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Ivan nikitich nikitin biography. Ivan Nikitin - the first Russian portrait painter Brothers Nikitin artists

PORTRAITS OF I. N. NIKITIN

NIKITIN Ivan Nikitich (1680s (Moscow) - not earlier than 1742)

Painter, portraitist.

He received his initial art education at the typographical school at the Armory Chamber in Moscow (?).

1711. - moving to St. Petersburg.

Early work(one and the same compositional scheme, baroque, with elements of rocaille, solution, reminiscent of the portraits of the painter C. de Bruyne).

1714. - portraits of the nieces of Peter I, princesses Catherine and Praskovya.

Not later than 1716- Portrait of the sister of Peter I Natalya Alekseevna.

1712-1713- Portrait of a girl (Elizaveta Petrovna (?)). One of the earliest children's portraits in Russian art.

1715. - half-length portrait of Peter I. Not preserved.

Italian period.

1716-1719 was in Italy. He studied at the Florentine Academy of Arts under T. Redi, court painter of Duke Cosimo III Medici.

1717. - paired portraits of Peter I and Catherine I. Belonged to Duke Cosimo III of the Medici. Made according to the samples of European ceremonial portraits in the Baroque style. portraits personally signed by Nikitin. This is the rarest case in his practice.

Petersburg activity.

1720. - return to St. Petersburg.

1721. - Portrait of Peter I from nature, painted in Kronstadt.

January 28, 1725 - summoned to Winter Palace"write off the person of the emperor." The work "Peter I on his deathbed" has a sketchy character, the impression of incompleteness due to the brevity of the session.

1720s- "Portrait of Count G.I. Golovkin." The type is reminiscent of French classicist representative portraits from the time of Louis XIV.

1726. - "Portrait of Baron Stroganov." Rococo composition.

1726-1727 (?)) - "Portrait of an outdoor hetman." The identity of the person depicted has not been determined. Job has no analogues in painting18th century in terms of realistic performance.

After Peter's deathI I.I. Nikitin was actually deprived of the opportunity to work. Through the secret office and solitary confinement Peter and Paul Fortress for participation in the so-called case of M. Rodyshevsky, sentenced to exile in Tobolsk, but pardoned. According to some accounts, the artist died on the way from Tobolsk to Moscow.

Main works:

"Portrait of a girl (Elizaveta Petrovna?)" (1712-1713, State Hermitage)

"Portrait of Princess Praskovya Ivanovna (1714, Russian Museum)

"Portrait of Princess Anna Petrovna" (no later than 1716, State Tretyakov Gallery)

"Portrait of Princess Natalya Alekseevna" (no later than 1716?, State Russian Museum; similar portraits - State Museum Reserve "Pavlovsk", State Tretyakov Gallery, 1715-1716);

"Portrait of Peter I" (paired to the portrait of Catherine I, both - 1717, Uffizi Gallery, Florence, stored in the General Directorate of Finance, Italy)

“Portrait of Catherine I" (paired to the portrait of Peter I, both - 1717, Uffizi Gallery, Florence, stored in the General Directorate of Finance, Italy);

"Peter I on his deathbed" (1725, Russian Museum);

"Portrait of Baron S.G. Stroganov" (1726, Russian Museum);

"Portrait of a Floor Hetman" (1720s (1726-1727?), Russian Museum);

"Portrait of Count G.I. Golovkin" (1720s, State Tretyakov Gallery).

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Nikitin Ivan Nikitich (1680-1742)

Ivan Nikitich Nikitin - “Master of Personal Affairs”, favorite artist of Peter I, the subject of his patriotic pride in front of foreigners, “so that they know that there are good craftsmen from our people.” And Peter was not mistaken: "the painter Ivan" was the first Russian portrait painter European level and in the European sense of the word.

IN Nikitin came from a family of Moscow clergy. He probably received his initial artistic education at the Moscow Armory and an engraving workshop under it under the guidance of the Dutch engraver A. Shkhonebek. In 1711, together with the engraving workshop, he was transferred to St. Petersburg. Apparently, he learned to paint portraits on his own, studying and copying the works of foreign masters available in Russia. Thanks to his talent (and perhaps to relatives who served in the court churches), Nikitin quickly took a strong position at court. Peter the Great noticed his abilities and apprenticed him to I.G. Dangauer

In the early (before 1716) works of the artist, there is a palpable connection with parsuns - Russian portraits late XVII centuries, with their rigid and fractional writing, deaf dark backgrounds, flatness of the image, lack of spatial depth and conventionality in the distribution of light and shadows. At the same time, they have an undoubted compositional skill, and the ability to effectively drape a figure, convey texture various materials, harmoniously coordinate rich color spots. But the main thing is that these portraits leave a feeling of some special realistic persuasiveness and psychological authenticity. Nikitin is completely alien to flattery, common for formal portraits.

He painted portraits of the Emperor himself (several times), his wife, Grand Duchesses Anna, Elizabeth and Natalia, and many other dignitaries. The artist was familiar with the techniques of the dominant style of the era - rococo, light and playful, but used them only when it really corresponded to the character of the model, as in the portrait of the young baron S.G. Stroganov (1726). But perhaps the best work Nikitin, in terms of the beauty of painting, in terms of the depth and complexity of the psychological characteristics, is “Portrait of a Floor Hetman” (1720s). In 1725 Nikitin last time writes from the nature of the king. "Peter 1 on his deathbed" (in the Museum of the Academy of Arts) - in essence, big study, performed freely, but solid, thoughtful and monumental. In the reign of Catherine I, he settled in Moscow, where his brother, who returned from abroad a little later, was mainly engaged in church painting.

In 1732, Ivan Nikitin, together with the brothers Roman and Herodion (the archpriest of the Archangel Cathedral in Moscow), was arrested on charges of distributing libels against the vice-president of the Holy Synod Feofan Prokopovich, by the way, also a nominee and associate of Peter. Perhaps this was indirectly facilitated by the unsuccessful marriage of the artist and the subsequent divorce: relatives ex-wife tried in every possible way to harm Nikitin. Yes, and so many did not like him for his direct and independent disposition. After five years in the casemates of the Peter and Paul Fortress, interrogations and torture, the brothers are sent into exile. Ivan and Roman ended up in Tobolsk. They waited for rehabilitation after the death of Empress Anna Ioannovna in 1741. But the elderly and sick artist did not return to his native Moscow. He probably died somewhere on the way to her. Roman Nikitin died at the end of 1753 or at the beginning of 1754.

Artist's paintings

Peter I on his deathbed

Portrait of Anna Petrovna, daughter of Peter

Portrait of Elizabeth Petrovna as a child

Portrait of Maria Yakovlevna Stroganova

Portrait of Peter I.

Portrait of Peter I

Portrait of Count S. G. Stroganov

Portrait of Empress Catherine I

“There are good masters from our people,” Peter the Great said about the “painter Ivan”, whose work was the emperor’s pride for the Fatherland. Ivan Nikitich Nikitin became the founder of a new stage in the development of Russian pictorial art. Art critics, experts in the field for many years associated the work of this artist with his namesake. Historians relatively recently studied archival materials, from which the patronymic of the painter became known. The circle of Nikitin's works was also determined, the belonging of the paintings to his brush was established.

Ancient painting by Ivan Nikitin. Artist biography

The exact date of birth of the artist is unknown. One can only assert that Ivan Nikitich was born in the mid-1680s in Moscow in a family of priests close to the court. Nikitin's childhood passed in Izmailovo, on the estate royal family. There is an assumption that Ivan studied painting at the Armory, but even the earliest works of the artist show us the influence European art. The name of Nikitin's mentor is known - he was A. Shkhonebek, an engraver from Holland. With the transfer of the Armory Chamber from Moscow to St. Petersburg in 1711, the "master of personal affairs" Ivan Nikitin moved to the new capital Russian Empire. There he worked at a printing house, independently learning the technique of writing through copying. vintage paintings famous masters. Later he became a teacher at a drawing school.
Ivan Nikitin traveled abroad - to Venice, Italy and Florence. There the painter replenished his knowledge and skills. Upon his return to Russia, he was awarded the title of Hoffmaler, and was also recognized as a master of painting. Ivan Nikitin was the first famous portrait painter of his time throughout Europe.

After the death of Peter the Great, the fate of the emperor's favorite artist was tragic. In 1732, the archpriest of the Archangel Cathedral in Moscow, Herodion, and his brothers, Rodion and Ivan Nikitin, were arrested. They were accused of insulting Feofan Prokopovich, vice-president of the Holy Synod, by spreading libels against him. The brothers spent five years in the Peter and Paul Fortress, being tortured and interrogated. This was followed by a link to Tobolsk. Ivan and Rodion received rehabilitation in 1741, after the death of Empress Anna Ioannovna.
Ivan Nikitich Nikitin died in 1742, presumably on his way to Moscow.

Vintage paintings by Ivan Nikitin. Creativity of the artist

The first works that brought fame to the author were written by Nikitin while working at a printing house. They are reminiscent of old paintings of the previous century - a dark background, a flat image, bright spots of color. In the presence of the conventions of chiaroscuro characteristic of paintings of the past and the lack of depth, Nikitin's portraits are perfectly solved compositionally. It is worth noting that the artist's work is not distinguished by the characteristic ceremonial portraits of that time flattery. Examples of works early period- "Portrait of Princess Praskovya Ioannovna" (1714), "Portrait of Tsarina Praskovya Feodorovna" and "Portrait of Princess Natalia Alekseevna" (1716). In the 1720s Nikitin's best works were published. During this period, warm shades appear in the color scheme of the paintings. Most notable works- “Portrait of Peter the Great” (early 1720s), “Portrait of Chancellor G.I. Golovkin” and “Portrait of the outdoor hetman” (1720s), “Peter the Great on his deathbed” (1725), a portrait of the young baron S.G. Stroganov (1726).
The last portrait of Peter the Great, painted on January 28, 1725, is a powerful painting. It was created by a like-minded emperor who suffered a huge loss.
Today, paintings by Ivan Nikitich Nikitin are of historical and cultural value.

I. N. Nikitin (Mid-1680s - not earlier than 1742) - "Personal affairs master", favorite artist of Peter I, the subject of his patriotic pride in front of foreigners, "so that they know that there are good craftsmen from our people." And Peter was not mistaken: "the painter Ivan" was the first Russian portrait painter of the European level and in the European sense of the word.

IN Nikitin came from a family of Moscow clergy. He probably received his initial artistic education at the Moscow Armory and an engraving workshop under it under the guidance of the Dutch engraver A. Shkhonebek. In 1711, together with the engraving workshop, he was transferred to St. Petersburg. Apparently, he learned to paint portraits on his own, studying and copying the works of foreign masters available in Russia. Thanks to his talent (and perhaps to relatives who served in the court churches), Nikitin quickly took a strong position at court. Peter the Great noticed his abilities and apprenticed him to I.G. Dangauer

In the early (until 1716) works of the artist, there is a tangible connection with parsuns - Russian portraits of the late 15th century, with their harsh and fractional writing, deaf dark backgrounds, flatness of the image, lack of spatial depth and conventionality in the distribution of light and shadows. At the same time, they have an undoubted compositional skill, and the ability to effectively drape a figure, convey the texture of various materials, harmoniously coordinate rich color spots. But the main thing is that these portraits leave a feeling of some special realistic persuasiveness and psychological authenticity. Nikitin is completely alien to flattery, common for formal portraits.
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In 1716-20. IN Nikitin, together with his younger brother Roman, also a painter, is in Italy. They visited Florence, where they studied under the guidance of Tommaso Redi, Venice and Rome. Roman Nikitin, moreover, worked in Paris, with N. Largilier. From Italy, I. N. Nikitin really returned as a master. He got rid of the shortcomings of the drawing and the conventions of his early works, but retained his main features: the general realism of painting and the directness of psychological characteristics, a rather dark and rich color scheme, in which warm shades predominate. Unfortunately, this can be judged by the very few works that have come down to us.
He painted portraits of the Emperor himself (several times), his wife, Grand Duchesses Anna, Elizabeth and Natalia, and many other dignitaries. The artist was familiar with the techniques of the dominant style of the era - rococo, light and playful, but used them only when it really corresponded to the character of the model, as in the portrait of the young baron S.G. Stroganov (1726). But perhaps the best work of Nikitin in terms of the beauty of painting, in terms of depth and complexity of psychological characteristics is “Portrait of a Floor Hetman” (1720s).
In 1725, Nikitin painted for the last time from the life of the tsar. "Peter 1 on his deathbed" (in the Museum of the Academy of Arts) - in essence, a large sketch, performed freely, but solid, thoughtful and monumental.
In the reign of Catherine I, he settled in Moscow, where his brother, who returned from abroad a little later, was mainly engaged in church painting.

In 1732, Ivan Nikitin, together with the brothers Roman and Herodion (the archpriest of the Archangel Cathedral in Moscow), was arrested on charges of distributing libels against the vice-president of the Holy Synod Feofan Prokopovich, by the way, also a nominee and associate of Peter. Perhaps this was indirectly facilitated by the unsuccessful marriage of the artist and the subsequent divorce: the relatives of the ex-wife tried in every possible way to harm Nikitin. Yes, and so many did not like him for his direct and independent disposition. After five years in the casemates of the Peter and Paul Fortress, interrogations and torture, the brothers are sent into exile. Ivan and Roman ended up in Tobolsk. They waited for rehabilitation after the death of Empress Anna Ioannovna in 1741. But the elderly and sick artist did not return to his native Moscow. He probably died somewhere on the way to her. Roman Nikitin died at the end of 1753 or at the beginning of 1754.

Details Category: Art of Russia of the 18th century Posted on 15.02.2018 15:43 Views: 927

Ivan and Roman Nikitin are Russian artists who worked in the style of Western European art.
Ivan Nikitin is considered the founder of the Russian portrait school of the 18th century.

Ivan Nikitich Nikitin (c. 1690-c. 1742)

Ivan Nikitin was born in Moscow into the family of a priest who served in Izmailovo. One of his brothers (Herodion) became a priest, and the other (Roman) became an artist.
Studied engraving in Moscow at the Armory under the Dutchman A. Shkhonebek.
In 1711, together with the engraving workshop, he was transferred to St. Petersburg. During this time he worked and taught there. german artist Johann Tannauer, invited by Peter I to teach painting to Russian artists. Ivan Nikitin becomes his student. In 1716-1720. Ivan and Roman Nikitin, as well as 20 other emerging artists, are sent to Italy to receive further art education. All study on the state pension. In Italy and Florence, the Nikitin brothers study with Tommaso Redi. Returning to his homeland, Ivan Nikitin became a court painter and favorite of Peter I. He lived in St. Petersburg and Moscow.
But the career of Ivan Nikitin is suddenly interrupted. Together with his brother Roman, he was arrested in 1732 in the case of spreading libels against Archbishop Feofan Prokopovich, a very influential person of that time - a member of the Synod, a preacher, statesman, writer and publicist, poet, philosopher, associate of Peter I. But many believed his creepy man, almost in the tradition of the Inquisition. So the consequences of Prokopovich's criticism for the Nikitin brothers were very sad: for 5 years they languished in the Peter and Paul Fortress, after that they were beaten with a whip and exiled to Tobolsk for life.
Only in 1741 did the brothers receive permission to return to Moscow. But Ivan Nikitin died in 1742 on the way back.

Creation

Ivan Nikitin mainly worked in the portrait genre. But he signed only three works. The remaining works (about 10) are attributed to him.
Early portraits of the artist still bear traces of the parsuna. But Nikitin is still considered one of the first (and often called even the first) Russian artists who moved away from the traditional icon-painting style of Russian painting and began to paint the way they painted in Europe at that time - with a perspective.

Ivan Nikitin. Portrait of Elizabeth Petrovna as a child (1712-1713). Canvas, oil. 54 x 43cm. State Hermitage(Saint Petersburg)
Portrait of the daughter of Peter I, Elizabeth (1709-1761), the future empress - the earliest famous paintings artist. In it, there is still some stiffness in the image of the figure, flatness in the interpretation of the costume and background (traces of the parsuna), but already the ability to convey the living image of the girl. This image is full of charm. Ivan Nikitin conveyed not only resemblance but also the mood of Elizabeth. A child's magnificent full dress, a heavy dress with a large neckline, an ermine mantle on the shoulders, an adult lady's high hairdo are a tribute to the requirements of the times.
The portrait of Princess Praskovia Ioannovna is one of his early works.

Ivan Nikitin. Portrait of Princess Praskovya Ioannovna (niece of Peter I, 1714). Canvas, oil. 88 x 67.5 cm State Russian Museum (St. Petersburg)
Princess Praskovya Ioannovna is 19 years old. This is a girl with self-esteem, a peculiar character and her own world. There is no coquetry in her image, but there is an awareness of herself and her capabilities. Praskovya Ioannovna (1694-1731) - the youngest daughter of Tsar Ivan VI Alekseevich and Tsarina Praskovya Feodorovna, niece of Peter I. She lived with her mother in the village of Izmailovo near Moscow, then had her own courts in Moscow and St. Petersburg. She had a strong-willed, persistent character, despite poor health.

Ivan Nikitin. Portrait of Chancellor G.I. Golovkin (1720). Canvas, oil. 90.9 x 73.4 cm. State Tretyakov Gallery(Moscow)
it's the same early work artist, made on his return from Italy. Count Gavrila Ivanovich Golovkin - Vice-Chancellor, an associate of Peter I, a cunning and dexterous diplomat.
Golovkin has an intelligent penetrating look, a firm, strong-willed lip fold. Wig - in the fashion of the time. The artist created the image of an energetic statesman, a man of the era of Peter. In his posture - self-esteem. The solemnity and significance of the image is given by the restraint of the pose, St. Andrew's ribbon and star, the Polish Order of the White Eagle in the form of a cross on a blue bow.
The portrait of the outdoor hetman is considered the pinnacle of Ivan Nikitin's work. Who exactly is depicted on the canvas is not entirely clear; various names are called. But it is in this image that the master of the ceremonial portrait manifests himself as a master human soul. He creates tragic image strong, domineering, who endured a lot in his lifetime and filled with sorrow.

Ivan Nikitin. Portrait of a floor hetman (~ 1725). Canvas, oil. 76 x 60 cm. State Russian Museum (St. Petersburg)
The hetman is depicted in a calm pose, with matted hair, in unbuttoned home clothes. He is immersed in himself, in his experiences.
The high forehead is wrinkled, and the eyes are frozen, staring into space. The dramatic effect of the picture is created by the expression of his face. The predominance of red tone in the image of the face, as well as elements of clothing, enhances the feeling of anxiety and tension in the situation.

Roman Nikitich Nikitin (1691-1753)

Roman Nikitich Nikitin is the younger brother of the artist Ivan Nikitich Nikitin. His life and works are less known, and his artistic principles more traditional and conservative than the brother.
Roman Nikitin's artistic education began under the guidance of his brother Ivan. Later, Johann Gottfried Dangauer (Tannauer), a German painter, portrait painter, miniaturist, court painter of Peter I, became Roman's mentor.
Returning to Russia after studying in Italy, Roman Nikitin participated in decorating triumphal gate in Moscow, erected on the occasion of the conclusion of the Nystadt peace, he was engaged in church painting. In 1732, the Nikitin brothers were arrested in the case of Feofan Prokopovich, as described in the biography of Ivan Nikitin. In Tobolsk, Roman Nikitin continued to paint.
After the accession to the throne of Empress Elizabeth Petrovna, Roman Nikitin was returned to the court painters, he was instructed to paint images for a new church in the Moscow Zlatoust Monastery.
Roman Nikitich Nikitin died at the end of 1753 or at the beginning of 1754.

Creation

With certainty, only two portraits are attributed to Roman Nikitin: Grigory Dmitrievich Stroganov and his wife, Baroness Maria Yakovlevna (Vassa) Stroganova, dating back to about 1724. Perhaps he created portraits of the entire Stroganov family, but they have not survived.

Roman Nikitin. Portrait of Grigory Dmitrievich Stroganov (no later than 1715). Canvas, oil. 101 x 77.5 cm. Odessa Art Museum
The portrait of Stroganov is made in the classic European style with elements of rococo, but traces of parsuna are still visible in it: static, dark background, lack of psychologism. An attempt is made to convey the movement of the character's hand, but this attempt is not entirely successful - the hand is depicted in a frozen position.

Roman Nikitin. Portrait of Maria Yakovlevna Stroganova (1721-1724). Canvas, oil. 76 x 60 cm State Russian Museum (Petersburg)
The portrait of Baroness Stroganova was painted later. One can see the skill of the artist in conveying the texture of rich clothes. In this portrait, the character's character is already felt: an open look, femininity. There is also some dynamics of the image, the movement of the hands is conveyed.

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