Elizabeth - in a crown, with a scepter and a howl, in a luxurious brilliant moire dress. It is curious that this portrait was so liked that Vishnyakov was instructed to continue to reconcile the style of other portraits of Elizabeth, whoever painted them - he became, so to speak, the supreme arbiter in matters of imperial iconography. Meanwhile, he himself, despite the splendor of the situation in contrast with her, portrayed Elizabeth as an ordinary woman - blood and milk, a black-browed and ruddy Russian beauty, more friendly and accessible than stately or regal. Having appropriated the attributes of power to herself, Elizabeth never got used to it. Something homely, warm, smiling-rustic, of course, not without cunning and not without mind, was always preserved in her appearance, and Vishnyakov definitely felt it.
Vishnyakov's portraits of children were best obtained.
One of the most interesting is the portrait of Sarah Fermor. (ill.3) This is a formal image typical of that time. The girl is shown full-length, at the junction of open space and a landscape background with an obligatory column and a heavy curtain. She is wearing a smart dress, a fan in her hand. Her posture is constrained, but in this frozen solemnity there is a lot of poetry, a feeling of quivering life, fanned by high artistry and great warmth of soul. The portrait combines, which is typical for Vishnyakov, as if sharply contrasting features: it still feels like a living Russian medieval tradition- and the brilliance of the form of ceremonial European art of the XVIII century. The figure and pose are conditional, the backdrop is interpreted in a flat way - it is an openly decorative landscape - but the face is sculpted in volume. The exquisite writing of the gray-green-blue dress strikes with the richness of the multi-layered painting and has a tradition of flattening. It is conveyed illusory-materially, we even guess the type of fabric, but the flowers are scattered along the moiré without taking into account the folds, and this “pattern” lies on the plane, as in an old Russian miniature. And above the whole scheme of the ceremonial portrait - and this is the most amazing thing - the serious, sad face of a little girl with a thoughtful look lives an intense life.
The color solution - silver tone painting, the rejection of bright local spots (which was actually characteristic of the brush of this master) - is due to the nature of the model, fragile and airy, similar to some exotic flower. (http://www.bestreferat.ru /referat-101159.html) As from a stalk, its head grows on a thin neck, arms are helplessly lowered, more than one researcher wrote about the excessive length of which. This is quite true if we consider the portrait from the standpoint of the academic correctness of the drawing: we note that the hands were generally most difficult for masters who did not receive a systematic “educational” education, which were the artists of the middle of the 18th century, and Vishnyakov in particular, but their length is also harmoniously emphasizes the fragility of the model, as well as thin trees in the background. Sarah Farmer does not seem to embody the true 18th century, but the ephemeral 18th century, best expressed in the bizarre sounds of the minuet, which was only dreamed of, and she herself, under the brush of Vishnyakov, is like a dream come true.
Vishnyakov managed to combine in his works admiration for the richness of the material world and a high sense of monumentality, not lost in attention to detail. In Vishnyakov this monumentalism goes back to the ancient Russian tradition, while the elegance and sophistication of the decorative structure testify to an excellent mastery of the forms of European art. The harmonic combination of these qualities makes Ivan Yakovlevich Vishnyakov one of the brightest artists of such a complex transition period in art, which was in Russia in the middle of the 18th century.
D.G. Levitsky
In the work of Levitsky, a ceremonial portrait occupies a large place. Here, the decorativeness inherent in his painting is revealed in all its splendor.
In ceremonial portraits mature period Levitsky is freed from theatrical rhetoric, they are imbued with the spirit of cheerfulness, a festive feeling of life, bright and healthy optimism.
Particular attention should be paid to large ceremonial portraits (full-length) that form a single decorative ensemble of pupils of the Smolny Institute for Noble Maidens.
“Portrait of Khovanskaya and Khrushchova”, 1773, Russian Museum (Fig. 8)
Commissioned by Catherine II, Levitsky wrote whole line portraits of pupils of the Smolny Institute for Noble Maidens. (http://www.1143help.ru/russkayagivopis-18) Two girls depicted in this portrait play roles from comic opera"Vagaries of Love, or Ninetta at Court".
Khrushchova, famously akimbo, playfully touches her girlfriend's chin. A mocking smile plays on the ugly, but very expressive face of the girl. She confidently plays the male role. Her partner, Khovanskaya, shyly looks at the "cavalier", her confusion is read in the awkward turn of her head, in how helplessly her hand lies on the shining satin of the skirt. We see landscape scenes depicting an English park, classical ruins, the silhouette of a castle. On the left, a sprawling tree is the background for the figure of Khrushchova, on foreground- a fake mound that covers additional light from the audience. The girls are illuminated by the light of the ramp, which is why the shadows on the floor and the contours of the figures are so distinct. Khrushcheva is wearing a dark gray silk camisole adorned with gold galloon. In the institute theater, where boys never performed, Khrushchova was considered an unsurpassed performer of male roles. But after the institute, her fate was unsuccessful and she could not take an important place in the world. And Katya Khovanskaya will begin to attract everyone's attention, become the wife of the poet Neledinsky-Meletsky and the first performer of songs written by her husband.
"Portrait of Nelidova" 1773 (Fig. 7)
This is the oldest of the tars. While still studying at Smolny, she became known for her excellent performance on stage, she especially shone in dance and song performance. In the portrait, she plays a role in the play "The Servant - Mistress." She is already aware of her own charm, she has a need to please, the skills of theatrical behavior are perfectly mastered. The figurine confidently stood in a ballet pose, the handle gracefully lifts the lace apron, pink ribbons adorn the shepherd's straw hat - everything creates a feeling of doll-like porcelain. And a lively face, laughing eyes, a smile explain that all this is just a game. Against the background are soft green clumps of trees, light elegant clouds
Portraits of E. I. Nelidova (1773), (Il. 7) E. N. Khrushchova and E. N. Khovanskaya (1773), (Il. 8), G. I. Alymova (1776) (Ill. 2) and others. The figurative structure of these works is associated with the characteristic for the ceremonial portrait of the 18th century. the image of a woman as a being "cheerful, loving only laughter and fun." But under the brush of Levitsky, this general formula was filled with a realistically convincing vital content.
High classicism in painting - "Catherine II - the legislator in the temple of the goddess of Justice" 1783, Russian Museum. (Fig. 3)
This is a real pictorial ode with all the features inherent in this genre. The character is the empress, in full dress, fair, reasonable, ideal ruler. The Empress is presented in a white, shimmering silver dress of strict cut with a laurel wreath on her head and a sash on her chest. She is wearing a heavy mantle, falling from her shoulders and emphasizing the greatness of the empress.
Catherine is depicted against the background of a solemn curtain, enveloping wide columns and a pedestal with wide folds, on which a statue of Themis, the goddess of justice, is placed. Behind the colonnade, behind a strict balustrade, a stormy sky and a sea with ships sailing on it are depicted. Catherine extended her hand over the lit altar with a broad gesture. An eagle, the bird of Zeus, sits on thick folios next to the altar. The sea reminds of the successes of the Russian fleet in the 18th century, the volume of laws that Catherine created the Legislative Commission, the statue of Themis - about the empress's lawmaking glorified by poets. But this, of course, is not the real appearance of Catherine, but the image of an ideal monarch, as the Enlightenment wanted to see him. The painting was a great success, and many copies were made from it.
V.L. Borovikovsky
The peculiarity of the Russian ceremonial portrait in the work of Borovikovsky, designed to glorify, first of all, the position of a person in a class society, was the desire to reveal the inner world of a person.
"Catherine II for a walk in Tsarskoye Selo Park" - a portrait of Catherine II by Vladimir Borovikovsky, painted in the mainstream of sentimentalism, one of the most famous images of the Empress.
Borovikovsky painted a portrait that was unusual for that time and was imbued with the spirit of a fresh current of sentimentalism - in contrast to the classicism that dominated at that time in the imperial portraits. The characteristic features of this trend are the idealization of life in the bosom of nature, the cult of sensitivity, and interest in the inner life of a person. Sentimentalism is manifested in the author's rejection of grand palace interiors and the preference for nature, which is "more beautiful than palaces." “For the first time in Russian art, the background of a portrait becomes an important element in characterizing a hero. The artist sings of human existence in the natural environment, interprets nature as a source of aesthetic pleasure.
Ekaterina, 65, is shown walking in Tsarskoye Selo park, leaning on a staff due to her rheumatism. Her clothes are emphasized informal - she is dressed in a dressing gown, decorated with a lace frill with a satin bow, and a lace cap, a dog frolics at her feet. The ruler is represented not by a goddess, but by a simple “Kazan landowner”, whom she liked to appear in last years life, a contemplative, without any officialdom, solemnity and ceremonial attributes. The portrait became a domestic option English type"portrait walk". In the twilight of the park, a pier with sphinxes is visible, swans swim in the lake. The face of the model is written in a generalized and conditional way, the age is softened.
Thus, " natural simplicity”, in addition to sentimentalism, partly bringing the picture closer to enlightenment classicism. However, the posture of the empress is full of dignity, the gesture with which she points to the monument to her victories is restrained and majestic.
Unlike Ekaterina - Themis Levitsky, Ekaterina Borovikovsky - is depicted as an "old lady" of the "Kazan landowner" walking in the garden with her beloved Italian greyhound. Borovikovsky created an unusual portrait for that time. Ekaterina is presented on a walk in Tsarskoye Selo park in a dressing gown and a cap, with her favorite Italian greyhound at her feet. Not Felice, not a god-like queen who descended from heaven, she appears before the viewer, but a simple “Kazan landowner”, whom she liked to appear in the last years of her life.
The artist depicted the figure of Catherine with unsurpassed sympathy. This is not an empress in her old age, but first of all a person, a woman, a little tired of state affairs, court etiquette, who, in her spare time, is not averse to being alone, indulging in memories and admiring nature. “In Russian art, this is the first example of an intimate in its essence royal portrait approaching a genre painting.
However, even in this intimate portrait there is an “emblematic motif of a “pillar” column - the Chesme column (Kahul obelisk - on the version of the portrait of the State Russian Museum), which, for all the sentimentality of the image of Catherine of the entire plot of the portrait, symbolizes “firmness or constancy”, “unshakable spirit” , "Strong Hope". The artist's canvases are very elegant thanks to the graceful staging of models, graceful gestures and skillful handling of the costume.
Vishnyakov's ceremonial portraits are characterized by a high sense of monumentality, not lost in attention to detail. In Vishnyakov this monumentalism goes back to the ancient Russian tradition, while the elegance and sophistication of the decorative structure testify to an excellent mastery of the forms of European art.
The peculiarity of the Russian ceremonial portrait in the work of Borovikovsky, designed to glorify, first of all, the position of a person in a class society, was the desire to reveal the inner world of a person. His portraits are imbued with the spirit of the fresh trend of sentimentalism - in contrast to the classicism that dominated at that time in the imperial portraits.
Levitsky was equally good at chamber portraits and full-length ceremonial portraits.
Levitsky's ceremonial portraits reveal the decorative effect inherent in his painting in all its brilliance.
In the ceremonial portraits of the mature period, Levitsky is freed from theatrical rhetoric, they are imbued with the spirit of cheerfulness.
2. Features of the chamber portrait of the second half of the 18th century:
Chamber portrait - a portrait that uses a half-length, chest or shoulder-length image of the depicted person. Usually in a chamber portrait the figure is given against a neutral background.
A chamber portrait is not only a set of external signs, it is a new way of seeing a person. If in the ceremonial image the criterion of the value of a human personality was its deeds (which the viewer learned about through attributes), then in the chamber one moral qualities come to the fore.
The desire to convey the individual qualities of a person and at the same time make an ethical assessment of her.
Borovikovsky turned to various forms portrait - intimate, ceremonial, miniature Vladimir Lukich Borovikovsky was the most striking Russian sentimentalist artist. Book A.I. Arkhangelskaya "Borovikovsky" (3) tells about the main stages of the work of this wonderful Russian artist, who was in Russian fine arts expression of sentimentality. According to the author, V. L. Borovikovsky is “a singer of the human personality, striving to give the ideal of a person as he and his contemporaries imagined him to be”. He was the first among Russian portrait painters to reveal the beauty of emotional life. The predominant place in the work of Borovikovsky is occupied by chamber portraits.
Borovikovsky is becoming popular among a wide range of St. Petersburg nobility. The artist portrays entire family "clans" - Lopukhins, Tolstoy, Arsenyevs, Gagarins, Bezborodko, who spread his fame through family channels. This period of his life includes portraits of Catherine II, her many grandchildren, the Minister of Finance AI Vasiliev and his wife. The artist's canvases are very elegant thanks to the graceful staging of models, graceful gestures and skillful handling of the costume. The heroes of Borovikovsky are usually inactive, most of the models are intoxicated with their own sensitivity. This is expressed by the portrait of M.I. Lopukhina (1797), and the portrait of Skobeeva (mid-1790s), and the image of the daughter of Catherine II and A.G. Potemkin - E.G. Temkina (1798) .
“The portrait of M.I. Lopukhina (Fig. 7) (5) belongs to the time when, along with the dominance of classicism, sentimentalism is being established. Attention to the shades of individual temperament, the cult of solitary-private existence act as a kind of reaction to the normativity of classicism that is social in nature. Natural ease shines through in Lopukhina's artistically careless gesture, capriciously wayward tilt of her head, masterful bending of soft lips, dreamy distraction of her gaze.
The image of M.I. Lopukhina captivates the viewer with gentle melancholy, unusual softness of facial features and inner harmony. This harmony is conveyed by the entire artistic structure of the picture: both by the turn of the head and the expression on the woman's face, it is also emphasized by individual poetic details, such as roses plucked and already drooping on the stem. This harmony is easy to catch in the melodious smoothness of the lines, in the thoughtfulness and subordination of all parts of the portrait.
The face of M.I. Lopukhina, perhaps, is far from the classical ideal of beauty, but it is full of such inexpressible charm, such spiritual charm that next to it many classical beauties will seem like a cold and inanimate scheme. The captivating image of a tender, melancholy and dreamy woman is conveyed with great sincerity and love, the artist reveals her spiritual world with amazing persuasiveness.
A pensive, languid, sad-dreamy look, a gentle smile, the free ease of a slightly tired pose; smooth, rhythmically falling down lines; soft, rounded shapes; a white dress, a lilac scarf and roses, a blue belt, ash-colored hair, a green background of foliage, and finally a soft airy haze that fills the space - all this forms such a unity of all means of pictorial expression, in which the creation of the image is revealed more fully and deeply.
The portrait of Lopukhina is painted against the backdrop of a landscape. She is standing in the garden, leaning on an old stone console. The nature, among which the heroine retired, resembles a corner of the landscape park of a noble estate. She personifies beautiful world full of natural beauty and purity. Withering roses, lilies evoke a slight sadness, thoughts about the outgoing beauty. They echo the mood of sadness, trepidation, melancholy in which Lopukhina is immersed. In the era of sentimentalism, the artist is especially attracted by the complex, transitional states of the inner world of a person. Elegiac dreaminess, languid tenderness permeate the entire artistic fabric of the work. Thoughtfulness and a slight smile of Lopukhina betray her immersion in the world of her own feelings.
The entire composition is permeated by slow, flowing rhythms. The smooth curve of the figure, the gently lowered hand is echoed by the sloping branches of trees, white trunks of birches, ears of rye. Indistinct blurred contours create a feeling of a light airy environment, a transparent haze in which the figure of the model and the nature surrounding it are "immersed". The contour flowing around her figure - now lost, then appearing in the form of a thin, flexible line - evokes the contours of ancient statues in the viewer's memory. Falling, converging or forming smooth folds, the finest and most spiritual features of the face - all this makes up, as it were, not painting, but music. The delicate blue of the sky, the muted green of the foliage, the gold of the ears with bright patches of cornflowers echo in color with a pearl-white dress, a blue belt and a gleaming jewelry on the arm. Shades of fading roses echo the lilac scarf.
In the portraits of Borovikovsky, "Lizanka and Dashenka" (Il. 6) (3) embody the type of sensitive girls of that era. Their tender faces are pressed cheek to cheek, their movements are full of youthful grace. The brunette is serious and dreamy, the blonde is lively and funny. Complementing each other, they merge into a harmonious unity. The nature of the images corresponds to the delicate tones of cold bluish-lilac and warm golden-pink colors.
Borovikovsky especially succeeded in depicting "young maidens" from noble families. Such is the "Portrait of Ekaterina Nikolaevna Arsenyeva" (4), who was a pupil of the Smolny Institute for Noble Maidens, the maid of honor of Empress Maria Feodorovna. A young Smolyanka woman is depicted in a peyzan suit: she is wearing a spacious dress, a straw hat with ears of corn, and a bottled apple in her hands. Chubby Katenka is not distinguished by the classical regularity of her features. However, an upturned nose, eyes sparkling with slyness and a slight smile of thin lips give the image a perky and coquetry look. Borovikovsky perfectly captured the immediacy of the model, her lively charm and cheerfulness.
F.S. Rokotov
Creativity F.S. Rokotov (1735-1808) is one of the most charming and difficult to explain pages of our culture.
The ceremonial image was for Rokotov neither a favorite nor the most typical area of \u200b\u200bcreativity. His favorite genre is a bust portrait, in which all the artist's attention is focused on the life of a human face. His compositional scheme was distinguished by simplicity, somewhat bordering on monotony. At the same time, his portraits are characterized by subtle pictorial skill.
He was attracted by other pictorial tasks: the creation of chamber, intimate canvases, which would reflect the master's ideas about the sublime mental structure
Turning to the work of F.S. Rokotov, as an adherent of a chamber portrait, the authors note that this artist combines an ideal beginning with the features of an individual appearance, along with a masterful depiction of the features of the face, clothing, jewelry of the person being portrayed, the artist is able to reveal the spiritual qualities of the model.
In Rokotov's characterization of the image, the expressiveness of the eyes and facial expressions are very important, and the artist does not strive for a specific transfer of mood, rather, he wants to create a feeling of elusiveness, fleeting feelings of a person. His works amaze with the delicate, refined beauty of the color scheme. Coloring, which is usually based on three colors, thanks to the transitions, expresses the richness and complexity of the inner life of the person being portrayed. The artist uses chiaroscuro in a peculiar way, highlighting the face and, as it were, dissolving minor details.
Rokotov's portraits are history in faces. Thanks to them, we have the opportunity to imagine the pictures of a bygone era.
At the end of the 1770s-1780s.
These features of Rokotov's creativity were most fully manifested in female portraits, which occupied a special place in the art of the 18th century. At the time of his creative heyday, the painter creates a gallery of beautiful female images: A. P. Struyskaya (1772) (Ill. 13), V. E. Novosiltseva. (Fig. 14)
The next female portrait is “Unknown in a pink dress” painted in the 1770s. It is considered one of Rokotov's masterpieces. The finest gradations of pink - from saturated in the shadows, then warm, light, create the effect of flickering, fluttering of the finest light-air environment, as if in tune with inner spiritual movements hidden indispensable in portraits of the 18th century. kind smile, translucent in the depths of his eyes. This image is filled with a special lyrical charm.
"Portrait of an Unknown Woman in a Pink Dress" is especially noteworthy. The openness of a person to another and the world implies intimacy, hidden attention and interest, perhaps somewhere indulgence, a smile to himself, and then enthusiasm and gaiety, an impulse full of nobility - and this openness, trust in another person and in the world as a whole - the properties of youth, youth, especially in an era when new ideals of goodness, beauty, humanity are in the air, like a breath of spring. (http://www.renclassic.ru/Ru/35/50/75/)
The portrait of an unknown young woman with thoughtfully narrowed eyes, in a light pink dress (Unknown in pink), painted by Fyodor Stepanovich Rokotov, attracts subtlety, spiritual richness. Rokotov writes softly, airily. Half a hint, without drawing anything to the end, he conveys the transparency of lace, the soft mass of powdered hair, a bright face with shaded eyes.
F. Rokotov “Portrait of A.P. Struyskaya" (Il. 13)
1772, oil on canvas, 59.8x47.5cm
The portrait of Alexandra Struyskaya is undoubtedly the most brilliant image of a perfect beautiful woman throughout Russian portraiture. A charming young woman is depicted, full of captivating grace. A graceful oval of the face, thin flying eyebrows, a slight blush and a thoughtful, absent look. In her eyes - pride and spiritual purity. The portrait is painted with tints of color and light. Shadows subtly fade into light, ash gray tones to blue, and pinkish tones to pale gold. Light overflows and color gradations are not noticeable and create a slight haze, perhaps some kind of mystery.
The legend of Rokotov's love for Struiska has been preserved, apparently inspired by the special tone of charm and the luck of the talent of the artist who created her portrait. (http://www.nearyou.ru/rokotov/1Struiska.html)
Levitsky
In his chamber portraits, an objective attitude towards the model noticeably prevails. The characteristic of individuality becomes more generalized, typical features are emphasized in it. Levitsky remains a great psychologist and a brilliant painter, but does not show his attitude towards the model.
The same type of smiles, too bright blush on the cheeks, one technique for arranging folds. Therefore, the cheerful mistress E.A. Bakunina (1782) and the prim and dry Dorothea Schmidt (early 1780s) in German become subtly similar to each other.
Portrait of Ursula Mnishek (Fig. 12)
1782, oil on canvas,
State Tretyakov Gallery, Moscow
The portrait of Ursula Mnishek was painted at the zenith of the artist's skill and fame. The oval was rare in the portrait practice of D. G. Levitsky, but it was this form that he chose for an exquisite image of a secular beauty. With full-scale illusory nature, the master conveyed the transparency of lace, the fragility of satin, the gray hair of the powder of a fashionable high wig. Cheeks and cheekbones "burn" with the heat of the superimposed cosmetic blush.
The face is painted with fused strokes, indistinguishable thanks to the transparent lightened glazing and giving the portrait a smooth-lacquered surface. On a dark background, bluish-gray, silver-ash and golden-pale tones are advantageously combined.
The detached turn of the head and the kindly learned smile give the face a polite secular expression. The cold direct look seems evasive, hiding the inner "I" of the model. Her light, open eyes are deliberately secretive, but not mysterious. This woman involuntarily arouses admiration, as well as the virtuoso painting of the master.
(http://www.nearyou.ru/levitsk/1mnishek.html)
Conclusion:
Borovikovsky in his chamber portraits perfectly captures the spontaneity of the model, her lively charm and cheerfulness. Borovikovsky was the first among Russian portrait painters to reveal the beauty of emotional life. The artist's canvases are very elegant thanks to the graceful staging of the models, graceful gestures and skillful handling of the costume. The heroes of Borovikovsky are usually inactive, most of the models are intoxicated with their own sensitivity.
The portraits created by Levitsky of an “intimate”, chamber quality are marked by the depth and versatility of psychological characteristics, they are characterized by great restraint of artistic means.
In his chamber portraits, an objective attitude towards the model noticeably prevails. The characteristic of individuality becomes more generalized, typical features are emphasized in it.
F.S. Rokotov, an adherent of the chamber portrait
hallmark Rokotov is an increased interest in the inner world of man; in the portrait, the artist emphasizes the presence of a complex spiritual life, poeticizes it, focuses the viewer's attention on it, thereby asserting its value.
