Parade portrait examples. Voloshin Maximilian Alexandrovich
The parade portrait is different from other portraits of different directions and styles in the fact that the parade is inherent in special solemnity and expressiveness.
In the history of Russia, a parade portrait appeared during the time of the Petrovsk era. Peter I sought to bring all the innovations of Europe to Russia, and there was just a fashion for the front portraits. Further, the tradition of ordering a parade portrait on important celebrations firmly strengthened among the most significant and secured people of that time.
In Russia, the main portraits of the military were common - in full combat uniforms, young adorable young ladies in the best outfits, etc. And today the parade portrait has not lost its relevance, everything is also a symbol of security, status and influence.
We offer you to resume an old tradition and combining the luxury of the classic canvase and modernity and everyday photo of the photo. This is an unusual and expensive gift to your loved ones, colleagues, chief, friends.
Trial on the image of the past years, it means to get closer to the long-lasting epochs, feel like a beautiful nobility of the 19th century, which has recently returned from the next ball or brave military, the war hero of 1812. It all depends only on your fantasy, and with the art picture of its limits may be limitless.
Historical parade portrait
A historic portrait is called a portrait that depicts a person who has passed the era. The front portrait - not only transmits the visual appearance of the depicted, but also exhibits its character, showing its best qualities and status.
Isn't you a person who is worthy of staying in the centuries? Or do you want to capture in such an interesting role of someone from loved ones, colleagues, and maybe you want to make the boss dear and a solid gift that will give proper influence and respectableness? The historic parade portrait will become an excellent gift that forever perpetuates the name and the look of one who is depicted on it.
In the 19th century, it was popular to order a parade portrait, where the character was depicted in military uniform. Such a canvas was a symbol of courage, strength and infractions of the depicted person. ArtFoto offers you to order a historic front portrait as a gift to the chief.
Let your leader will appear in the form of a military man of higher ranks of the 18-19th centuries. In order to choose the desired image, you only need to look into the image gallery on our website. Here you can find solid male images, sophisticated women's, cute and slightly naive children. ArtFoto provides you with a huge number of source images for every taste and any case.
Parade portrait as a gift
It is planned a significant date, and you just need to choose a significant, solid and original present?
ArtPhoto offers you its unique decision - to present a front portrait as a gift for any celebration. Historically, the parade portrait was created with such an important event as the coronation of the royal personnel, etc. At the same time, the monarch was likened to the Divine. When the portrait of the nobleman was made, where the emperor was depicted. So and you can order a parade portrait in a photo on which the culprit of the celebration will appear in the solid image of a monarch or a powerful aristocrat.
Or you can move away from a traditional look at the canvas, and choose the original image of fantasy or an image in an expressive style. When creating such cloths shown, they always tried to "historize". It affected the color of the canvas, thanks to which the front portrait of the same ideally looked at any room.
So today the parade portrait will be the best decoration of any interior. The top portrait has always had a large size, as it assumed that the image of a person with legs to the head. So you can order in the art picture of the canvas of any scale (up to 150 cm on the smaller side).
In short, if you want to buy a dear gift - contact our studio Artfoto and choose a picture or portrait and you won't lose!
Order a parade portrait
Parade portraits for the members of the monarch of families were ordered from the most famous and talented artists of different times. And the famous painter was assigned the honorary title of the court artist.
For example, such a title was worn by the famous portraitist Georg Christopher Groot "Portrait of the Grand Duchess of Catherine Alekseevna with a fan in his hands" (1740s, canvas, oil, 161x117 cm, State Russian Museum, St. Petersburg). Portrait of Young Catherine shows his heroine in full bloom of youth, beauty and greatness.
You can order a parade portrait from ArtPhotos by contacting us by calling on the site or sending a request by mail. Even if you live beyond the feature of Moscow, you will not be difficult for the front portrait from the photo, because Artfoto works throughout Russia, in the CIS countries and abroad. In addition, we appreciate the time of our customers, and your order will not only be performed with qualitatively real professionals, but also in the shortest possible time - 1-4 days.
Parade portrait, representative portrait - The subtype of the portrait characteristic of court culture. Received special development during the period of developed absolutism. Its main task is not only the transfer of visual similarity, but also the exaltation of the Customer, the likelihood of the depicted person of the Deity (in the case of portraying a monarch) or a monarch (in the case of portraying an aristocrat).
Encyclopedic YouTube.
1 / 2
Riddles "French ambassadors" Hans Golbien.
Color role in portrait
Subtitles
Characteristic
As a rule, he intends to show a person in full growth (on a horse standing or sitting). In the parade portrait, the figure is usually given on an architectural or landscape background; Greater worker makes it close to the narrative picture, which implies not only impressive sizes, but also an individual figurative system.
The artist depicts the model, focusing the attention of the viewer on the social role of the depicted. Since the main role of the front portrait was ideological, it caused some single-laying characteristics: an underlined theatricality of the posture and enough magnificent entourage (columns, drapery, in the portrait of the monarch - regalia, symbols of power), which moved the spiritual properties of the model to the second plan. Nevertheless, in the best works of the genre, the model appears in an emphasized variant, which turns out to be very expressive.
The parade portrait is characterized by frank demonstration and the desire to "historize" the depicted. It affects a color gamut that is invariably, decorative and meets the coloristic features of the interior (although, depending on the style of the era, it changes, becoming local and bright in the baroque, softened and full halftone in Rococo, restrained in classicism).
Subtyps
Depending on the attributes, the main portrait happens:
- Coronation (less often there is a throne)
- Horseman
- In the form of a commander (military)
- The hunting portrait is adjacent to the parade, but maybe the chamber.
- Dewal - possesses the same concept as a parade portrait, but it usually has a belonging or generic slice and sufficiently developed accessories
Coronation portrait
The coronational portrait is a solemn image of the monarch "on the day of his coronation", joining the throne, in coronation regals (crown, mantle, with a scepter and power), usually in full growth (sometimes a sedentary throne portrait is found).
"The imperial portrait was thought of imprinted by the century most important state idea. A significant role in the demonstration of the incredit value of the present, sustainability of state power, etc. Played unchangeable forms. In this sense, a particular position occupied that The "coronation portrait", which assumes the image of the ruler with the attributes of power and claiming the same sacred constancy, as the Coronation Ceremony itself. Indeed, from Petrovsky time, when he was first crowned under the new rules of Catherine I, to the era of Catherine II, this type of portrait has undergone only small variations. Empress - Anna John, Elizabeth Petrovna, Catherine II - majestically tower over the world, causing in the silhouette by unshakable pyramid. The royal immobility is emphasized by a heavy coronation dress with mantle, the signs of whose weight is equivalent to the crown, a scepter and a power, which consistently accompany the image of the self-container. "
Permanent attributes:
- columns designed to emphasize the stability of the Board
- drapery, liken to just open the theater curtain, which opens the audience a wonderful phenomenon
1 What is a parade portrait
2 How to view a front portrait - example
3 Independent task
1. What is a parade portrait
"He [Harry Potter] was very sleepy and did not even be surprised that the people depicted on the portraits raised in the corridors are pulled together and show fingers on the first-year students.<…> They stood at the end of the corridor in front of the portrait of a very thick woman in a dress made of pink silk.
- Password? - a woman asked strictly.
— Caput Draconis, "Answered Percy, and the portrait drove off aside by opening a round hole in the wall."
Probably, many remember this episode from the book Joan Rowling "Harry Potter and the Philosopher's Stone." In the castle of Hogwarts any miracles, including coming portraits, is the usual thing. However, in the English literature, this motive appeared long before Joan Rowling, in the middle of the XVIII century: He was introduced by the writer Horace Walpol in the novel "Otranto Castle" (1764). The mysterious atmosphere of castles and palaces itself has such fantashes, the indispensable attribute of which is the family portraits, silent witnesses of the past, intrigue, passion and tragedies.
The work built as a conversation of reviving portraits is also in the Russian literature of the XVIII century. Its author was Empress Ekaterina II itself. This is a play called "Chesme Palace", in which the conversation of paintings and medallions be played, as if overheard at night a watchman. The compositions of the writings were not fictional canvas from the fictional castle, and the actual existing portraits of historical persons, for the most part of European monarchs - contemporaries of Catherine and their family members.
Benjamin West. Portrait of George, Prince Wales, and Prince Frederick, later Duke York. 1778 yearState Hermitage
Mariano Salvador Malela. Portrait of Carlos III. Between 1773 and 1782State Hermitage
Mariano Salvador Malela. Portrait of Carlos de Bourbon, Prince Asturia. Between 1773 and 1782State Hermitage
Miguel Antoniu do Amaral. Portrait of Maria Francisa, Princess Brazilian and Beiran. Around 1773.State Hermitage
Miguel Antoniu do Amaral. Portrait of Jose Manuel, King Portugal. Around 1773.State Hermitage
Miguel Antoniu do Amaral. Portrait of Marianna Victoria, Queen Portugal. Around 1773.State Hermitage
These paintings were decorated with a travel palace on the road from St. Petersburg to the Tsarskoye Village, built by architect Yuri Felten in 1774-1777 Chesme Palace exists and now, it is located one of St. Petersburg universities. But there are no portraits now in it: they are stored in different museums, most of them - in the State Hermitage Hermitage in St. Petersburg.. The gallery was very representative - it included 59 picturesque portraits. Marble medallions with bas-relief images of Russian great princes, kings and emperors, who are used by the sculptor Fedot Shubin, were placed on them, 58 them were Now medallions are kept in the Armory of the Moscow Kremlin.. The portrait of Catherine also went to the gallery, in the first room from the parade of the prestitution - her image seems to have come to the guests of the hostess. By placing his portrait in this palace, Ekaterina sought to demonstrate his involvement of European ruling dynasties (the monarchs of Europe were sought with each other related bonds, so the meeting was a kind of family gallery) and at the same time enter themselves in the twread Russian rulers. Thus, Ekaterina II, who joined the throne in the result, and besides the non-Russian on the origin, tried to prove his rights to the throne.
In the play, Catherine puts European rulers not in the best light, undergoing over their weaknesses and disadvantages, but on the portraits themselves, the rulers are completely different. Looking at them, it is difficult to believe that the shown monarchs can lead such insignificant conversations.
These are the most characteristic samples of the front portrait - artists were filled with respect to their models. In Russia, such a type of portrait appeared just in the XVIII century.
What has changed in Russian art in the XVIII century
Throughout six centuries (from the XI century to XVII), ancient Russian painting, continuing the Byzantine tradition, developed almost exclusively in the church river. What is the difference between the icons from the picture? It is not at all that the plots for icon painting are drawn from the Holy Scriptures and other church texts and that Jesus is depicted on icons, his students and the saints counted. The same can be seen in the paintings - in religious painting. It is more important that the icon is an image designed for prayer; Through her, the believer appeals to God. The icon painter writes not a face, but a face, the image of holiness; Icon is a sign of the mountain world, spiritual being. Hence the special rules (canon) and artistic means of icon painting. The task of the portraitist is different - it is primarily a story about a person.
In the XVII century, the first secular portraits - the pictures of the kings and their approximate began to appear in Russia. They were called "Parsuna", from the Latin word persona. - Personality, face. But the goal of Persuna was still not so much to capture a specific person (although the features of the face in these images are individualized), how much to glorify a person as a representative of a notable kind. A new technique has appeared: a template for the tree by the tree changed the painting with butter on canvas. But the artistic funds of Persons will go up to the iconopys: the first portraits were created by immigrants from the Armory (the most important center for the artistic life of the XVII century), more precisely - from its icon-painted workshop.
Unknown artist. Portrait (Parsuna) Tsar Alexei Mikhailovich. END 1670 - the beginning of the 1680s State Historical Museum The first decades of the XVIII century were marked by the grandiic transform-zo-vanya of Peter I, which covered all the lives of the country's life. Much of what Peter did, originated, but he gave a decisive acceleration by these processes, wanting to reform Russia right now, immediately. The solution of new state tasks was accompanied by the creation of a new culture. The two main trends were recruitment (art was not religious, and the secular, responding to new interests and needs) and the introduction to European traditions, including in the visual arts.
Peter began to acquire the works of ancient and European art, his companions followed his example. He invited European masters to Russia, who had not only to fulfill orders, but also to raise Russian disciples. Russian artists sent to learn abroad at the state account (this was called "Pensioners", since the students received "pension" for a trip). Peter dreamed about the creation of the Academy of Arts. It was already possible to carry out his daughter Elizabeth, established in 1757 in St. Petersburg the Academy of the Three Calcificent Arts (painting, sculptures and architecture). The basis of the Academy has become a logical conversion conversion in art. Foreign teachers were invited here, the tradition of pensioners who interrupted at the first time of Peter was revived. But the main thing - the European system of thin-riche education was taken over, that is, the special sequence and techniques of learning.
For the implementation of reforms, Peter needed active associates. Now, a person was assessed from the point of view of the benefit, which he brings to the State Darism - "According to the personal", and not by virtue of belonging to the ancient race. A new understanding of the role of personality was reflected in the development of the genre of the portrait, and above all in its parade form, directly related to government objectives.
What is a parade portrait
The main task of the parade portrait is to show the audience a high social position of man. Therefore, on such portraits, the model appears in the costume, in the interior and surrounded by those "accessories", which indicate its high status: always in luxurious robes and on the background of magnificent palace halls, if this is a monarch - then with the attributes of power, if the state -Calider or commander - then with orders and other signs of differences that determine the place of a person in the state hierarchy.
However, not only attributes allow the artist to point out a person's public prestige. There is a whole set of artistic tools that the XVIII century masters were used in the front portraits to inspire the opinion of the hero's importance. First, these are paintings of a large format. And already it determines the distance in the relationship with the viewer: if the thumbnail can be taken into hand, closer to itself, then on such a portrait you need to look at the distance from the distance. Secondly, on the front portrait, the model is depicted in full growth. Another reception is a low horizon. The horizon is the visible border of the sky and the earth's surface, which is approximately at the level of human eye; In painting conditional, the imaginary line of the horizon will become for the artistic orientation line when building a composition: if the picture is set in the com-position, it is low, the viewer has a feeling that he looks at the image from the bottom up. The low horizon highlights the shape, gives it the power, greatness.
Parade portraits, framed by gilded rams, were placed in the courtyard; Ballahin could be above the portrait of the monarch. Already the situation in which they were demonstrated, dictated the audience the style of behavior. The picture, as it were, replaces the one who is presented on it, and to behave in front of it the viewer is likely as in the presence of the model itself.
The parade portrait is always peculiar to the pager (that is, the tier-venous, praising) intonation: The model is a necessarily perfect monarch, or a great commander, or an outstanding statesman, the embodiment of those virtues that should be characterized by his saline and the nature of the activity. Therefore, a set of sustainable formulas - iconographic schemes (poses, gestures, attributes) was presented quite early, which expressed certain ideas. They turned into a kind of coded messages, which with insignificant variations were repeated from one portrait to another. But the deviations from such canons were feeling particularly acute and the meaning was always fulfilled.
What is allegory
In the art of the XVII-XVIII centuries, allegory received widespread. Allegory (from Greek. allegoria. - "Speaking differently") is an artistic image in which abstract concepts (justice, love and others), which are difficult to convey in a visible form, are presented allegorically, their meaning transfers any subject or living being. The allegorical method is built on the principle of analogy. For example, in the world of Allegoriy Lion is the scarlet of power, since this beast is Silen. Any allegorical image can be perceived as text translated into painting language. The viewer must carry out a reverse transfer, that is, to decipher the meaning of the allego-riche composition. As the artistic method of the allegory is used in our day. And you can try allegorically to portray this or that concept, based on your own ideas and knowledge. But do you understand everything? An essential feature of the art of the XVII-XVIII centuries was the regulation of the meaning of the allegory. The image was assigned a concrete value, and this ensured mutual understanding of the artist and the viewer.
Jacopo amiconi. Portrait of Emperor Peter I with Minerva. 1732-1734 years State Hermitage The most important source of the allegory was an antique mythology. For example, in the portrait of the Italian artist Yakopo Amikoni Peter I is presented with Minervoy - the goddess of the Wise War (it can be found in attributes: mail and pile). Amur crowds Peter Imperial Crown - In 1721, Russia was proclaimed the empire. Thus, the picture glorifies Peter as a wise ruler who has won the Swedes in the Northern War and thanks to this that has risening the international status of Russia.
But the same subject or creature can act in different situations as the allegories of different concepts, therefore, they should be interpreted depending on the context. For example, Owl can act as a companion like mine-you, the goddess of wisdom (Owl was considered a smart bird), and Alle-Burnie Night (Owl - Night Bird). In order for the audience to be easier to read meaning, special directories were compiled (or "iconological lexicons").
Johann Gottfried Tannaauer. Peter I in Poltava battle. 1724 or 1725 In the work of the visual art of Allegory could be present as a separate motive. So, on the picture of Johann Gottfried Tannauer "Peter I in the Poltava battle" Peter is represented by horseback against the background of the battle, the image is quite realistic. But above him, the winner, the winged figure of glory with a pipe and a crown.
However, more often the allegory was in the whole system, in which they entered into complex relationships with each other. Intected such allegorical systems usually not the artists themselves, but "inventors". At various times, representatives of the clergy, the teachers of the Academy of Sciences, the teachers of the Academy of Arts, historians and writers could be played in this role. They, as today, writers, composed the "program", which the artist should have embodied in the work.
In the second half of the XVIII century, artists and viewers were injured in such an allegorical language, which was appreciated by the witness of the rethinking of traditional images, inexpensive, hint. And by the end of the century, the allego images of virtues in the form of gods or people gradually disappeared from the front portrait. Their place was taken by an attribute, which, like an allegory, reported the idea of \u200b\u200bwritings, but at the same time did not violate the principle of life-like - expressed by the language of the XVIII century, and the situation was presented.
Johann Baptist Lamp lamp. Portrait of Catherine II with allegorical figures of history and chronos. No later than 1793 State Russian Museum
Johann Baptist Lamp lamp. Portrait of Catherine II with allegorical figures of truth and strength (fortress). 1792-1793 years State Hermitage
Compare, for example, two portraits of Catherine II brushes Johann Baptist Lamp - "Portrait of Catherine II with the figures of history and chronos" and "Portrait of Catherine II with allegorical figures of truth and strength (fortresses)." They were created almost simultaneously. But in the first story and the chronos (time) are depicted as people - a woman and an elder with the corresponding attributes: the story enters the acts of Catherine in his writings, and Her Thronos will look at the Empress with admiration for the Empress with admiration - it's not authority. These are creatures of flesh and blood, they can interact with Ekate Rina, communicate with her. In the second portrait, truth and fortress are also shown allegorically - in the image of female figures: one - the truth - with a mirror, the second is the fortress - with a column. But here, animated incarnations of ideas are not presented as living people, but as their sculptural images. Car-Tina, on the one hand, becomes vital (such sculptures could well be present in the interior, where the Empress appeared to the eyes of the subjects), and on the other, it still transmits an idea encrypted in an allegic image. In this case, the allegorical image is now "hidden" as an image in the image.
2. How to watch a parade portrait - an example
What do we know about the portrait
Before us is "Portrait of Catherine-Laws in the Church of the Goddess of Justice", the author's version of 1783. Dmitry Levitsky created several versions of this portrait, and later the artists repeatedly repeatedly repeated.
Dmitry Levitsky. Portrait of Catherine-legislation in the temple of the goddess of justice. 1783 year State Russian Museum To understand the allegorical portrait program helps several writings written by the Levitsky himself and its contemporaries. In 1783, in the journal "Interlocutor of Russian lovers", poems of the poet of Ippolit Bogdanovich were published:
Levitsky! Having drawn Russian Deity,
Which seventh seas rest in Otrada,
You revealed your brush in Petrov Grad
Immortal beauty and mortal celebration.
Wanting to imitate the Parnassian sister Union,
I would appeal, like you, to help Muse
Russian deity to the pen to portray;
But Apollo is jealous of himself to praise himself.
Without revealing the portrait program in detail, Bogdanovich expressed the basic idea: the artist, in the creative union with the muse, depicted Catherine, likening her goddess, thanks to which the whole country is bled by the seven seas.
In response, the artist wrote his own, more detailed explanation of the meaning of the portrait, which was printed in the same publication:
"The middle of the paintings represents the inside of the church of the Goddess of the right-judge, in the form of the legislation, the Emperian Majesty, burning the poppy flowers on the altar, sacrifices preciously for the general peace. Instead of the ordinary imperial crown, she was crowned with a laurel crown that adorns the civilian crown, entrusted to the head of the Heri. The signs of the Order of St. Vladimir depict the excellence of the famous for the benefit of the fatherland, which are underlying the legislauses of the book indicate the truth. The victorious eagle rests on the laws and armed with Perun Guardian Ratchy about the intentions of these. The open sea seeds are visible, and on the fluttering Russian flag depicted on the military shield of Mercury Roda means protected trade. "
The source of Russian lovers. SPB., 1783. T. 6
Levitsky also pointed out that he was obliged to "one love-body of art, who asked him not to tell." Subsequently, I figured out that the "Inventory" was Nikolai Alexandrovich Lvov - a master, gifted in a renaissance scale: he was an architect, a pander, engraver, a poet, a musician, a theorist and historian of art, the soul of the literary circle, which included outstanding poets of that time.
Another text that arose in connection with this portrait is the famous Ode of Gabriel Derzhavin "Vision Murza" Murza - Notable title in Tatar medium-century states. In the "Vision of Murza" and in Oda "Felitsa", Derzhavin calls himself Murz, and Catherine II - Felitsa: This is the name of the fictional "princess Kyrgyz-Kaisatskia Horde" from a fairy tale, who became the most impenetry rash for the grandson of Alexander. (1783 year).
Vision I seemed wonderful:
Wife with clouds, -
Socha - and priestess
Or goddess before me.
White clothes flowing
On her silver wave;
Gradskaya at the head of the Crown,
Shine with frenx shelter's belt;
From black and fiery vison,
Similar rainbow, outfit
From the shoulder of the gum
Hung on the left hip;
Stretched on the altar handle
On sacrificial she heat
Burning maki fragile
Served to send the deity.
Eagle seal, huge,
Lightning Safety Party,
Heroian Prospector of Glory,
Sitting before her on a pile of books,
Sacred over its statutes;
The thunder in the coktyes of his
And laurel with olive branches
Kept, as if wearing.Whom I zrawa so bother
And whose mouth are sinking me?
Who are you? Goddess or priestess? -
I stand in the dream asked.
She comes me: "I am Felitsa" ...
What we see in the portrait
What does the Order of St. Vladimir
The portrait of Levitsky is associated with the history of the Order of Holy Equal-Apostles Prince Vladimir. This Order was established on September 22, 1782, his Statute (that is, a document describing the order of awarding the Order and the ceremony associated with him) wrote Alexander Andreyevich Bezborodko - the actual manner of Russian foreign policy. And it is no coincidence: the creation of the Order was associated with one of the most important foreign policy plans of Eka-Terine -. According to this project, Russia was supposed to expel the Turks from Europe, to master Constantinople and form a Greet Empire (headed by the grandson of the Empress Grand Prince Konstantin), and secondly - the state of Dacius under The auspices of Russia, which was supposed to enter the Danube Principles, freed from the power of the Turks.
In addition to purely practical purposes, the plan had a great ideological significance. The Russian Empire, being the most powerful Orthodox state, positioned himself as the heiress of the Great Byzantium, destroyed by the Turks (in 1453 they captured Constantinople). Rus took Orthodoxy from Byzantium at Prince Vladimir in 988. This explains the establishment of Catherine dedicated to the prince Vladimir Order Just when she was obsessed with thoughts about the Greek project.
I failed to implement the Greek project Catherine. But they resemble monuments of art. In the early 1780s, near the Tsarist village, on the project, Charles Cameron (the Scottish architect who worked in Russia) was built by the exemplary city of Sofia. The center of this city was the Monumen Talny Sophia Cathedral (the project also developed Cameron) - in memory of the main Christian shrine, which was in possession of the Turks, the Church of St. Sophia in Constantinople. Next to the Tsarskoye Temple was going to build a house of the Cavalier Duma of the Order of St. Vladimir for meetings of his cavaliers. In the early 1780s, their portraits were ordered by Levitsky-Cartins were intended for the "Order of the Order", and the portrait of Catherine was supposed to be in the center of the ensemble. However, the construction of the temple was completed only in 1788, and the construction of the "Order of the House", apparently, did not even begin. After the death of the Empress in the 1796th, the plan was and forgotten.
But in 1783, when Portrait of Catherine was created, the Greek project was in the spotlight. In that year, Crimea was attached to Russia (before the Crimean Khanate was the Vassal of the Ottoman Empire). This foreign policy is one of the few actual project results. And this explains why it is the Order of St. Vladimir in the portrait of such an important place.
Than a portrait of Levitsky differs from the portrait of Borovikovsky
Vladimir Borovikovsky. Portrait of Catherine II on a walk in the Tsarskoye Park. 1794 year "Portrait of Catherine-Laws" is often compared with the "Portrait of Catherine II on a walk in the Tsarskoye Park" Brush Vladimir Boro-Vi-Kovsky. On both paintings, the same model is presented, but they themselves are completely different. The first is a bright example of a parade imperial portrait, the second is an eloquent sample of a chamber portrait.
What is the difference in the parade and chamber types of portrait? A parade portrait is created to demonstrate the high status of the model, its place in the public hierarchy. In the chamber portrait, the artist opens a different side of a person's life - private. Different tasks determine the difference in artistic techniques. "Portrait of Catherine II on a walk" of a small size (94.5 x 66 cm) - and it immediately focuses the viewer for chamber perception. To view a portrait, you need to approach it. He seems to invite us not to Robust to get closer, while the portrait of a large format makes frozen at a respectful distance. Catherine in the fur coast and chepts, with his beloved lounge at the feet, without the usual attributes of the imperial power, not in lush palace halls, and in a secluded garden - it appears not a god-like government, but if a simple landowner. The portrait commens the beauty of human being in a natural environment.
But what kind of reflections can the Empress indulge in the lap of nature? The artist as it would be proposed to allow us to resolve a riddle. Catherine is located in the Tsarskoral Park. Hero she points to the Chesme Column - a monument to Russia's victory over Turkey in Chesmensky battle in 1770, towering on the island in the middle of a large pond. The opposite shore is hidden behind the crowns of trees. But if we walked around the pond and continued to move in the direction of Catherine, then there, already outside the park, we would have discovered the view of the Sofia Cathedral (the one that was built by Charles Cameron). He is not depicted in the picture, but every enlightened viewer knew that he was, and knew about the meaning he had in the political and architectural program of Catherine. The meaning of the Empress's gesture in the portrait becomes clear: through the maritime victories (and the column rushes in the middle of water stroit) Russia should open to Sofia, to the Orthodox Empire with the capital in Constantinople.
And what do we see? The chamber portrait, by nature, its factor to the sphere of private, not public, serves as an expression of the imperial ambitions of the Verkhovna Russian "landlords", the landmark of which should be extended to Constantinople. The idea traditionally expressed by means of the parade portrait is clothed in the form of chamber. Why? There is no firm response to this question. But you can put forward the assumption. Big front portraits were usually created by the order of the Empress itself, some of the nobles or any institution. It is known that this portrait was not ordered Catherine. It was probably written to testify to the artist's skill for presenting it to the palace. Maybe the inventory (most likely, they were all the same Nikolai Lviv) deliberately disguised the political content in an unusual form. A witty paradox (landowner, but what is her possession!) Had to attract the attention of the audience. One - temporarily, the portrait answered the new artistic taste (he received the name sentimentalism) - the desire for natural, interest in the inner life of a person, his feelings in opposition boring inconsistency. However, the empertrice did not like the portrait. Perhaps because he involuntarily resurrected memories of her political failure. Let the dominant in the portrait turn out to be a monument to a brilliant victory over Turkey, but he also makes him think about the further development of events, about the Greek project, to implement that Catherine, despite successful hostilities, failed. Konstantinopol never became the capital of the new Orthodox Empire.
3. Independent task
Now you can try to independently analyze one of the three other portraits. Support Questions may help you choose a search for search.
1. Godfrey Neller. Portrait of Peter I. 1698. From the collection of the British Royal Collection (Queen Gallery, Kensington Palace, London)
Godfri Neller. Portrait of Peter I. 1698 Royal Collection Trust / Her Majesty Queen ELIZABETH II Portraits of Peter I wrote not only Russian artists. This portrait was created for the King of England Wilhelm III (Orange) Sir Homfri Neller (1646-1723) - a master of love from Lubeck, who studied in Amsterdam and Venice, and spent most of his life in the UK, where he enjoyed great success as a portraitist.
Supporting questions
1. The portrait was written from nature in the Hague commissioned by the English king Wilhelm III, which was simultaneously the Netherlands Chatganis. Perhaps the portrait was completed in London. When and under what circumstances Peter I visited Hague and London?
2. What allows you to characterize this portrait as a parade?
3. Compare the portrait created by the European Master, with the modern Russian Parsuni portraits. Where is more attention paid to the Personal Top?
4. What funds are involved in order to show the social status of the model, and what - for its psychological characteristic?
5. What kind of reforming endeavors of Peter testifies the portrait? How are they related to England?
2. Alexey Anthropov. Portrait of Emperor Peter III. 1762. From the meeting of the State Tretyakov Gallery
Alexey Anthropov. Portrait of Emperor Peter III. 1762 year State Tretyakov Gallery / Wikimedia Commons Supporting questions
1. Describe the situation in which the model is presented. How does the emperor image relate to this setting? What artistic means does the artist use to characterize the model?
2. Compare the image of Peter III, created by Anthropov, with what is known about the identity and rule of the emperor.
3. Dmitry Levitsky. Ursula Mnishek. 1782. From the meeting of the State Tretyakov Gallery
Dmitry Levitsky. Ursula Mnishek. 1782 year State Tretyakov Gallery / Google Art Project Ursula Mnishek (about 1750 - 1808) - the Polish aristocrat, the niece of Stanislav Augusta is understood, the Countess, the wife of the Lithuanian corona march of Count Mnishek, the Stats-lady of the Russian Imperial Court.
Reference question
A similar type of portrait is usually called intermediate between chamber and front. What features of these genre varieties does he combine in himself?
Dmitry Levitsky
Portrait of Catherine-Laws in the Temple of Goddess Justice
1783 year
The majestic, the status figure of the empress, the perfect, "unearthly" beauty of her face, a magnificent decoration - as well as the most portrait size itself (261 x 201 cm), had to inspire a reverence in front of the model.
Municipal educational institution
Additional education of children
"Children's art school"
Women's images in the portraits of the XVIII century
(F.S. Rokotova, D.G. Levitsky, V.L. Borovikovsky)
Performed: Student 4-CL.
MOU DOD DHSH G. Zelenogorsk
Grigorieva Anastasia Vlenovna
Scientist: Teacher
Art history MOU DOD DHSH
Solomatina Tatyana Leonidovna
g. Zelenogorsk
Women's place in Russian Society of the XVIII century and the art of portrait ............................................................................................. 3
The image of a Russian woman in the portrait art of the XVIII century ............ 4
2.1. Parade female portrait of the first half of the XVIII century:
2.1. Parade portrait;
2.2. AND I. Vishnyakov
2.3. D.G. Levitsky
Chamber female portrait of the second half of the XVIII century:
Features of the chamber portrait
2.2.2. V.L. Borovikovsky
2.2.3. F.S. Rockotov
Women's portrait of the XVIII century - one of the highest achievements of Russian portrait painting ............................................................ 16
List of used literature .......................................... 17
List of illustrations ............................................................... 18
Applications ........................................................................ .19
Place Women in Russian Society of the XVIII century
And art portrait
From the beginning of the XVIII century, the artists brought their skills to extraordinary perfection from a rather primitive image of a human face. Having learned from foreign painters, the domestic masters not only adopted their knowledge, but also surpassed them and added deeply Russian coloring (http://www.referat77.ru/docs/1415/1866/2.html).
Portraits of the beginning of the century depict predominantly social personality of a person, his best sides, his pompousness, sometimes fictional beauty. But throughout the century, the state, public mood, as well as the attitude of the artist to the person depicted is strongly changed. The masters have no longer set a task to make a portrait look like a model. They were not so much interested in the solemnity of filing as the inner world of man, his essence, his predisposition to spirituality. By the end of the XVIII century, painters transmit the soul of their models, the finest moods, variability of characters.
The purpose of my work is to prove this trend, i.e. A gradual transition from the external characteristic of a person to the transmission of its internal state.
To solve the task, I discovered on the portrait work of the following prominent Russian artists:
AND I. Vishnyakova;
F.S. Rockot;
D.G. Levitsky;
V.L. Borovikovsky.
For the characteristics of the portrait creativity of these artists, I used a fairly wide range of sources, the list of which is given at the end of the work. Among the books that I used, there are works on the art of the selected period (1,4,5,6,7, 8, 11, 12,14,16,17) and the monographs dedicated to the work of individual artists (2.3, 9,13,15).
The image of a Russian woman in the portrait art of the XVIII century
Parade female portrait of the first half of the XVIII century
The leading role in the painting of the first half of the XVIII century belonged to the portrait. Portrait art developed in two genres: the parade and chamber.
Features of the front portrait
The main portrait is in many ways the burdens of baroque stylistics with its heavy magnesium and gloomy greatness. His task is not just a person, but an important person in all the brilliance of her high social situation. Hence the abundance of accessories designed to emphasize this position, theatrical parade of the posture. The model is depicted on the background of a landscape or interior, but certainly in the foreground, often in full growth, as if suppressing the surrounding space with its greatness. (12)
One of the leading portraits of this time I.Ya. was famous for the front portraits. Vishnyakov.
The impeccable "eye" of the artist and impeccable taste brought Vishnyakov in a number of the best portrait of that time. No wonder, he was allowed not only to copy, but also to write portraits of the reigning persons, and then "replicate" them for numerous palaces, government agencies and private high-ranking persons. (Http://www.nearyou.ru/vishnyakov/0vishn.html )
The artist liked the decorative luxury of the frontal outfits of his era, their theatricality and festibility. With admiration, he transmits a substance and object object, carefully, with love writes amazing costumes of the XVIII century, with their tissues with complex patterns, various colors and textures, with the finest embroidery and lace and decorations. As a master decorator of cherry creates an exceptional color gamut. And although the pattern seems to be imposed on topless folds of clothing, he touches, and reminds, according to art historian T.V.Linina, (6) the source "The field of luxurious Old Russian miniatures of the XVII century. or the floral ornament of the frescoes of that time. " And over all these wealth of the most worn world and breathe people of people.
In 1743, Vishnyakov wrote the portrait of Empress Elizabeth - representative, those magnificent. Elizabeth - in the crown, with a scepter and howl, in a luxurious brilliant Moir dress. It is curious that this portrait liked so much that Vishnyakov was instructed to immediately recall the style of other portraits Elizabeth, whoever wrote, he became, so to speak by the Supreme Arbitrator in the affairs of the imperial iconography. Meanwhile, he himself, despite the magnification of the situation in the contrast with her, depicted Elizabeth ordinary woman - blood with milk, Chernobrova and ruddy Russian beauty, rather friendly and affordable than magnificent or royal. Having appropriated and attributes of power, Elizabeth did not have mastered. Something homemade, warm, smiling-rustic, of course, not without tricks and is not crazy, it has always been preserved in her appearance, and the chernyakov just felt it.
Best got the portraits of children in Vishnyakov.
One of the most interesting is the portrait of Sarry Farmor. (Il.3) is a typical front image for that time. The girl is presented in growth, at the junction of the open space and landscape background with a mandatory column and heavy curtain. On her elegant dress, in the hand fan. Her pose is stolen, but in this frost solemnation a lot of poetry, feelings of a loaf of life, received high art and great sincere warmth. The portrait is connected, which is typically for Vishnyakov, as if sharply contrast features: it feels another Russian medieval tradition - and the shape of the shape of the parade European art of the XVIII century. The figure and the pose are conditional, the back is interpreted flat - this is an open decorative landscape, - but the face is wung out volumetric. An exquisite letter of a gray-green-blue dress amazes the richness of multi-layer painting and has a tradition to flatten. It is transmitted illusory-real, we are guessing even the type of fabric, but the Flowers on Muaru are scattered excluding the folds, and this "pattern" falls on the plane, as in ancient Russian miniature. And above the whole scheme of the front portrait - and this is the most amazing living lively a serious life, sad face of a little girl with a pensive look.
The color solution is a silver tone painting, the rejection of bright local stains (which was generally typical of the brush of this master) - due to the character of the model, fragile and air, similar to some exotic flower. (Http://www.bestreferat.ru /referat-101159.html) like a stem, its head grows on a thin neck, hands outlessly lowered, about the excessive length of which he wrote not one researcher. It is quite fair if you consider the portrait from the standpoint of the academic correctness of the drawing: we note that the hands were generally the most difficult to masters who did not receive the systematic "educational" education, which were the artists of the mid-XVIII century, and Vishnyakov in particular, but their length is also here. Harmonially emphasizes the entire fragility of the model, like the subtle trees in the background. Sarah Farmer seems to embody not the true XVIII century, and the ephemeral, best of all expressed in the bizarre sounds of Menuet, the XVIII century, which only dreamed of, and she herself under the brush of Vishnyakov - as a dream embodiment.
Vishnyakov managed to join the delight in his works before the wealth of the material world and the high sense of monumentality, not lost for attention to the detail. Vishnyakova, this monumentalism dates back to the ancient Russian tradition, while the grace, the sophistication of the decorative system indicate a great possession of the forms of European art. The harmonic connection of these qualities does Ivan Yakovlevich Vishnyakov, one of the most striking artists of such a complex transitional pore in art, which was in Russia the middle of the XVIII century.
D.G. Levitsky
In the work of Levitsky, a parade portrait occupies a big place. Here inherent in his painting decorativeness opens in all its brilliance.
In the front portraits of the mature period, Levitsky is freed from theatrical rhetoric, they are imbued with the spirit of cheerfulness, festive sensation of life, bright and healthy optimism.
Especially it should be highlighted on large, forming a single decorative ensemble of parade portraits (in growth) pupils of the Smolny Institute for noble maidens.
"Portrait of Handanist and Khrushchekova" 1773 G. GRM (IL.8)
By order of Catherine, the second Levitsky wrote a number of portraits of pupils of the Smolny Institute of Noble Maiden. (http://www.11433help.ru/russkayagivopis-18) Two girls depicted in this portrait are played by role from the Comic Opera "Caprises of Love, or Nynetta at the court at the institute scene.
Khrushchova, famously coming around, playfully concerns his chin of his girlfriend. On the ugly, but very expressive face of the girl playing a mockery smile. She confidently fulfills a male role. Her partner, Handanist, shyly looks at the "Cavalera", her confusion is read in an awkward turn of the head, in how helplessly lies on the shining satin of the skirt her hand. We see landscape sceners depicting English park, classic ruins, lock silhouette. On the left, the spreader tree - the background for the figure of the Khrushche, in the foreground - the Boutaphoric Hollyk, covering additional light from the audience. The girls are illuminated by the ramp light, so there are so distinct shadows on the floor and contours of the figures. On Khrushchny Dark Gray Silk Camisole, decorated with golden galoon. At the Institution Theater, where boys never performed, Khrushchov was considered an unsurpassed male role performer. But after the institute, her fate failed and she could not take an important place in the light. And Katya Khovanskaya will attract universal attention to himself, will be the wife of the poet of the Nemino-Melts and the first performer of songs written by her husband.
"Portrait of Nelidova" 1773 (Il.7)
This is the oldest of Smoleanok. Student in Smolny, became known for his beautiful game on stage, especially shone in dance and performing songs. In the portrait, she fulfills the role in the play "Major - Mrs.". She is already aware of his own charm, she has a need to like, the skills of theatrical behavior are perfectly learned. The figure confidently stood in a ballet pose, the handle is elegantly lifting the lace fronticking, the pink ribbons decorate the straw hat "Cinema" - everything creates a feeling of puppet porcelain. And a living face, laughing eyes, smile explain that all this is only a game. On the background of soft green coups of trees, light elegant clouds
Portraits E. I. Nelidova (1773), (Il.7) E. N. Khrushchova and E. N. Khovanskaya (1773), (Il.8), g. I. Alimova (1776) (Il.2) and others. The figurative system of these works is associated with the characteristic for the front portrait of 18 V. The image of a woman as a creature of a "melonral, loving only laughter and fun". But under the brush of Levitsky, this general formula was filled with realistic convincing life content.
High classicism in painting - "Catherine Second - the legislation in the temple of the Goddess of Justice" 1783 g. (Il.3)
This is a real picturesque ode with all the features of this genre. Character - a sovereign, in a parade apparel, a fair, reasonable, ideal government. Empress is represented in white, silver strict dress with a laurel wreath on her head and an order ribbon on the chest. There is a heavy mantle on it, falling from the shoulders and emphasizing the greatness of the sovereign.
Catherine is depicted against the background of the solemn curtain, wide folds of enveloping wide columns and pedestal, which placed the statue of the femis-goddess of justice. Behind the colonnade, behind the strict balustrade is a stormy sky and the sea with ships floating on it. Catherine is a wide gesture of hand over a burning altar. Next to the altar on thick foliants sits an eagle - a bird of Zeus. The sea recalls the successes of the Russian fleet in the 18th century, the laws that Catherine has created a legislative commission, the statue of the femis - about the glorified Poets of the Empress lawmakers. But this, of course, is not the real appearance of Catherine, but the image of an ideal monarch, how he wanted to see the era of enlightenment. The picture enjoyed great success, and a lot of copies were made from it.
V.L. Borovikovysius
The originality of the Russian front portrait in the works of Borovikovsky, designed to glorify, first of all, the position of a person in the estate society was the desire to disclose the inner world of a person.
"Catherine II for a walk in the Tsarsko Selo Park" - Portrait of Catherine II of the work of Vladimir Borovikovsky, written in the direction of sentimentalism, one of the most famous images of the Empress.
Borovikovsky wrote a portrait that was unusual for that time and was imbued with the spirit of the fresh flow of sentimentalism - unlike dominant at the time in the imperial portraits of classicism. The characteristic features of this direction are the idealization of life on the lap of nature, the cult of sensitivity, interest in the inner life of a person. Sentimentalism is manifested in the refusal of the author from the front palace interiors and the preferences of nature, which is "more beautiful than palaces." "For the first time in Russian art, the background of the portrait becomes an important element in the characteristic of the hero. The artist chances the human being among the natural environment, treats nature as a source of aesthetic pleasure "].
65-year-old Catherine is presented for a walk in the Tsarsko Selo Park, resting on the staff because of its rheumatism. Her clothes are emphasized unofficial - she is dressed in sludge, decorated with a lace jaba with a satin bow, and a lace capes, the dog sports the dog. The government is presented not a goddess, but a simple "Kazan landowner", which he loved to seem in the last years of life, contemplative, without any official, solemnity and front attributes. The portrait became a domestic version of the English type "Portrait-Walk". In the twilight, the park is visible to the pier with sphinxes, swans float in the lake. The face of the model is written generalized and conditionally, age is mitigated.
Thus, the "natural simplicity" penetrates in a parade portrait, except for sentimentalism, partly brings the picture with educational classicism. However, the Pose of Empress is full of dignity, the gesture that she points to a monument to their victories, restrained and majestic.
Unlike Catherine - Levitsky's femids, Ekaterina Borovikovsky - depicted "the old woman" Kazan landowner ", walking in the garden with his beloved lounge. Borovikovsky created an unusual portrait for that time. Catherine is represented on a walk in the Tsarskoyel Park in the furry and chepts, with his beloved lounge at the feet. Not Felitsa, not a god-like queen that came down from heaven, she appears in front of the audience, and a simple "Kazan landowner", which she liked to seem in the last years of life.
Figure Catherine The artist depicted with unsurpassed sympathy. This is not an empress in old age, but first of all a person, a woman, a little tired of public affairs, courtie etiquette, which is in a free minute, to be alleged alone, indulging in memories and admiring nature. "In Russian art, this is the first example of an intimate in its essence of the royal portrait approaching the genre painting.
However, even in this intimate portrait is present "the emblem's motif of the column" Pillar "- Chesmersky Column (Cagul Obelisk - on the version of the MRM portrait), which, with all the sentimentality of the image of Catherine, the entire plot of the portrait, symbolizes the" hardness or constancy "," the unshakability of the Spirit " , "Firm Hope." The artist's canvases are very elegant due to the graceful formulation of models, elegant gestures and skillful appeal to the costume.
In the front portraits of Vishnyakov, a high sense of monumentality is characterized, not lost for attention to the details. Vishnyakova, this monumentalism dates back to the ancient Russian tradition, while the grace, the sophistication of the decorative system indicate a great possession of the forms of European art.
The originality of the Russian front portrait in the works of Borovikovsky, designed to glorify, first of all, the position of a person in the estate society was the desire to disclose the inner world of a person. His portraits are imbued with the spirit of the fresh flow of sentimentalism - unlike dominant at the time in the imperial portraits of classicism.
Levitsky equally well managed and chamber portraits and a front image in growth.
The parade portrait of Levitsky inherent in his painting decorativeness opens in all its brilliance.
In the front portraits of the mature period, Levitsky is freed from theatrical rhetoric, they are imbued with the spirit of cheerfulness.
2. Features of the chamber portrait of the second half of the XVIII century:
Chamber portrait - portrait using belt, sulfur or thorough image of a person depicted. Usually in the chamber portrait the figure is given on a neutral background.
Chamber portrait is not only a set of external signs, it is a new way of vision of man. If in the parade image, the criterion for the value of the human person was its acts (which the audience recognized through attributes), then in chamber - on the forefront, moral qualities are put forward.
Building to convey individual identity quality and at the same time to make her ethical evaluation.
Borovikovsky appealed to various portrait forms - intimate, parade, miniature Vladimir Lukich Borovikovsky was the most striking Russian-artist-sentimentalist. Book A.I. The Arkhangelsk "Borovikovsky" (3) tells about the main stages of creativity of this wonderful Russian artist, who was in Russian visual art by the expressive of sentimentalism. According to the author V. L. Borovikovsky - "The singer of a human person, seeking to give a person's ideal, which he also seemed to him and his contemporaries." He is the first among Russian portraitists revealed the beauty of emotional life. The prevailing place in the works of Borovikovsky occupy chamber portraits.
Borovikovsky becomes popular among the wide range of St. Petersburg nobility. The artist portraits entire family "clans" - Lopukhini, Tolstoy, Arseny, Gagarin, Bezborodko, who spread its fame through related channels. By this period of his life include portraits of Catherine II, its numerous grandchildren, Minister of Finance A.I. Vasilyeva and his wife. The artist's canvases are very elegant due to the graceful formulation of models, elegant gestures and skillful appeal to the costume. Heroes of Borovikovsky are usually inactive, most of the models are in exhausting their own sensitivity. This is also expressed by the portrait of M.I. Halfukhina (1797), and the portrait of the stupid (mid 1790s), and the image of the daughter of Ekaterina-II and A.G.Pothemkin - E.G.Mekina (1798) .
"The portrait of M.I. Halfukhina (IL.7) (5) belongs to that time, when the senimentalism is approved along with the domination of classicism. Attention to shades of individual temperament, the cult of solicienne-private existence act as a peculiar reaction to the normativity of the public in nature of classicism. Natural ease stems in an artistry-negligent gesture of a loop, a capricious and inapproprible tilt of the head, a very well-willed bend of the soft lips, a dreamy viewing of the view. "
Image M.I. Lopukhina captivates the audience with tender melancholyness, the unusual softness of the features of the face and inner harmony. This harmony is transferred to all artistic paintings: both by turning the head, and the expression of a woman's face, it is emphasized by individual poetic details, such as torn and already drooping on the stem roses. Harmony this is easy to catch in the singement of the smoothness of the lines, in the thoughtfulness and coented portrait of all parts.
Face M.I. Lopukhina, perhaps, far from the classic ideal of beauty, but it is executed by such an unspecified charm, such a spiritual charms that, near him, many classic beauties will seem cold and inanimate scheme. The captivating image of a gentle, melancholic and dreamy woman was transferred with great peace and love, with a striking persuasive revealing the artist her sincere world.
Pensive, languid, sad-dreaming, tender smile, free ease is a little tired posture; smooth, rhythmic falling down lines; soft, rounded shapes; White dress, lilac scarf and roses, blue belt, ash color, green foliage background and finally soft air haze, filling space - all this forms such a unity of all means of a pictorial expression, in which the image creation is fully revealed and deeper.
Portrait of a loop written on a scenery background. She stands in the garden, clinging to the old stone console. Nature, among which heroin retired, reminds the corner of the Landscape Park of the noble estate. It personifies the beautiful world full of natural charms and purity. Wallowing roses, lilies impose a light sadness, thinking about outgoing beauty. They echo with the mood of sadness, trepacy, melancholy, in which the Lopukhin is immersed. In the era of Sentimentalism, the artist especially attracts complex, transitional states of the inner world of man. Elegy dreaminess, languid tenderness permeate the entire artistic tissue of the work. The thoughtfulness and light smile of a loop gave her immersion in the world of their own feelings.
The whole composition permeate slow, fluid rhythms. Smooth bending of the figure, gently lowered hand brushes invas the clock branches of trees, white trunks birch, ears of rye. Unclear blurred contours create a feeling of light air media, transparent haze, in which "immersed" the figure of the model and the surrounding nature. The contour flowing in the figure is lost, then an arising in the form of a fine, flexible line - causes an antique statue contours in memory. Falling, converging or forming smooth breakfasts, the finest and spiritual features of the face - all this is already as it were, and not painting, but music. Gentle blue blue sky, muted chose of foliage, gold mines with bright splashes of cornflowers echo in color with pearl and white dress, blue belt and glittering decoration on hand. Lilac sharf invas the shades of fading roses.
In the portraits of Borovikovsky, "Lisanka and Dashenka" (Il.6) (3) 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.
Borovikovsky especially managed the images of "young maids" from noble families. Such "Portrait of Ekaterina Nikolaevna Arsenyeva" (4), 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.
F.S. Rokotov
Creativity F.S. Rockotova (1735-1808) is one of the most charming and difficult pages of our culture.
The front image was not for rokotov nor a favorite nor the most typical area of \u200b\u200bcreativity. His favorite genre is a prayer portrait, in which the artist's attention is concentrated on the life of a human face. Its composite scheme differed simplicity, somewhat bordering the monotony. At the same time, its portraits are inherent fine pictorial skills.
It was attracted by other picturesque tasks: the creation of chamber, intimate canvases, which would be reflected in the representation of the master about the sublime spiritual strict
Turning to the work of F.S. Rockotov, as an adherent of the chamber portrait, the authors note that this artist has an ideal beginning with the features of an individual appearance, along with the workshop of the features of the face, clothes, decorations portrayed, the artist knows how to identify spiritual qualities of the model.
In the Rokolovskiy characteristic of the image, the expressiveness of the eyes and Mimica is very important, and the artist does not seek a specific change in the mood, rather, he wants to create a feeling of eligibility, the successfulness of a person's senses is surprised by the tender, sophisticated beauty of the color scheme. Coloring, the basis of which three colors are usually taken, thanks to the transitions expresses the wealth and complexity of the internal life of portrayed. The artist peculiarly uses lightness, highlighting the face and, as it were, dissolving secondary parts.
Rocky portraits is a story in faces. Thanks to them, we have the opportunity to imagine the paintings for the long-lasting era.
In the late 1770s.
These features of Rokolovsky creativity are mostly manifested in women's portraits, which occupied a special place in the art of the XVIII century. At the time of his creative heyday, the painter creates a gallery of beautiful female images: A. P. Strujskaya (1772) (Il.13), V. E. Novosilseva. (Il.14)
The next female portrait "Unknown in a pink dress" written in the 1770s. It is considered one of the masterpieces of rokotov. The finest gradations of pink - from rich in the shadows, it is warm, light, create a flicker effect, fluttering the thinnest light-air medium, as if consonant with internal mental motion movements, hidden inequate in portraits of 18 V. A kind smile, translucent in the depths of view. This image is executed by special lyrical charm.
"The portrait of an unknown in a pink dress" is especially noteworthy. Openness of a person to another and the world implies intimacy, covered attention and interest, perhaps somewhere in condescension, a smile to herself, and then the burdens and greasiness, gust, performed by nobility - and this openness, confidence in another person and to the world as a whole - The properties of youth, youth especially in the era, when new ideals of good, beauty, humanity are in the air, as a blowjobs of spring. (http://www.renclassic.ru/ru/35/50/75/)
Portrait of an unknown young woman with thoughtfully rooted eyes, in a lung pink dress (unknown in pink), written by Fedor Stepanovich Rocky, attracts the fineness, sincere wealth. Rockots writes gently, air. Sevennamy, nothing to the end, transmits transparency of lace, soft mass of powdered hair, a bright face with shaded eyes.
F. Kotov "Portrait of A.P. String "(Il.13)
1772, canvas, oil, 59.8x47,5cm
Portrait of Alexandra Storeskaya, undoubtedly, the most brilliant image of a perfectly beautiful woman in all Russian portraitist. The charming young woman is depicted, full of captivating grace. Elegant facial oval, thin flying eyebrows, light blush and thoughtful, missing glance. In her eyes - pride and spiritual purity. Portrait written by overflows of color and light. Shadows are unpatched to light, ash-gray tones flow into blue, and pinkish - in pale-gold. Light overflows and color gradations are not palpable and create a light haze, perhaps some kind of riddles.
The legend of love rokotov to the draft, apparently insistently inspired by the special tone of the charm and luck of the artist's talent created her portrait. (Http://www.nearyou.ru/rokotov/1struiska.html)
Levitsky
In his chamber portraits, the objective attitude towards the model takes noticeably. The characteristic of individuality becomes more generalized, typical features are emphasized in it. Levitsky remains a great psychologist and a brilliant painter, but does not show his attitude to the model.
Sleepy smiles, too bright roshenet cheeks, one reception of folds. Therefore, the cheerful Baryna E.A. Bakunina (1782) and in German, and dry Dorothea Schmidt (beginning of the 1780s) become unprepared with each other.
Portrait of Ursula Mnishek (Il 12)
1782.g, canvas, oil,
State Tretyakov Gallery, Moscow
Portrait of Ursula Mnishek was written in the zenith skill and glory of the artist. Oval was rare in the portrait practice of D. G. Levitsky, but it was this form that he chose for the refined image of a secular beauty. With natural illusiveness, the master handed over the transparency of lace, the fragility of the atlas, gray powder of a fashionable high wig. The cheeks and cheeks are "burning" with the heat of an imposed cosmetic blush.
The face is written by the fused strokes, indistinguishable due to the transparent breathtaking lesters and the giving portrait a smooth-lacquered surface. On a dark background, bluish-gray, silver-ash and golden-pale tones are advocated.
Painted head turn and kindly-bored smile give the face a polite secular expression. A cold straight look seems to be evasive, hiding the inner "I" model. Her bright open eyes are thoughtfully hidden, but not mysterious. This woman in addition to the will causes admiration, as well as the master's virtuoso painting.
(http://www.nearyou.ru/levitsk/1mnishek.html)
Output:
Borovikovsky in its chamber portraits perfectly catches the immediacy of the model, its living charm and cheerfulness. Borovikovsky first among Russian portraitists revealed the beauty of emotional life. The artist's canvases are very elegant due to the graceful setting of models, elegant gestures and skillful appeal to the costume. Borovikovsky is usually inactive, most of the models are in exhausting their own sensitivity.
Created by Levitsky portraits of "intimate", chamber properties are marked by the depth and versatility of psychological characteristics, they are inherent in the large restraint of artistic agents.
In his chamber portraits, the objective attitude towards the model takes noticeably. The characteristic of individuality becomes more generalized, typical features are emphasized in it.
F.S. Rockies, adherent chamber portrait
A distinctive feature of rokotov is an increased interest in the inner world of man; In the portrait, the artist emphasizes the presence of a complex spiritual life, poeticing it, focuses on it the attention of the viewer, thus approving its value.
Wikipedia material - free encyclopedia
Diego Velasquez (?), Copy of the original Rubens, "Equestrian Portrait of Philip IV"
Parade portrait, representative portrait - The subtype of the portrait characteristic of court culture. Received special development during the period of developed absolutism. Its main task is not only the transfer of visual similarity, but also the exaltation of the Customer, the likelihood of the depicted person of the Deity (in the case of portraying a monarch) or a monarch (in the case of portraying an aristocrat).
Characteristic
As a rule, he intends to show a person in full growth (on a horse standing or sitting). In the parade portrait, the figure is usually given on an architectural or landscape background; Greater worker makes it close to the narrative picture, which implies not only impressive sizes, but also an individual figurative system.
The artist depicts the model, focusing the attention of the viewer on the social role of the depicted. Since the main role of the front portrait was ideological, it caused some single-laying characteristics: an underlined theatricality of the posture and enough magnificent entourage (columns, drapery, in the portrait of the monarch - regalia, symbols of power), which moved the spiritual properties of the model to the second plan. Nevertheless, in the best works of the genre, the model appears in an emphasized variant, which turns out to be very expressive.
The parade portrait is characterized by frank demonstration and the desire to "historize" the depicted. It affects a color gamut that is invariably, decorative and meets the coloristic features of the interior (although, depending on the style of the era, it changes, becoming local and bright in the baroque, softened and full halftone in Rococo, restrained in classicism).
Subtyps
Depending on the attributes, the main portrait happens:
- Coronation (less often there is a throne)
- Horseman
- In the form of a commander (military)
- The hunting portrait is adjacent to the parade, but maybe the chamber.
- Dewal - possesses the same concept as a parade portrait, but it usually has a belonging or generic slice and sufficiently developed accessories
Coronation portrait
The coronational portrait is a solemn image of the monarch "on the day of his coronation", joining the throne, in coronation regals (crown, mantle, with a scepter and power), usually in full growth (sometimes a sedentary throne portrait is found).
"The imperial portrait was thought of imprinted by the century most important state idea. A significant role in the demonstration of the incredit value of the present, sustainability of state power, etc. Played unchangeable forms. In this sense, a particular position occupied that The "coronation portrait", which assumes the image of the ruler with the attributes of power and claiming the same sacred constancy, as the Coronation Ceremony itself. Indeed, from Petrovsky time, when he was first crowned under the new rules of Catherine I, to the era of Catherine II, this type of portrait has undergone only small variations. Empress - Anna John, Elizabeth Petrovna, Catherine II - majestically tower over the world, causing in the silhouette by unshakable pyramid. The royal immobility is underlined by a heavy coronation apparel with mantle, the signs of which is equivalent to the crown, the scepter and the power, which is invariably accompanying the image of the self-container "