Derived from the dangerous Cossack family, Borovikovsky Vladimir Lukich (1757 -1825) appeared in Ukraine. Both of his brother and father were engaged in religious painting - they wrote icons for local temples. A considerable talent of Vladimir was noticeable then, and except for icons, Vladimir himself enjoyed popular and as a talented portraitist.

The real success was brought to him two allegorical portraits written for the "Travel Palace" - one of the small but luxurious estates, erected on the path of Empress Catherine II in Crimea. Architect, artist and musician N.A. Lviv, the former in the retinue of the Empress, drew attention to the paintings of the Borovikovsky Vladimir and found the artist. After a year, Vladimir moved to St. Petersburg and first was acquired in the house of Lviv and his family.

Quickly scoring popularity and clientele in St. Petersburg, Borovikovsky was never rebalament. He worked a lot. It was taken for the front portraits, and for "home scenes", and for illustrations to books and novels, and for copies using a beautiful baguette for paintings. "Portrait of M. I. Lopukhina", written in 1797, is considered one of the canonical for the style of Borovikovsky. The reproductions of the paintings of Borovikovsky Vladimir are distinguished by a soft color scheme, a lyrical mood and the ability to express the character of the person depicted on them, while emphasizing the best of its features.

Worked Vladimir Borovikovsky to a deep old age. Gradually, his popularity went to the decline, the artist became gloomy and Hmur, stopped supporting correspondence with friends, deepened in mystics and the last series of his paintings, albums with sketches - this is a kind of "abstract" of that mythology and mystics he studied. The very last work was the iconostasis in the Church of the Smolensk cemetery in St. Petersburg, where the artist Vladimir Lukich Borovikovsky was buried.

Borovikovsky famous paintings

Portrait of Great Princess Alexandra Pavlovna

Portrait of Great Princess Elena Pavlovna

Bugaevsky-grateful I.V. Portrait of the artist V.L. Borovikovsky. 1824.

The artist lived and worked at the turn of the eighteenth and nineteenth centuries. As a master, he formed in the educational era of the reign of Catherine Great. The flourishing of his creativity fell on a brief and conflicting rule of Paul I, who was called "insane despot", and "Russian Hamlet". Borovikovsky survived the "Days of Alexandrov's excellent start", as well as the invasion of Napoleon and the Patriotic War of 1812. The artist died in April 1825, without surviving several months before the Decembrist uprising.
The art of Borovikovsky corresponds to the philosophical, aesthetic and religious ideas of their time. The painter gave tribute to various stylistic flows. Until now, Borovikovsky remains in Russian painting an unsurpassed Master of Sentimentalism. At the same time, the artist pronounced himself and as a representative of the late classicism (ampira).
Throughout his life, Borovikovsky worked a lot and fruitful. Compared to F. Crotov, and D. Lytitsky, he left a huge artistic heritage, which has more than three hundred works. First of all, the painter was fully realized in a variety of typological structures of the portrait genre. It is the representative cloths of large size, and small-format chamber images, miniatures. Gave tribute to the artist and the allegorical paintings. Borovikovsky is the author of numerous icons for huge cathedrals and small churches, home cots. In the old literature, religious painting of the artist highlighted on the fore and was evaluated very high. The first biographer of the artist V. Gorlenko wrote about Borovikovsky, as "inspired by a religious painting", whose works "breathe deep and naive faith moving towards the end of his life in mystical delight."
Vladimir Borovikovsky was born on July 24 (August 4) of 1757 in Mirgorod in Malorus. Childhood and adolescence of the artist proceeded in the situation that contributed to the development of the abilities of a talented boy. His father of Luka Borovik, Uncle, cousins \u200b\u200band native brothers made up a relative clan of icon painters. The first lessons of this craft Borovikovsky received at the Father. However, by customs of his time, he had to serve on a military field. In 1774, Borovikovsky joined the Mirgorod Regiment, which was listed "over the set". In the first half of the 1780s, the artist in the rank of Lieutenant retired, settled in Mirgorod and now completely looked for a religious painting. He wrote an image for local temples (Trinity and Resurrection Church in Mirgorod), most of which were not preserved. In rare samples ("Our Lady of the Baby", 1787, Museum of Ukrainian Art, Kiev; "Tsar David", Museum V.A.Tropinin and Moscow artists of his time, Moscow) Borovikovsky icon painting can be traced a reverent attitude of a deeply believer person to creating a religious image.

Our Lady with infant

At the same time, in the iconographic creations of the master manifested themselves ornamental complexity and the pomp of Ukrainian art.
The case helped to develop the talent of the painter. In 1787, Ekaterina Great conceived a trip to Tavrid. Vladimir Kapapinist, a well-known poet and the leader of the Kiev nobility, instructed Borovikovsky to paint the interiors of the house in Kremenchug, intended to receive the empress. Apparently, he also composed the intricate plots of two allegorical paintings. At one, seven Greek sages were presented in front of the book of "Pok." In front of them, Catherine in the form of Goddess Minerva, who explained the meaning of this Code of laws. Another picture depicted Peter the Great - Drypaschka, followed by Catherine II, sowing seeds, and two young geniuses, the great princes Alexander and Konstantin, who rowned plowed and sown land.
According to legend, the content of the paintings liked Empress, and she commanded a talented painter to move to Petersburg. In the retinue of the subjects, accompanying the sovereign in her journey to Tavrid, was N.A. Lvov, the famous architect, poet. Nikolay Alexandrovich was also a close friend of V.V. Kapnista. He immediately invited a talented painter to live in St. Petersburg in his house, "that on the postal mill" (modern address - ul. Union of Communication, D.9). Such hospitality for many talented people was in his custom. "The slightest difference in any ability tied Lviv to a person and forced him to love him, serve him and give all ways to improving his art, - wrote F.P. Lvov, - I remember his care about Borovikovsky, acquaintance with Egorov, classes With a dropmaster of fomin and other people, according to the skill of her who came in fame and those who were visited in his house. "
N.A. Lvvov, who traveled many countries, was well acquainted with various schools and destinations in European art. Judging by the way notes, the Bologna masters caused his admiration, he liked the "cerebral sentimentality of Carlo Dolch." All these artistic addictions were reflected in his own drawings and engravings. Being a good pander, Lviv, in turn, influenced the formation of the skill of Borovikovsky. Nikolai Alexandrovich introduced Borovikovsky with his countryman Dmitry Levitsky, firmly substantiated by the time in St. Petersburg. Although the apprenticeship of Borovikovsky, Levitsky was not documented, but the proximity of the receptions in the early works of Vladimir Lukich speaks of his acquaintance with the work of a brilliant portraitist.
At first, on arrival in the northern capital, Borovikovsky continued to write icons. However, the shaped system and the style of these work differ significantly from works performed in Malorus. Such are rare samples of religious painting "Joseph with the infant of Christ" (left on the stone is the year of execution and place of writing - 1791, St. Petersburg) and "Tovy with angel" (both in GTG). Probably, these small icons were designed for homemade keels in the house of Lviv and his environments. There are no traditional features of Ukrainian art. On the contrary, there is a familiarity of Borovikovsky with samples of light painting. In the choice of plots and building the composition, the influence of Western European masters is noticeable. So image of Saint Joseph with Baby Not found in Orthodox iconography, while in Catholic painting it is present.

In 1621, the official celebration of St. Joseph's Day was approved in the Vatican. The popularity of this saint reflected in its numerous images of the Brush of Italian and Spanish Masters Baroque. In the Hermitage there is a canvas B.E.Murillo "Holy Family", in which Joseph's Pose with a baby in his hands is similar to the formulation of the figure in Borovikovsky. Looks like writing clothing folds. It is known that Borovikovsky copied the works from the Hermitage Assembly. The picture "Our Lady with the Baby Christ and Angel" has been preserved, his copy from the work that was considered in the eighteenth century by the work of A. Corrosive (GTG). The medallion "Joseph with a baby Christ" is distinguished by strong feelings, harmony of perception of nature and the finest painting of a miniature letter.
Plot "Tovy with angel" - Loved in the Western European Painting Renaissance and the XVII century.

In Russian art, a picture of the same plot "from the original German" Brush of Young Anton Losenko is known. Borovikovsky took as a basis of composite solutions in Titian's webs (Museum of the Academy, Venice) and B. Murillo (Cathedral in Seville), known to him, apparently, according to engravings. In the scene represented by the viewer, there is nothing mysterious and wonderful. The Russian master interprets the plot is quite real, using genuine household details. A small boy accompanied by an adult mentor carries caught fish, the insides should be healed by a blind father. The catch hangs on the yves branch (Kukan), as was done in his native Malorussia. Tovy happily hurries home. He emphasizes the motive movement and running next to him. The painter skillfully placed the group, soving it in an oval, and picked up harmonious yellowish-pistachio and olive-purple colors, which correlated with pink and blue tones given in the landscape.
In the early 1790s, Borovikovsky received an order for the creation of images for the Chief Cathedral of the Borisoglebsky Monastery in Torzok. N.A. Lvvov, who was responsible for the inner structure of the temple, recommended the artist Archimandrite Monastery and city rulers. As appears from archival documents, high customers first assumed to choose a traditional icon painted style, but then agreed with Lviv, who offered a secular picturesque manner of the performance of images. For two years of hard work, Borovikovsky wrote thirty-seven icons, the location of which is currently unknown.
Perhaps Borovikovsky would have remained a master of religious painting, but one substantial circumstance has influenced the expansion of the Circle of the Creative Interests of the Master. In 1792, the Vienna portraitist I.B. Lypi, which hadved European glory arrived in St. Petersburg. The admiration involved in the orbit of the admiration of the St. Petersburg public, Vladimir Lukich began working under the leadership of a recognized maestro. By copying his work, the Russian artist learned the achievements of advanced European painting technology and modern letters. From now on, his passion for the portrait genome is coming out.
A new understanding of portrait tasks, distinguishing Borovikovsky from predecessors, marks "Portrait of Empress Ekaterina II on a walk in the Tsarskoil Park" (1794, GTG).

This is the first example of the chamber interpretation of the sovereign image, which appears to the audience unconventional. On the coronation portrait of the brush F. Croshova, the Great Monarchine sits on the throne under the royal regals, in the works of S.Terelli, in the image of the Goddess Minerva, the patroness of the music, on the canvas D. Lytitsky - Priestess of the goddess of the femids. V. Borovikovsky showed Catherine II "home-friendly", in Salopa and Cherence. Old years of lady slowly walking along the alleys of an old park, leaning on the staff. Next to it is a favorite dog, an English left. There are contemporaries about the extraordinary attachment of the empress to these creatures.
The idea of \u200b\u200bthis image probably arose in the literary and artistic circle of N.A. Lvov and closely connected with the new course in art, called sentimentalism. It is significant that the portrait of Catherine II was not executed from nature. There is a testimony that the artist posed her favorite chamber of Junger (bedroom serving) M. Perepeschina.
For this, the work of V.L. Korovikovsky, about which I.B.Lampi was awarded, the title of "appointed" in academician was awarded. However, despite the recognition of the Academy of Arts, the portrait, apparently, did not like the Empress and was not acquired by the palace department. Nevertheless, rejected Catherine II, this image arises in the cultural memory of Russian people thanks to A.S. Pushkin. Grown in the royal village, where everything was filled with memories of the times of the "Mother of Catherine", the poet almost "quoted" the portrait in the "Captain daughter". The image of the queen, the earth, affordable, capable of sympathy and therefore, with gracious, more impressed by the people of Alexandrovsky time, and this was how it created his Pushkin.
In the face of I.B. Lampi Borovikovsky found not only a wonderful teacher, but also a true friend. The Austrian painter distinguished the talent of the Russian student. Being a "honorary free general publicity" of the St. Petersburg Academy of Arts, Lampi helped Borovikovsky get (September 1795) the title of academician painting for portrait of Grand Duke Konstantina Pavlovich.

On the friendly location of Lamp to Borovikovsky also testifies to the fact that after departure from Russia (in May 1797), he left his workshop to Russian painter. In November 1798, Borovikovskaya wrote his relatives in Mirgorod, that he now lives "on a large millpopian in the house of the court Mr. Mr. Vertina under №36" (now st. Millionnaya, d.12).
It is known that some works of Lamp's brush lamp remained in the studio, which mistakenly after the death of Borovikovsky were ranked her heritage. There are also copies of the work of Borovikovsky. "Clear" a list of this building of works, divide the works of Austrian and Russian artists - one of the important tasks of studying the work of Borovikovsky at the present stage.
Vladimir Korovikovsky wrote portraits of all representatives of the mug of poets, close friends of the artist - N.A. Lvov, V.V. Kapnista and G.R. IDRAZHAVIN. People are very different characters and temperaments, they were bound by the generality of artistic tastes and aesthetic views. In its environment, they not only conducted conversations about the sublime ideals of poetry, philosophy, history. Their letters are peculiar to a special "burning confidence" to each other. "Sincere friends" were not alien to all sorts of fun. The testimony of a comic competition of three poets, chasing the "symbol", whose winner was recognized by the G.R. Herzavin.
In the early 1790s, Borovikovsky wrote a miniature representing V.V. Kapnista (timing). Although Vasily Vasilyevich lived in his family estate of Obukhovka in Malorus, he led a constant correspondence with friends, often came to St. Petersburg. Borovikovsky chose the classic shape of TDODO and perfectly fitted the figure of the cap. The poet is represented against the background of the landscape, at the marble bust of the young lady. The dream of a young writer corresponds to the character of the landscape, and a thin picturesque gamut.
In 1795, Borovikovsky posted by G.R. IDRZHAVIN.

Unlike friends-writers, Portraightist presented it in the office, in Senatorial uniform, with orders. For a variety of parts, it is possible to make an idea of \u200b\u200bthe diversity of state duties of Derzhavin, who was the president of the Commander-College, the governor of Olonetskaya and Tambov province, a prosecutor general. The poet is depicted against the background of bookshelves, at the table, littered with manuscripts. Among them - the ode "God", the work that has discharged the poet of glory from contemporaries and translated into all European languages. It is not by chance on the circulation of cardboard on which the portrait is written, the old inscription is preserved:

Singer Felitsa here brush here,
My diligence consists of this verse ...
The report to know the affairs of Felitsa will be light
But to know Evo hot awakening
Vitality, mind, syllable
And but the soul and heart enlightenment
My daughter we are ODU (God).

The author of the initiative signed by the initials D.M., most likely, was the first portrait owner - Dmitry Vladimirovich, Dmitry, a kind familiar Derzhavin.
In the mid-1790s, the portraitist is in fashion, it is literally littered with work. The painter has to be treated with its time. "I lose an hour in my duties produces a disorder," wrote Borovikovsky brother in Malorosia. Portraits of the brush of Vladimir Lukich liked not only the ability to convey similarity to the model, the fineness of the flavor, but also by the fact that they reflected new flows in art.
The artist's creativity was largely known to the works of Nikolai Karamzin and the writers of his circle. Petersburg public was read by the "letters of the Russian traveler," and Karamzinskaya "Poor Lisa" became a kind of bestseller. Popular were (especially in the Lady Society) sensitive verses I.I.Dmitriev, Lyrics V.V. Kapnista. All these works brightly reflected the features of Russian sentimentalism.
In the early 1790s, Borovikovsky wrote a number of pastoral portraits - "Portrait of E.A.Naryshkina" (timing), "Portrait of Unknown Girls" (Ryazan Art Museum). As a rule, the artist chose the decorative form of oval, depicted the figures in growth, necessarily the presence of a landscape (rural nature or a park ensemble). Dreamy-cutting young creatures were depicted against the background of flourishing pink bushes, bright filled meadows. Their satellites were unchanging their favorite dogs, sheep, goats. At the same time, the "set" one could easily fall into the goodness, but Borovikovsky did not switched this face. The figurative system of its works is marked by that "delicate sensitivity", which proceeded from the entire emotional maturity of Russian society.
Of particular importance in the serfs of Russia, there were works, expressing sympathy for ordinary people. The author of the "Russian Pamela" (1789) P.Yu. Lvov wrote that "there is also such tender hearts in a low state." N. Karamzin belonged to the words: "and love the peasant women." The fate of a person from the people caused special sympathy in the Kordzavin and N. Lvov circle, there were sometimes idyllic relations between the landowners and serfs in their estates. The reflection of these relations is the works of V. Borovikovsky, as "Lysyanka and Dashinka" (1794, GTG) and "Portrait of the Torlen Peasant of Christine" (1795, GTG).
Portraitist captured young Lvov's maid: "Lysyanka on the 17th year, Dashinka on the 16th" - So says the inscription, loaded on the circulation of the zinc plate (this material as the basis often applied the artist).

Both girls were distinguished by a special ability to dance. Their ability to fumble of G. Pedzavin in the poem "to a friend". Lysyanka and Dashenka embody the type of sensitive girls of that era. Their gentle faces pressed the cheek to the cheek, the movement is full of young grace. Brunette is serious and dreamed, blonde - live and funny. Complementing each other, they merge in harmonious unity. The nature of the images correspond to the delicate tones of cold bluish-lilac and warm golden-pink colors.
In the image Christine, Kormilitsa Daughter of Lvy, Borovikovsky gave modesty, the shyness of the peasant woman, quiet, friendly and affectionate.

The painter admires her outfit: a white shirt, through which a pink body, a green sarafan, a broken gold poking, Raspberry Kokoshnik. This portrait is a prototype of peasant genre images of the student of Borovikovsky A.G.Vetsianova.
Borovikovsky especially managed the images of "young maids" from noble families. Upon abundance of orders, the painter was limited by the number of sessions from nature. He added the bulk of the work in the workshop. Therefore, the artist has developed a certain canon: portraits of almost one size, have a waist cut figures, like a smooth bending of the body, necessarily the presence of landscape backgrounds. Depicting M.A. Oorlov-Davydov, V.A.Shidlovskaya, E.G.Gagarin, a portraitist varies such details as a slightly noticeable tilt of the head, another position of the arm, the direction of the view, changes the color tonality. However, in the best creations, Borovikovsky achieves a high degree of expressiveness. Takov "Portrait of Ekaterina Nikolaevna Arsenyeva" (mid 1790s, timing), which was a pupil of the Smolny Institute of Noble Maiden, Freillan Empress Maria Fedorovna.

Young Smolyanka is depicted in a "Pazanka" costume: there is a spacious dress, a straw hat with ears, in the hands of a filling apple. The Kruglital Katenka is not distinguished by the classic correctness of the features. However, the sparkled sparkling of the eye and the lightweight smile of thin lips give the image of the hopper and coquetry. Borovikovsky perfectly caught the immediacy of the model, her living charm and cheerfulness.
A completely different character was transferred to "Portrait of Elena Aleksandrovna Naryshkina" (1799, GTG).

On the maternal line, she accounted for the granddaughter to the famous Russian admiral of Seyhanin. Her parents were close to the royal court and used the same location of the emperors Paul I and Alexander I. Thin, educated girl was distinguished by special beauty. In a portrait, she is only fourteen years old. Borovikovsky lovingly and reverently transfers the noble white face of the face of Naryshkina, her thin profile, lush hair curls. The picturesque surface is characterized by less transparency, the fused strokes create an enamel surface. The sad expression of a gentle face is emphasized by a portraitist. As if Naryshkin sighs the adversity, honeyed by her fate.
Being Freilina, at the age of fifteen, Elena Naryshkin was married to Prince Arkady Alexandrovich Suvorov, General - Adjutant, Son Generalissimus A.V. Svorov-Ramniksky. This marriage was not very happy and turned out to be short. The nature gifted by large abilities and distinguished by personal courage in the battles, the son of the Great Suvorov, like his father, had many oddities and was not created for family and domestic life. A.A. Savorov drowned in 1811 when crossing the Rimnik River, who gave the second surname his father. Princess Suvorov remained a wid at the age of twenty-six years with four juvenile children. After the death of her husband, she left abroad, where he spent a long time. In 1814, Elena Alekseevna was in Vienna, where her father consisted of a retinue of Empress Elizabeth Alekseevna. On brilliant balas and festivities, which was accompanied by the Viennese Congress, Princess Suvorov, thanks to his beauty, attracted everyone and took the prominent place between the beauties of the Vienna yard and the highest European aristocracy. Both in the European capitals and waters in Germany, where she spent the summer months, Princess Suvorov led secular life and had many friends and fans. She possessed good musical abilities and a pleasant voice. Poets V.A. Zhukovsky and I.I. Kozlov consisted of her in a friendly correspondence. J. Rossini wrote in her honor to Cantatu, sounded in the opera "Seville Berber". Summer of 1823, Prince Suvorov held in Baden-Baden, soon after that, he was married to Prince V.S. Golitsyn. The rest of her life was held in southern Russia, in Odessa and Simferopol, in the Crimean estate of Vasil-Sarai's husband. Elena Alexandrovna died and was buried in Odessa.
The ideal of the painter, his ideas about the beauty of the Russian noble lady is embodied in the famous "Portrait M.I. Calophina" (1797, GTG).

This picture has become a kind of painting card. Maria Ivanovna Lopukhin took place from the ancient graphic genus Tolstoy: her brother was the famous Fedor Tolstoy American. At the age of 22, Maria Tolstoy married the elderly hunter of the courtyard S.A. Powhun. According to legend, marriage with him Maria Ivanovna "was very unhappy" and two years old died from Chakhotka.
In the portrait, eighteen-year-old Maria is represented before marriage. She is dressed in fashion those years: on it - a spacious white dress with straight folds, resembling an antique chiton. Dear cashmere shawl was added on the shoulders. The main theme of the portrait is the harmonious merger of a person with nature. Composition-rhythmic and color ratios are given by the artist in the image of the model and landscape. Lopukhin is depicted against the background of an old park, it relies on the marble parapet. Smooth bending of her shape eats the bend of the tree in the background, pronounced rye ears and the downgrade rose bud on the right. White birch trunks echo with chiton color, blue cornflowers - with a silk belt, gently livid shawl - with rose flowers.
The image of M.I. Halfukhina is not only an amazing poetry, but also marked with life reliability, such a depth of feelings, which predecessors in Russian portrait painting did not know. It is not by chance that the contemporaries of the artist admired this portrait. Over the years, the attraction of the image did not fade, on the contrary, Lopukhina continued to captivate the hearts of the audience of subsequent generations.
Among the poetic images, the strike of the Epoch of Sentimentalism is a special place "Portrait of E.G.tememkina" (1798, GTG), which affects the sculptural plasticity of shapes and an elegant colorful gamut.

The very fact of birth and the names of the parents depicted is shrouded in secret. However, there are already contemporaries (F.A. Büler) showed that Elizabeth Grigorievna Temkin "was a genuine daughter of Prince Potemkin<…> She looked into the portraits of the prince. " She was born in Moscow, in the Prechistensky Palace, 12 or 13 July 1775. The Empress, who visited the "primitive" on the occasion of the Cychuk-Kaynardzhi world celebration, did not go into light on the occasion of the disease. Lisa Temkin (according to some documents Tellitsyn) was brought up in the house of the nephew Gregory Alexandrovich - A.N. Samemlova. In 1794, she was married for the rich Greek Ivan Khristophorovich Kolagoorgi (Karageorggy), who was invited in a retinue of the Grand Duke Konstantin Pavlovich for learning His Greek language. The village of Balatskoe Kherson province was allocated as a dowryland Temkin. Subsequently, her spouse I.Kh. Kalageorgi became Governor Kherson and Ekaterinoslav. Judging by Letters Elizabeth Grigorievna, she was a modest woman and a caring mother (had four sons and five daughters).
Soon after her wedding, Alexander Nikolayevich Samoilov expressed the desire to "have a portrait of Elizabeth Grigorevna Colagoorgiev." "I want," he wrote in a letter to one of the proxies, "to write off her painter Borovikovsky." I want it to<была> He was written off as the Skavron Countess was written by Lamp ... In order for the neck to be discovered and the hair was disheveled by letters, lay on it without order. " This is an important evidence that contemporaries have seen in the Borovikovsky's sole follower of Lamp.
Interesting the history of the receipt of the painting in the Tretyakov Gallery. In the department of manuscripts, letters of the son and grandson E.G.tememkin to P.M.Tretyakov are preserved. This correspondence clearly demonstrates the attitude towards the heritage of the artist from the people of the second half of the nineteenth century. At the end of December 1883, Lieutenant-General Konstantin Kalagoreorgi sent a letter from Kherson to Moscow with a proposal: "Having a magnificent portrait of my mother's work of the famous Borovikovsky and not wanting this elegant work to be in the wilderness of Kherson steppes, I decided to sell this sophisticate The family monument and make it accessible as for the public in general, so in particular for young artists and fans of painting. Your gallery of paintings is known to everyone, and therefore I appeal to you with a proposal, whether you will not want to purchase this precious thing. "
In the spring of 1884, the work, assessed by six thousand rubles, was sent to Moscow. In the accompanying letter, K.Kalageorgi reported: "The portrait is of value historical, since my mother is a native daughter of the bright prince Potemkin-Tavrichesky, but from the mother of the mother - also of high-quality origin. She was brought up in St. Petersburg, at the best then the Bekcker's board and directly from the guesthouse was issued for her husband for my father, who was then a friend of childhood of the Grand Duke Konstantin Pavlovich, and received extensive estates from Potemkin in the Novorossiysk Territory. "
The picture was safely arrived in the "primitive" and was placed on the exhibition of society lovers of art. P.M.Trevyakov sent a letter to the owners and notified them that the price, "appointed by them, too high." In response, the grandson Temkin, the world judge Nikolai Konstantinovich Kolangoreorgi, who was transferred to the portrait, wrote: "The portrait of my grandmother has three historical importance - by the personality of the artist, by the personality of my grandmother and as a type of beauty of the eighteenth century, which makes its value completely independently From the fashion trends of modern art. " Unfortunately, Art V.L. Korovikovsky at that time was not appreciated. As P.M.Trevyakov wrote, the portrait of "special any attention did not initiate and even, at speed, was urmitted, that is, it was supposed to give way to the works of modern paintings of art and get away from the exhibition." Without coming in price with a great collector, in 1885 the owner demanded to return the picture to the city of Nikolaev. Soon she was in foreign hands. Two years later, some kind of N.Rodions from Kherson again turned to Pavel Mikhailovich with a proposal to buy this portrait, but already at a price of 2000 rubles. And again for some reason, Tretyakov did not buy a portrait. Nevertheless, fate ordered that the picture entered the gallery. In 1907, the widow N.K.Kalageorgi acquired the work of the Moscow collector I.E. Flowers. In 1925, his collection was poured into the Collection of the Tretyakov Gallery. Since then, "Portrait Temkin", not estimated at one time, is in a permanent exhibition and is rightfully the pearl of the museum.
One of the most expressive portraits of the brush V.L. Korovikovsky, adorning the exposition of the Tretyakov Gallery, should also be called "Portrait of Prince A.B.Kurakina" (1801-1802).

Alexander Borisovich Kurakin was the son of the famous Veelmazz, Catherine Great. From the side of his grandmother, his relative was a brilliant diplomat and statesman N.I. Panin. Young Alexander brought up in orphanage together with the Grand Duke Paul Petrovich and retained a friendly attachment to him for life. Alexander Borisovich received a wonderful home education, continued education abroad, studied at Leiden University. Returning to Petersburg, Kurakin received the title of Ober-Prosecutor of the Senate. Empress did not like the friendly relations of the new state official and the heir to the throne. Taking advantage of the negligence of Curakina made by him in the correspondence, he was removed from the courtyard. The extraordinary one was supposed to live in his estate Nadezhdna Saratov province. There he began the economy, the minor location nobles went to Alexander Borisovich to the service as a simple yard servants, which shone his exorbitant ambitions. Kurakin loved truly royal pomp in the lifetime. Reflection by his vanity was the numerous images that he ordered foreign and Russian masters.
As soon as the emperor Paul I climbed the throne, he called his childhood friend to St. Petersburg. A.B. Kurakin was placed by all sorts of mills, award-winning (orders of St. Vladimir and St. Andrew the First-Called), received a high appointment, became Vice-Chancellor. The unbalanced emperor in 1798 sent Prince in resignation, and Kurakin settled in Moscow, the shelter of the Opole leaders. Shortly before the death of Pavel I returned him to the location and post of vice-chancellor. By this time, the beginning of the work of V.L. Borovikovsky over the portrait of A.B. Kurakina. However, his execution was completed after two years. After the palace coup in 1801, Alexander Borisovich did not lose his value at the court. With the new Emperor Alexandra I, he performed separate diplomatic orders. The entertaining Empress Maria Fedorovna forever kept attachment to a friend's husband. After the death of Kurakina on his grave in Pavlovsk, a monument was established with the inscription: "My friend's friend".
In the portrait of A.B. Kurakina, the creative possibilities of Borovikovsky reached a complete heyday. With striking skill, the artist conveys the magnificent appearance of a noble venomazby, his ramp, a barnic face, a condescending and mocking look. Alexander Borisovich is depicted among the palace setting: on the right - the marble bust of the emperor, on the left, in the background, his residence is Mikhailovsky Castle. Kurakin appears in front of the audience in the dazzling brilliance of the parade vestments, his whole breast is covered with ordinal ribbons and stars. It is not by chance for the special love for the decoration of Kurakin called the "diamond prince." Borovikovsky perfectly transfers the texture of the material: velvet purple tablecloth, green scanned drapery, smiling gloss of Camcole. The lifestyle of the situation, the soundness of huge color spots perfectly complement the image characteristic.
This image, solemn-laudatory, carries the features of objectivity, causing to remember the Derzhansky poems that were implancing the venel for their Sibertism and arrogance. Portrait of Curakina - Higher achievement in the field of Russian front portrait, here Borovikovsky remained an unsurpassed master.
In an effort to convey the inner world of a person, Borovikovsky turned to the area of \u200b\u200bfeelings that was associated with family idyll. In the work of the painter, who had remained lonely by the end of the days, the works in which family joy came, acquired great importance. Among the early images should be called a sketch of the "family portrait" (GTG), "Family Portrait of V.A. and A.S. Small "(timing), representing spouses with young children. Borovikovsky creates a special type of small-format portrait close to miniature, but having his differences, both in technique and in a shaped sound. As a rule, this images are a quarter of nature or somewhat larger, they are filled with oil paints on cardboard, galvanized plates, less often on the tree. Such works have not applied, but machine character and indicate increasing interest in the genre of an intimate portrait. In a certain sense, Borovikovsky stood at the sources of the chamber form of the portrait, which was developed in drawings and watercolors O.A. Kiprensky, in the watercolors of the young K.P. Brullov and P.F. Sokolov.
The new element in the figurative content of the family portrait makes Borovikovsky in "Portrait of Gagary Sisters" (1802, GTG).

Anna and Barbara were the daughters of the actual secret adviser Gagarin Gagarin. The design of the picture is to show the idyll of homemade life and tender feelings born by music, it fully corresponds to the spirit of sentimentalism, but the composition is introduced the genre effect of action. The portrait is perceived as a scene characterizing one of the sides of the landlord life. The viewer reveals the world of manor entertainment, which provided for the game on the claseside or guitar, singing sensitive romances. In characteristics of characters, more concreteness than in the canvases of the 1790s. Senior Anna, holding a sheet music, serious and complete dignity. She is here in the first roles. The youngest eighteen-year-old Varvara, more timid and smiling, is used to being in the second plan. Beauty and sonicity color are achieved by comparing adjacent local colors: gray singer dresses and her pink scarf, pearl and white guitar dresses and red-brown guitar.
At the beginning of the nineteenth century, the preaching of a high self-consciousness of a person, his civil debt and public virtues reiterates the right to exist and displaces the misty dreams of sentimentalism. It is significant that the ideologist of this destination Nikolai Karamzin wrote in 1802: "The courage is the great property of the soul; The people, they are excellent, must be proud of themselves. " Under these conditions, Borovikovsky could not not refer to the search for new images and forms. So "Portrait A.E.Labzina with a pupil" (1803, GTG) The heroine is represented as a mentor, holy fulfillment.

Anna Evdokimovna Labzina was a woman with the principles and the faithful girlfriend to her wife A.F. Bazin, vice president of the Academy of Arts. Although women were not allowed in the Masonic lodges, an exception was made for her, Labzin was present at the Lodge meetings. In 1822, she courageously divided the fate of her husband and followed him to the link. The poetic illustration for this work of Borovikovsky can serve as the rows of the city of Istrovin:

Being noble feelings
You do not judge people's passions:
Ad science and art
Rise up your children.

Triple portrait of A.I. Bezborodko with daughters (1803, MRM) refers to the highest achievements in creating family portraits.

Anna Ivanovna Bezborodko was the wife of Ilya Andreevich, the native brother of Chancellor A.A. Besborodko, the largest statesman and diplomat of the Ekaterinen era. Anna Ivanovna was the guiltless lady of the Order of St. Catherine, but it appears in the portrait as a virtuous Matron. Borovikovsky depicted it at home, in the interior of the palace, on the background of the landscape in a heavy carved frame. Mother hugged her daughters firmly inherited by the eastern beauty of her Armenian ancestors. The image of the early deceased son is present in the form of a miniature portrait, which holds Cleopatra in his hands, the youngest of the sisters. Borovikovsky skillfully connects three figures in a holistic group, closes their single silhouette line.
Mansion in the work of the master stands a picture "Winter allegory in the form of an old man, heating hands at the fire"(GTG).

Borovikovsky follows the image common in iconology. At the same time, the artist takes as a basis not an abstract, close to the ancient ideal image, but refers to a specific, folk type of the Russian peasant. Borovikovsky writes not a mythological picture, but chooses a favorite portrait form. Breakdown, semi-blind old man in sheepskin Tulup stretches over the fire. Rough noded hands. The artist intentionally enlarges the figure of the old man, bringing his wrinkled face to the viewer. The miser landscape (ice grotto and snow-covered valley) and the brownish gray gamma correspond to the image of commoner.
A well-known influence on the development of the Borovikovsky plot could have literary and artistic sources. In 1805, the cycle of the poems of the city of Herzavin armed, dedicated to the days of the year (among which there is "Winter"). The image of winter, associated with old age, was also embodied by A.H. Vostokov in one of his poems. In the visual art, this topic was widespread in sculpture (the work of Giradon, Prokofiev, Bushhardon). How clearly showed a special exhibition in Braunschweig (Germany), Borovikovsky were known works by the Dutch and German painting on the same plot14. He saw and, possibly, copied the paintings that were kept in the Hermitage and private collections of St. Petersburg (Gallery Stroganov, a collection of Razumovsky). Borovikovsky also used engravings from the originals of Western European masters. Despite the direct analogy of the composition with the work of Joachima Zandrarta "January" (Bavarian State Assembly, Castle Shleisheim), Borovikovsky created an original image marked with real and national features. In a picture of a peasant, a heating hand, the wizard's life observations were undoubtedly reflected. Apparently, the personal experiences of the Creator also affected, his meditation about the impending old age. No wonder in the correspondence of Borovikovsky with their relatives during this period, the notes of fatigue are slipped ("My forces begin to change," he complies). In 1808, a fifty-year-old painter with bitterness wrote: "I'm already, though, however, young, but the old man."
In the 1810s, the glory of Borovikovsky as the largest portrait of the epoch gradually began to fade. The new generation of young romantic artists began to actively declare themselves. In 1812, the work of the Kyrenovsky Orestov, which immediately gained great success among the public, was shown at the Academy of Arts. The star of fashionable portraitist was brightly shone in art sky. The masters of the eighteenth century, among whom was Borovikovsky, gradually went to the shadow.
A significant place in the artistic heritage of the Borovikovsky occupy portraits of the figures of the Russian Church. The tradition of portrait of servants of the Orthodox cult was laid in "Parsunov" of the work of unknown masters of Petrovsky time. Special development received this type of portrait in the work of A.P.antropova, who headed the synod icon painters. Following him, Borovikovsky continued this line portrait in secular painting. To the number of the best and most expressive should be attributed "Portrait of Mikhail Desnitsky" (about 1803, GTG).

Mikhail Desnitsky (1761-1821) in the world was named Matthew Mikhailovich. He came from the priest's family, born in the village of Toporkov, the Moscow Diocese. In 1773, the young seminary of the Trinity-Sergiye Lavra was noted by the Metropolitan himself by the Moscow Plato Levshin. In 1782, Mikhail Desnitsky studied in a philological seminary at the "friendly scientist", closely connected with N.I. Novikov. At that time he became close to Masons. An inquisitive young man visited lectures at Moscow University, he listened to the course in the Moscow Spiritual Academy. A widely educated priest in 1785 was appointed to serve in the church of John the Warrior, "What is on Yakimanka." According to the memories of contemporaries, the whole Moscow was going to sermon M. Desnitsky, which was distinguished by a clear light syllable, simplicity of the alignment of moral and philosophical centies. M. Desnitsky was an active member of the Moscow Society of Literature Lovers.
In 1790, Desnaisky said in the Moscow Assumption Cathedral "Word on the occasion of the conclusion of the world of Russia with Sweden". This preaching was honored with high evaluation of Catherine Great. In 1796, the priest was translated from Moscow to the Northern Capital. At first he served in the rank of Presbyter in the court church in Gatchina. In 1799, an important event occurred in the life of the Designitsky. He touched the monks and accepted the San Archimandrite Yuryeva Monastery in Novgorod. Mikhail's father (such as the asnitsky's name in monasticism) became a member of the Synod, since 1800 - Bishop Starorussky and Vicarus Novgorodsky.
At the beginning of the nineteenth century, Desnaisky received a new appointment in Malorosia. In 1803, he had to move to the Chernihiv diocese. Apparently, shortly before the departure Desnaitsky posed Borovikovsky. Perhaps this portrait was ordered by the bishop friends. The painter creates a very unusual image of a spiritual person. It is depicted in the interior, against the background of drapery. Left on the background - the image of a crucified Christ. The artist presented M. Desnitsky in the episcopal closure. The combinations of red, golden and silver colors give the product a certain decorativeness. The portrait is sickly, all attention is focused on the face. He captured a priest during prayer, right hand lies on his chest. Enlightened gaze is directed up. Desnaistsky is completely immersed in a hidden conversation with the Almighty. Borovikovsky wrote Desnaitsky even twice: in 1816, already in the San of the Archbishop (in the black hood), and shortly before his death - in a white hood of Metropolitan.
Representative and apparent "Portrait of the Catholicos Georgia Anthony" (1811, GTG).
Anthony (1760-1827) came from the royal Georgian family. He was the fourth son of Tsar Irakli II from marriage with prince Darya Dadian Mengrelskaya. In 1783, when his father acknowledged Russian Protectorate, Anthony went to Russia. In 1788 he returned to Georgia and the next year was erected in San Catholicos. From 1811 he lived in Russia, he was awarded the highest award-winners - the orders of Andrei of the First-Called and Alexander Nevsky.
Borovikovsky presented the bishop in the paradinary closure with orders, in one hand - the staff, the other he blesses the viewer. The artist discharges a beautiful face with delicate white leather, a soft salary beard, brown eyes. If you compare the Georgian Catholicos with Mikhail Desnitsky, then we can talk about different approaches to the model. There is a friend portrait, a high spiritual man. Here is a front and more traditional image, next to certain established canons.
With the name of Borovikovsky, another portrait of an outstanding figure of the Orthodox Church of Metropolitan Amvrosia (in the world Andrey subedes). He was born in the family of the priest of the Vladimir diocese, the early period of life was closely connected with Moscow. A. Vodobyov graduated from the course in the spiritual seminary of Trinity Sergiye Lavra. In 1768, the monastic san was adopted and was appointed preacher of the Moscow Spiritual Academy. In 1771, when equipping Archbishop Ambrose Zewtis-Kamensky, killed during a plague riot in Moscow, the subsections said the tombstone, forced to speak about him contemporaries. In 1774, he became the rector of the Moscow Spiritual Academy and was represented by Empress Catherine II. Since then, Ambrose has constantly turned in their sermons with gratitude and accomplishment of a great sovereign. In turn, the flattering priest was awarded special royal attention, was molded with gifts and milles. So, in July 1778, during the celebration in Moscow Kychuk-Kainardzhi world, in the presence of Catherine Ambrose was dedicated to the Bishop of Savsky, Vicar of Moscow. In 1785, Sana Archbishop was awarded. After the death of Catherine, the Great Ambrose among few managed to stay in Favor at the new ruler. Paul closer and dominated amvrosia. In 1799, he was awarded the orders of Andrey the First-Called, St. John of Jerusalem, Alexander Nevsky. Ambrose was appointed Archbishop Petersburg and Novgorod. In 1801, shortly before the coup, erected in San Metropolitan. However, the end of the career was very crying. Under Alexander in 1818, the Ambrose was deprived of the St. Petersburg diocese and exiled to Novgorod, where he died.
The portrait of Metropolitan Amvrosia was created, in our opinion, during the Board of Paul. There are awards about this, in particular the Maltese cross. The work wears a pronounced representative character. The artist chose a large canvas, presented an almost height figure. In the background details of a secular front image - marble columns, heavy velvet drapery.
In the depths of the spiritual penetration and the decorative wealth of the color of the image of the Orthodox priests closely in contact with the religious painting of the Borovik Late period of creativity.
In the fall of 1808, V.L. Korovikovsky wrote to his nephew Anton Gorkovsky: "I am busy with my works continuously. Now my main duty for the Kazan gorgeously under construction of the cathedral. " The construction of the Kazan Cathedral was built on the project, Kazan Cathedral attracted the best artistic forces of St. Petersburg. Together with Borovikovsky over the decoration of the interior of this grand architectural ensemble, Professors of the Academy of Arts: Grigory Ugryumov, Alexey Egorov, Vasily Shebuyev, Andrei Ivanov. By that time, Vladimir Lukich on the recommendation of Count A.S.strooganov received the title of advisor (award took place in December 1802). Responsible work was stretched for several years (from 1808 to 1811).
Borovikovsky performed six images for the royal gates of the main iconostasis, as well as four local images (for the second and third iconostasis). The works of his brush largely corresponded to the intention of the construction. Religious patheucy, solemnity of compositions in the saturation of the color was the distinctive features of the artist's cavetles. Painting Borovikovsky brought brightness into the ensemble and special expressiveness, on the plastic expressiveness of the face of evangelists were close to the sculpture of Martos, also decorated the interior.
Borovikovsky also wrote four icons for local ranks. Of these works, the best is great Martyr Ekaterina, striking the majestic and monumentality, purity and nobility of the image.

The reduced version of this image was presented by P.M.Nortsov in 1996 to the Tretyakov Gallery. According to legend, Holy Catherine lived in Alexandria in the IV century. It originated from the royal order, was distinguished by the mind and beauty, it was knowledgeable in sciences. As a Christian, was subjected to cruel torture and decapitated. Borovikovsky followed by the established iconography of the Great Martyr. He depicts Catherine in the crown and the mountainous mantle, which indicates her royal origin, with the palm branch of the martyr in their hands. At the feet of Catherine - the sword she was executed. However, the painter introduces the features of the baroque stylist: over the head of the saint is filled like Nimba Amurkers, in the background there is an image of a thunderstorm sky with lightning, lush folds of clothes, saturated color.
In 1819, Borovikovsky became a member of the "Union of Brotherhood" - so called his circle of his founder E.F. Tatarinov, nee Bukshevden. He introduced the artist to the "Union ..." of his countryman M.S.urbanovich-Piletsky, headed by the institute deaf and dumb18. Find details from the "notebook" of the artist: "26th (May. - L.M.). Monday. Yesterday they put in order to join ... in the 6th hour in the morning ordinary prayers, clocks and sv. Combustion of prayer. He came to the Meroter Church, confessed from the father of Alexei. Martyn Stepanovich gave 25 rubles, in memory, that I was attached to the fraternity today. " In the first years of the existence of a mug of a Tatarin government with great tolerance related to it. Perhaps this was due to the fact that the mother of the Tatarin Baroness Malthians was an educator of the Great Princess Mary Alexandrovna, the daughter of the emperor. The "Union of Brotherhood" visited the Minister of Folk Education and confessions by A.N.Golitsyn, about the existence of a circle and Alexander I. existed the legend that the emperor invited E. Tatarinov to the palace for an audience. It was preserved by his letter to Miloradovich dated August 20, 1818, in which we are talking about the "Union" by Tatarin. "I tried to penetrate ... and on reliable information found that there is nothing like that, that would take away from religion."
From the "notebook V.L. Korovikovsky" for 1819 we learn about meetings held on the apartment of Catherine Filippovna in the Mikhailovsky Castle. The main role belonged to the founder: it was believed that it was she endowed with the gift of "pruney". The members of the mug spent time in the edge conversations, sang the Cant of spiritual content, put on the music of Nikita Ivanovich Fedorov, read the sacred books ("The Mystery of the Cross", the composition of Mrs. Gion, "appealing to people", "Trainager to the True World"). Then the "wound" began (movement in a circle), first slow, gradually amplifying. It lasted sometimes within an hour - until one of the spirits, feeling the suggestion of the "Spirit", did not begin to "prophesy." At first, Borovikovsky was happy that "joined the fraternity." He, all his life I was looking for reconciliation with the reality, in which injustice, "persecution and misunderstand" seemed to have gained calm. In his "notebooks" of that time there are records: "I felt the world," "I felt warmth of heart, with everyone lovingly said." The artist naively believed that in a mug of Tatarinov, he would find an atmosphere at least a somewhat exalted, but consonant with his spiritual world.
However, after a month after the "Promotion", he began to experience "chagrins", which houses "poured" tea with rum and vodka. "August 9th. Saturday. Intreter got drunk, facilitating the conscience that tomorrow is needed to be in Mikhailovsky. " In fact, the "Union of Brotherhood" brotherly was not. Borovikovsky soon felt disregard for himself, he was given to understand where his place. "Kozma made me a reprimand so that I do not come to the place. Sim strongly outraged the Spirit, and I came to extremely despondency, at least won. " "September 14th. Sunday. Everyone seems to me alien, and especially Martyn Stepanovich: one arrogance, pride and contempt. No one is sincere, and I don't see anyone and I do not see I want to imitate. So, with extreme chagrin, despondency and hopelessness, went home, wait for my rejection, and how will it end? ".
Borovikovsky has repeatedly wrote for E.F. Tatarinov's religious paintings. Just like Masonov, in the "Union of Brotherhood" there was a tradition of writing images of its members. In a large icon "Cathedral", the artist was supposed to capture sect members. When Borovikovsky depicted himself among the participants of the act, he was suggested to remove the image in a sharp form, assuring that there are more decent faces. Despite the fact that "all this" was the artist "not heart and not on the head", Borovikovsky firmly fell into Kabalu.
This period of the life of Borovikovsky includes religious compositions: "The phenomenon of Jesus Christ with the Calval Cross who praying E.F. Tatarinova" (1821, Timing, sketch - in GTG) and "Christ, blessing the crankshaft man" (1822, Museum of Trinity Sergiyev Lavra) . They still showed the talent of a big master, as evidenced by the iconostasis for the Church of the Smolensk cemetery in St. Petersburg (timing). The end of the wizard in April 1825 interrupted the work in its ripping. Following the last will V.L. Korovikovsky, he "without unnecessary ceremonies" was buried on the same Smolensk cemetery.
The Master who did not have a family bequeathed all his movable property, "consisting in several paintings, a small number of books, money, how many death will remain (only four thousand rubles), and in other homework" to disobey the poor.

Vladimir Lukich Borovikovsky completes the Pleiad of the largest artists - portraitists of the 18th century. The eldest son of the Ukrainian fine-position nobleman, mined funds for existence along with his father - Icon painting and the first lessons received from him. For the first time he paid attention to Kremenchug, where he performed in the cathedral of painting to the arrival of Queen Catherineii. This gave him the opportunity to go to study in St. Petersburg, where he took lessons from Levitsky.
Borovikovsky was a master of religious painting, however, the portraits of the highest Persons and St. Petersburg nobility brought glory. He has a lot of chamber, intimate portraits, and even in the front portraits, he contributes notes of the chamber, even sentimentality.

Borovikovsky wrote Catherine II on a walk in the Tsarsko Selo Park. I liked the portrait, and the artist wrote his option. So there were two almost the same portrait of Catherineii, one of which - with Rumyantsev Obelisk on the background - located in the Russian Museum, and the other - with the Chesme Column - in the Tretyakov Gallery.
Portrait of Catherine is interesting to the novelty of the plan. The Empress is not depicted in the brilliance of royal regalia, like most artists of the XVIII century, and not a wise legislature, as in the famous film of Levitsky, but the "Kazan landowner" (as she loved to call himself), which makes the morning walk in his estate - the Tsarskoye Park. She is 65 years old, because of rheumatism, it relies on the staff. Her clothes are underlined unofficially: dressed in a coat, decorated with a lace jaba with a satin bow and a lace cape. The person is written generally, mitigating the age of the empress, on it an expression of indulgent goodwill. At her feet there is a dog sports. And although Catherine is represented almost in the home environment, the posture of her full of dignity, and the gesture that she points to the monument to their victories is restrained and majestic. Catherine was not delighted with the portrait and did not bother him, however, Borovikovsky made this portrait another touch into the image of the Great Russian Empress.
It should be said that the portrait of Catherine found a kind of reflection in Russian literature. He involuntarily remembered when reading the "captain's daughter" Pushkin. Pushkin undoubtedly used the picture of Borovikovsky when describing the meeting of Marya Ivanovna with the Empress: "Marya Ivanovna went near the beautiful meadow, where the monument was just put in honor of the recent victories of St. Peter Alexandrovich Rumyantseva. Suddenly the white dog of the English breed lay down and ran toward her. Marya Ivanovna was afraid And he stopped. At this very moment there was a pleasant female voice: "Do not be afraid, she will not bite." And Marya Ivanovna saw a lady in a white morning dress, in the nightcrocery and a shower. She seemed lei forty. her face, full and ruddy, expressed her The importance and calm, and the blue eyes and a light smile had the charm of unimplemented. "

Before us is the portrait of Gavrille Romanovich Derzhavin, the poet of the 18th century. It is depicted in the office, at the table, against the background of the shelves with books. The poet's figure stands out against the background of green drapery, hiding the left side of the interior. The face of the poet was wandered truthfully and strictly, there is simplicity and coarseness, the tempting of the poet is felt. Solid posture, executed expressiveness. Dressed Delzhanin in Light blue senatorial uniform with an order on a reddish tape. His hand demonstratively points to papers and manuscripts lying on the table, they talk about the activities of Derzhavin in the Senate and about the lesson of poetry. Portrait of a parade, in him Borovikovsky exhibits the unique personality of Derzhavin, the significance of his figure.

The portrait shows Ekaterina Nikolaevna Arsenyev, daughter of Major General N.D.Arsenyev. This is a very joyful portrait. In a cozy corner of the garden, against the background of the greenery of the park, depicted a cheerful young girl with an apple in hand. She is charming and cheerful, mobile and purposeful. It feels that the girl is full of sensation of happy youth, ease of being. The artist showed her bright, cheeky character, the skill is free, in full breasts inhaling the charm of nature and life itself.
The whole appearance of the girl is very Russian: a round face with a soft feature, a slightly rolled nose, narrow, slightly diagonal eyes.
Coloring the paintings harmoniously combines the image of the girl and the nature surrounding it.

Before us is the poetic, the most inspired image among the female portraits of Borovikovsky. Marya Ivanovna Lopukhin, in Maiden's fat, depicted at the age of 23. Against the background of the scenery - ears, birch and cornflowers, symbolizing rural simplicity, a light singers silhouette draws a tender figure of a young woman in a simple white dress with curls, carelessly falling on the shoulders. A quiet dormant nature brings her sweet feces, pleasant dreams, and maybe a light sadness. Tomny semi-coulting slides on slightly swelling lips, heavy eyelids are slightly raised over thoughtful, slightly sad eyes, carelessly lowered her tender hand. Pale color flavor even more enhances the impression of soft thoughtfulness, gives the image of poetic spirituality.

The beauty of the loop in his time was captured by Emperor Pauli, was his favorite, and when she got married, he had a proper fate of the young couple.

It is known that Borovikovsky himself was not indifferent to the charming fluff and his feelings managed to transfer in the portrait. It is also known that a year after writing a portrait, she died from a cons.

Poet Yakov Polonsky wrote such lines under the impression of the portrait:

She has long passed, and there are no already those eyes, and there is no smile that silently expressed

Suffering, the shadow of love, and thought, the shadow of sadness, but the beauty of her Borovikovsky saved.

So part of the soul from us did not fly away and this gaze will be, and this beauty body

To her indifferent offspring to attract, teach him to love, forgive, suffer, be silent.

On the family portrait, the Countess Anna Ivanovna Bezborodko and his daughters and Cleopter. All three poses in front of us by demonstrating their love to each other, and the equal to their common love for the deceased son and brother is his portrait in a miniature in his hands from the younger sister.
The painting of Borovikovsky is a touching and instructive sight of family virtues. If you look more closely in the person depicted, the observation of the artist is felt. The Countess of Bezborodko was not only a tender and caring mother, but also a devastating hostess, power, somewhat rude, at this time already an elderly woman. Her older daughter love is a thin, painful face. Junior - Cleopatra - face ugly, wayward and complete liveliness. The further life of this young girl was not quite usually. One of the richest brides in Russia, having dodged ten million, she soon married Prince Lobanov-Rostov. Spouses did not compare the characters and went out. Cleopatra Ilyinichna was so wasteful that at the end of life not only spent all his huge fortune, but declared himself insolvent in five million.
And yet, with a close look at the picture, big love and tenderness between mother and daughters, rather, they demonstrate this love, but everyone is looking at each other, but in different directions.

In 1799, in the Winter Palace, Emperor Paul I laid the crown of the Grand Master of the Order of John Jerusalem. Paul in a picture in a solemn attire, in which he wanted to see himself on the front portrait. The elevation of the throne on which the emperor stands, even more raises his greatness. In the depths of the picture, part of the palace architecture can be seen. Paul I is depicted in a large imperial crown and the mountainous mantle, with a scepter in his hand, chain and the star of the Order of the Holy Apostle Andrei Prozozdannaya, with the Cross of the Order of St. John Jerusalem. Dalmatic from White Velvet is the ancient clothing of Byzantine emperors. It is the main portrait that talks about the position of a person, what all its accessories say and all its accessories. The greatness of the figures of the emperor emphasizes and his proud posture.

Almighty Prince, Alexander Borisovich Kurakin, Pavle I is depicted in parade clothes, in the predominal pose, a solemn atmosphere. Favorite loved pomp. No wonder it was called "Diamond Prince." His house on the state established there, the state and ceremonial reminded the imperial yard in miniature. His outfits hit luxury. One of his front desks was so thickly embroidered with gold, which once literally saved his owner's life: hitting a fire, Curakin did not receive strong burns only thanks to the "golden armor" of his Kaftan. Nasksiv and was important to Kurakin to an extreme and no vain of enemies for his eyes called him "Pavlin". It was an experienced connoisseur, cunning and dodgy, whose elements were courtesy intrigues.
Portrait of Curakina is one of the most brilliant parade portraits in Russian painting. Elegant clothes decorated with gold sewing. A variety of ribbons and glittering star of the orders, thrown on the chair of the mantle, columns and drapery, Mikhailovsky castle on the background - all this creates an emergency fitness in the portrait. And the face of Kurakina is dominated by all this magnificence - cunning and powerful, with the kind and proud smile.

At the beginning of the XIXVEK, Borovikovsky created one of his best works - Portrait of Anna Gavrilovna's sisters and Barbara Gagarinov's Barbarians. They belonged to a rich and knowledgeable prince. Gagarines were especially flourished during Pavel I, when the native brother Prince of Gagarines married the favorite of Emperor Lopukhina.
The artist presented the sisters of Gagarians by musitis. The youngest playing a guitar, one of the favorite tools of that time, the older sister is holding a tissue sheet.
Posses of young girls are elegant and a little fused, gestures are light and graceful. Clothes, in the fashion of that time, several resembling antique chitons are falling with smooth classic folds, smaller with younger sisters and larger, monumental from the senior.
The color combinations are sophisticated in the picture: bluish-white and gray dresses, brown guitar, pink shawl, blue sky and dark greens of trees. Faces of girls are united by family resemblance and the general mood of "delicate dreamy." At the same time, it can be noted that the youngest princed face is less correct, but the living and mocking, and the elders are more classic, but a little vague, with large languid eyes.

Borovikovsky perfectly owned miniature painting technician: it is especially felt in a very fine modeling of the person depicted. The figure is easily and easy to fit into the circle, the lines are combined in a soft rhythm.
Close to miniatures in their character were small portraits written by oil paints on metal plates, cardboard or trees. Borovikovsky worked a lot in this genre, in which he wrote a chamber portrait of young girls - Lisanka and Dasha.
Girls are dressed and combed in fashion that exit in the noble circle. Lisa and Dasha - the yard girls of Prince Lviv, excellent dance.
Before us is an idyllic, a somewhat manner of two young graceful girls, which adopted to each other with a feeling of "clean and tender friendship", which the poets often chased. This mood is emphasized by light tones, and harmonious, musical rhythm lines, and fine modeling of individuals, and a soft scenic manner.

Before us, a portrait of a famous official, Minister Dmitry Prokofievich Trochinsky. The fate of this person has developed unusual. The son of the military officer, who studied a diploma at Dyachka, he reached the end of his life before the minister's post and was appointed a member of the State Council, reaching the top of the service staircase.
Trochinsky was a man "Excellent hardness and rare in the affairs of state art gifted." Written by the documents and decrees on clarity of thought and clarity of the presentation are in a number of the best works of the business syllable of the time. The character of him seems to be not easy. According to one of the contemporaries, Trochinsky always "seemed" the older of his age, "he had a kind of a little sullen. Friends were friend, but enemies of the enemy."
Portrait of the work of Borovikovsky can serve as a kind of illustration for this verbal characteristic, so the artist penetrated the nature of Trochinsky. In the portrait of Trochinsky, a wide face with an intense look and solid outlines of the mouth. He is guessed by a clear mind and persistent will. The sullen perseverance of the person who came out of the bottom, who did not receive anything "on the birth right," was also felt. There is in Trochinsky and the importance of the dignitary, the proud consciousness of their own significance and the authority of a major official who is accustomed to dispose of people.

Before us, Persian Murthase-Kuli-Khan, about which Catherine II wrote in one of his letters: "Approximately about a month we have the Persian Prince Murtaza-Kuli-Khan, deprived of his Yeah Magomet of possessions and escaped to Russia. This is a person good-natured and warning. He asked to inspect the Hermitage and was there today for the fourth time; he spent three or four times in a row there, considering everything that is located there, and looks at everything as a real connoisseur, everything that is most beautiful in whatever It was like, amazing him and nothing eludes his attention. " Perhaps Catherine was able to see in Persian Guest more than Borovikovsky, but also their position was unequal. Empress Murtaza-Kuli-Khan tried to arrange in his favor, and in front of the artist posed an alien and incomprehensible person, Eastern Lord, accustomed to hide his feelings. And yet Borovikovsky noted the expression of sadness and fading on his smart and subtle face. But the painter was primarily carried away the exoticism of the appearance of the Persian Prince - his pale face and black beard, worsted hands with pink nails, the greatest pose and, finally, a luxurious apparel with a bizarre combination of satin, brocade, safyan, fur and jewelry.
Beauty and sophistication of the color scheme, solemnity and monumentality of the composition make a portrait of Murthase-Kuli-Khan one of the best samples of the front portrait in Russian art.

And here's another masterpiece of Borovikovsky - portrait of a stupid. The daughter of the Kronstadt sailor, she was still a girl in the house DP Trojnsky, who raised her as a nobility and made his mistress. Leaving a revision to Siberia, Trochinsky sent a young woman to his Smolensk estate, away from the temptations of secular life. It was unlikely that he could assume that there his beloved would like to meet the local landowner with a stupid and marry him, thereby acquiring the rights of the nobility.
Working on this portrait. Borovikovsky repeated some techniques found earlier. Pose of a woman. Her white dress, a pearl bracelet, an apple in hand - all this is "copied" with a portrait of Arsenyeva. However, such the sameness remains almost inconspicuous: so different images. Instead of a cheerful, frivolous arsena in front of us an energetic woman with large features of the face, thick black eyebrows, a strict and decisive look. Its inner collens, an outstanding character, clear, purposeful will be felt.

Borovikovsky Vladimir Lukich (1757-1826)

Vladimir Lukich Borovikovsky was born on July 24, 1757 in the small Ukrainian town of Mirgorod. His father, Luka Borovik, belonged to the local Cossack German, owned the house and two small plots of land. Following the tradition, four of his sons served in the Mirgorod regiment, but Vladimir in the rank of Lieutenant resigned and dedicated himself to painting.

Father, writing icons for rural churches, taught the iconography of children, and the Borovik dynasty was famous for the local artist. In the Kiev Museum of Ukrainian Art and in the Russian Museum are kept icons written by a young painter. In addition to the icons, he wrote and portraits, in the spirit of the naive semi-professional painting, which was distributed in Ukraine.

The case helped him part with a deaf province. The fate of Vladimir Lukich in the root changed two allegorical paintings, made for the decoration of the Kremenchug Palace, one of the "travel palaces", which were erected on the path of Catherine II in the Crimea.

He was attracted to this work, the poet V. V. Kopnis (who was exiled for bold works from St. Petersburg to his native Ukraine), as the leader of the nobility of the Kiev province who was the projects of Potemkin villages for solemn meetings of Catherine II.

Pictures liked the Empress and poles her pride. At one of them, Peter I was depicted in the appearance of the landpasher and Catherine II, the falling field, and on the other - the Empress in the appearance of Minerva surrounded by the wise men of ancient Greece. The royal praise opened the Borovka road to St. Petersburg.

Someone from the Sweet of the Empress drew attention to these pictures and on their author. Most likely, it was N.A. Lvvov (architect, musician, poet and artist), because in September 1788, Borovikovsky was in St. Petersburg (where he changed the surname to Borovikovsky), and it was in the house of Lviv.

In the Academy of Arts, a 30-year-old painter could no longer act and therefore received private lessons from his illustrous countryman D. G. Levitsky, and from 1772 - at the famous Austrian painter worked at the court of Catherine II, I. B. Lamp, and Also copied the best samples of European painting and work of their mentors.

It turned out to him enough to master professional craftsmanship.

Around 4 December 1794, Lamp appealed to the Council of the Academy of Arts with a letter, in which he requested to award his student V.L. Korovikovsky's rank of academician. Obviously, "Portrait of Catherine II on a walk" was presented. This request suggests a high appreciation of the granted Russian student, which is a foreigner artist gives him. After her four-year stay in the Northern capital, Lamp gave Borovikovsky his workshop, which speaks of the good of the teacher to the student.

From his teachers, he adopted a brilliant technique, ease of writing, composite skill and the ability to flatterly portrayed. In a mug of a famous architect, poet and musician N.A. Lvov, in the house of which he lived for ten years, Borovikovsky was among the prominent figures of artistic Russia, penetrating the ideas of symbolism. The new course was consonant with a calm, Elevatically tuned artist, whose simple lifestyle did not affect nor glory or money. Vladimir Lukich was fully absorbed by art, and his skills quickly appreciated customers.

By 1790, he became one of the most famous portrait artists, in 1795 he received the title of academician, and seven years later became an adviser to the Academy of Arts. He became famous and even a fashionable portrait, orders were poured on him from the most seniorians, right up to members of the imperial family name.

The third great Russian portraitist, who came after F. S. Roccotov and D. G. Levitsky, Borovikovsky worked a lot, and his heritage is extensive and diverse. He succeeded in the parade portrait (many of his works in this genre were worshiped for samples), and in intimate, and in miniature.

He was conscientious and hardworking and did everything excellent: and numerous copies that he ordered more than once, and even those portraits in which they demanded from him to follow some fashionable sample.

The flourishing of his art was short-lived - just over a decade at the turn of the XVIII - XIX centuries, but beautiful. It was then that he created the portrait of Paul I, Statsecretary D.P. Troychinsky, transmitting the inner strength of this outstanding person who knocked out of the bottom, as well as the front portraits - an amazingly beautiful and exotic portrait of Murthase Kuli-Xana, a lush portrait of A.B. Kurakin, expressive A representing person who for love for luxury was called "Diamond Prince", and for a rare armor - "Pavlin", a portrait of a dug, sitting in a chair in a writing table, dated manuscripts.

Still, his most bright talent revealed in a series of female portraits performed during the same years. They are not so spectacular as men's, small in size, sometimes similar to a composite solution, but they are distinguished by an exceptional subtlety in the transmission of characters, elusive movements of mental life and unites a gentle poetic feeling.

For beautiful female images, Borovikovsky created a specific portrait style: a waist image, immersed in thoughtful figure based on a hand on any stand, and the background for languid bending of the body in light light clothes is a quiet landscape. But as an individual feature of his heroin and how wildly everyone is good!

The artist retained its brilliant craftsmanship and vigilance. By 1810, in the work of Borovikovsky there was a turn to the romantic direction, but its activity weakened. B The soul of the artist settled fatigue and indifference. He gave birth to his home, provided his house to the fellow countrymen and assisted them. A closed, not loving noise and bustle, Borovikovsky did not teach the Academy and did not open his school, although it is known that his students always lived.

Brushes of one of them, I. V. Bugaevsky-grateful, belongs to the portrait of Vladimir Lukich, and A. G. Venetsianov, the future "father of household painting," wrote the first biography of his teacher.

The old age of Borovikovsky was sad. New, and the name of Borovikovsky came to the shadow, and the name of Borovikovsky goes into the shadow, giving way to the young names: Already blown O. A. Kiprensky. A lonely man, he used to be content with a narrow circle of friends, and now it became unlikely, even avoided writing letters.

The artist's voluntary laptop has increasingly taken painful character. He suffered from injustice that watched around. The medicine was sought from her and, in the Masonic bed, the "dying Sphinx", and in philanthropy, and of course in art. Always prone to religiosity (iconostasis of the Church of the Smolensk Cemetery, Icons for the Kazan Cathedral), Borovikovsky in 1819 interested in mysticism, sectarianism and joined the "spiritual union". But here it was waiting for a bitter disappointment - the lack of sincerity and showing.

Rare custom portraits of the time are filled with dry and prosaically rigidly, their paints are blocked. As if something was abandoned in a person: he began to join the faith with drinks and repentance. Only paternal feet, under a quiet bust of which he sang Ukrainian songs, sometimes revived the artist. On April 6, 1825, V. L. Borovikovsky suddenly died from the rupture of the heart. He was buried at the Smolensk cemetery.

The subtlest poet of the sentimental female image was left of his life, but the greatest samples of his skills opened the way the creative achievements of the artists of romanticism.

Pictures of the artist

Allegorical image of winter in the form of an old man, heating hands at the fire

God Father, Contemplating Dead Christ (sketch)

Children with a lamb

Catherine II in the Tsarskoil Park

Catherine II for a walk in the Tsarsko Selo Park (with Rumyantsev Obelisk on the background)

Female portrait

Lizonka and Dashenka

Portrait of A. B. Kurakin in the Cavaller's Kavalera robe

Portrait of A. Gagarina and V. Gagarina

Portrait A. I. Bezborodko with daughters

Portrait of A.A. Dolgoruky

Portrait A.E.Labsina with pupil

Portrait of Alexander Vasilyevich Polikarpova

Portrait of Amvrosia Latestov

Portrait V.A.shidlovskaya

Portrait of R. Derzhavina

Portrait of D. P. Trochino

Portrait of D.A. Derzhanina

Portrait of Dolgorukova, Margarita Ivanovna

Portrait of Dubovitsky, Alexander Petrovich

Portrait of Dubovitsky, Peter Nikolaevich

Portrait of E.G.Temkin

Portrait of E.N.Arsenyeva, subsequently wife P.F. Kozlova

Portrait of Ekaterina Aleksandrovna Archarova

Portrait of Elena Alexandrovna Naryshkina

Portrait of Louise Germain de Steel

Portrait of MDDunina

Portrait of M.I. Hallophina

Portrait of Mikhail Desnitsky

Portrait of Murthase Kuli Khan

Biography Vladimir Borovikovsky

Borovikovsky Vladimir Lukich, Russian artist of historical, church and portrait painting. Cossack feet.

Born in Mirgorod on July 24, 1757, in the family of Cossack Luke Borovik. Father and two brothers, Vasily and Ivan were icon painters who worked in the surrounding temples. Under the leadership of the Father studied icon painting. After passing military service, he was engaged in church painting in the spirit of Ukrainian baroque.

In 1787 he performed two allegorical paintings to decorate one of the "travel palaces" of Catherine II, which were erected towards its following ways to the Crimea.

These paintings have paid special attention to the empress. At one of the paintings, Catherine II was depicted, explaining his order to the Greek sages, on the other, Peter I - Pakharist and Ekaterina II - the sown. The Empress wished to see the author of the paintings, spoke to him and advised him to go to St. Petersburg, to the Academy of Arts.

In 1788, Borovikovsky moves to St. Petersburg, but his way to the Academy of Arts was closed by age. For some time, he lives in the house of N. A. Lvov, meets his friends - G.R. ID Roszavin, I. I. Chemnisser, E. I. Fomin and other intellectuals of his time. From 1792 takes lessons from the Austrian painter I.B. Lamp, who worked at the courtyard of Catherine II.

It is assumed that he enjoyed the Councils of the famous portraitist D. G. Levitsky, who later became his teacher. From his teacher, Borovikovsky adopted a brilliant technique, ease of writing, composite skill and the ability to flatterly portrayed.

In 1795, Borovikovsky was awarded the title of academician, and in 1802, the Counselor of the Academy of Arts.

In the early St. Petersburg period, Borovikovsky writes miniature portraits written by oil, but imitating miniature on enamel. He succeeded in the parade portrait, a lot of his works in this genre was worshiped for samples.

Among his work is a magnificent portrait of Catherine II, walking in the Tsarsko Selo Garden, portraits of Derzhavin, Metropolitan Mikhail, Prince Lopukhina - Trochinsky and a huge portrait of Fets - Ali Murza Kuli Khan, Brother Persian Shah, written by order of the Empress in the life of Prince Messenger in St. Petersburg . Two copies of this portrait are in the art gallery of the Hermitage, and the other at the Academy of Arts.

From the 2nd half of the 1790s. Borovikovsky finds a vivid expression of the feature of sentimentalism in his portraits. As opposed to the official class portrait, he develops the type of the image of the "private" person with its simple, natural feelings that are most fulfilled on the lap of nature. Delicate, bluish color, light, transparent letter, smooth, melodic rhythms create a lyrical atmosphere of dreamy elegidity.

For example, the portrait of O. K. Philippova, the wife of a friend of the Borovikovsky - architect who participated in the construction of the Kazan Cathedral. It is depicted in a white morning toilet on the background of the garden, with a pale rose in hand. The image of a young woman is deprived of all sides of the chemistry, flirt. The almond-shaped eye cut, the drawing of the nostrils, the Mountain over the upper lip - everything gives the challenge to the charm, in whose expression is almost children's tenderness and dreamy thoughtfulness.

The most bright talent of the artist revealed in a series of women's portraits: O. To Filippeova, E. N. Arsenyeva, E. A. Naryshina, V. A. Schidlovskaya, etc. They are not so spectacular as men's, small size, sometimes similar to A composite solution, but they are distinguished by an exceptional subtlety in the transmission of characters, elusive movements of mental life and unites a gentle poetic feeling.

Written by Borovikovsky in 1797 Portrait of M.I. Lopukhina belongs to the number of gradual works in the development of Russian portrait painting. The portrait of the loop is marked by the devils of deep and genuine vitality. The main idea is the merger of a person with nature.

Borovikovsky reproduces in the portrait typical features of the national Russian landscape - white trunks birch, cornflowers and chamomiles, golden ears of rye. The National Spirit is emphasized in the formation of a loop, which is granted an expression of tender sensitivity.

Borovikovsky was engaged in religious painting, in the period from 1804 P1811GG, participated in the painting of the Kazan Cathedral in St. Petersburg ("Annunciation", "Konstantin and Elena", "Velikomarter Ekaterina", "Anthony and Feodosius").

Borovikovsky retained his brilliant craftsmanship and eye disorder for a long time, but in the 1810s. Its activity has weakened. New, new, and the name of Borovikovsky moved to the side, giving way to young talents.

He was alone in old age, avoided all sorts of communication, refused to respond to letters. He was carried away by mysticism, but here he did not find what he was looking for.

At the end of the life, Borovikovsky no longer wrote portraits, but dealt only with religious painting. The last work was an iconostasis for the church at the Smolensk cemetery in St. Petersburg.

In the last years of life, Borovikovsky actively worked as a teacher, setting up a private school at home. He brought up two students, one of which was Alexey Venetsianov, who took the poetic perception of the world from his mentor.