Sculptor Kozlovsky work. Meaning of Kozlovsky Mikhail Ivanovich in a brief biographical encyclopedia

Kozlovsky, Mikhail Ivanovich

Professor sculpture. Rod. October 26, 1753, mind. September 18, 1802 in St. Petersburg. The son of the "Gallery Fleet of Trubachevsky Masters", he was adopted at the Academy of Arts by Father on July 1, 1764, knowing the diploma and arithmetic, and in 1767, with the general distribution of students in the specialties, appointed to the class of sculpture, to prof. Housing. Introducing quick success in the arts, he fulfilled a statue in the plaster with Antikov "Flora Zenona", and "Venus Aux Belles Fesses", received, one after another, the medal: in 1770, May 3, 2 Silver for drawing From nature and July 30th, the 2nd Golden for execution under the Borderef Program "KN. Vladimir, waking up, rejects a strike applied to him by the Rogged"; In 1771, September 5, the 1st silver for the laying of the bas-relief for the task; In 1772, September 24th, - Again the 2nd golden for the fulfillment of the task, "the warriors want to kill the book. Iaslav Mstislavich on the field of Brahi, without learning it, but he keeps them, opening his helmet," and finally in 1773 -1-Yu Golden for the bas-relief "Date of Svyatoslav with the mother and children in Kiev on returning to the Danube", after which, by definition on May 20, was appointed a pensioner for 4 years in Rome, which was sent on July 30 in the English ship.

In his reports from Italy, Kozlovsky bombarded the Academy, which, arriving in Rome on January 10, 1774, he practiced in the modeling from nature, in the copyings of antiques in the French Academy (where he used the Soviets of Vienna), in the composition, in rice from the works of An. CarRachchi (in the Gallery of Farnesia), Domenicino, Raphael Urbino, as well as with anticans and from nature, finally, performed by their own round figures representing the "river in the form of a seated woman with the urn" (1775), "Month August" or "Summer" in the form of a young shepherd, "Jupiter, Lobzing Amur" (1776), and to top it all - the production of several etudes from the horse Mark Aureliya and from the works of Michel Angelo, for which he asked for a postponement of his stay in Rome for another year, for which The perception of the Journal Council of March 27, 1777 was followed by that year, he worked in the Capitolian gallery with a "dying fighter or gladiator", then - "Academy" and "Anatomy" from Nature, taken from him by many artists in Rome and which he sent In St. Petersburg in 1779; Heading to Paris, received on February 10, 1780 from the Marseille Academy of Painting, Sculpture and Architecture The title of Academician, and at home was recognized by the definition of the Academic Council of September 3, 1782, "appointed" in academician for Alabaster Figure "Jupiter with Garimist" . Five and a half years later, on January 15, 1788, the same council was determined that, since "they appointed from the Academy and the former pensioner of her in other people's states, the city of Kozlovsky departs now back to Paris for the worst acquisition of knowledge in his art." then the Council, "Knowing a good and honest behavior, and more conceived a celebrity, which artist with his own I have already acquired myself, making a statue of Her Imperial Majesty (Catherine II, 1787, now in the Academy), who has deserved the highest faithfulness , intends to entrust pensioners in Paris in Paris, giving him his particular special instruction. "

In Paris, where Kozlovsky arrived on August 20, he visited the Natural Class of the Academy, and he was given the right to enter it simultaneously with the professor, which gave him the opportunity to choose the best for drawing. In the capital of France, he found up to 10 Russian pensioners - painters, sculptors, engravers, but about many of them, director of the academy did not have any information, and they complained, in turn, that "were without any protection" and therefore could not start their work . Kozlovsky distributed them in different professors, and the Academic Council fully approved his order.

Almost a year (July 25, 1780) he brought the Academy from Paris that "here he refused to change the big - citizens took a weapon and contain the guard themselves and we are also forced, without taking any excuses, for which the pensioners of the Imperial Academy of Arts are extremely rapid because it stands to them every week-6 francs, and go to themselves, it would seem obscene with a gun in someone else's fatherland, for this reason I had a messenger for this reason, I didn't tell him that we had an IMPEATIC ACADEMY with that here it was sent here to us a rifle here wearing, and asked him to defend us, for which His Excellency did not give any decision and now we must fulfill that we will be ordered, and for the city you do not release anyone, letters printed; how it will end, no one knows; There is all the same here, so our pensioners can barely have urgent bread. " Notifying at the same time on the classes of pensioners, Kozlovsky, in conclusion, advised the Academy to keep the Academy in Paris to keep pensioners, and another year (July 4, Art. Art. 1790) notified that "the inspector cannot do the obligations of the inspector, because circumstances should remain in Paris do not allow him. "

Having fulfilled in 1791 from white marble to a natural value, the burning image on the Metropolitan Gabriel belt, the builder of the Trinity Cathedral in the Alexander Nevsky Lavra (is now in the Cathedral against Cathedral of St. Alexander Nevsky, for the picture "Annunciation"), and some other works , Kozlovsky appealed on August 22, 1784 in the Council of the Academy with a request, where, telling briefly about his constant zeal and success abroad, added at the end that "on my return, I tried to decide to Russia evenly by the wages of graceful arts and Having finally lived the happiness that many of my work became known to her imperial majesty and their imperial high grains, now, representing these (somehow: Fauna, Marcia, a polycrate, a girl with a butterfly) for the prudent judgment of the Imperial Academy of Arts, and I ask you to compare them With the works of other artists, to honor me for a certification, what kind of talents are you deserve. "

This request has affected and, by definition of a meeting of September 12, Kozlovsky was produced in academicians, and on October 21 of the same year, in a solemn meeting - in the younger professors.

The following year (March 22), Kozlovsky took the place of a member in the Academic Council, a little later after that (April 13), president of c. Musin Pushkin sent the following sentence to the Academy: "According to its confined to its imperial Majesty, the staff of the Academy should be, with each artist, to be two professors - a senior and younger, and how now the sculptural art is the salary alone, the professor of the elder, it is known from the experiments that it is known that Sculptor Professor and member of the Kozlovsky council from one diligence, without any time of a salary, put repeatedly in the model class of the model and had a look at the disciples, then ... Inc. Professor Kozlovsky to put in the Academy to the staff complaretment of the younger professor, consisting of 600 p . Godivago Oaklade, reacted by his watch and disposal of the focus of the Natural Class, "which was fulfilled by the definition of the Council of April 28.

In general c. Musin Pushkin patronized this artist; On September 9, 1796, he drove Catherine II cast out of copper at the Academy: a fashioned prof. The Kozlovsky group "Minerva with a genius" and "3 Eagle, and two marble lines", and Her Majesty has led the eagles with linings from himself, Mainer has commanded to put into the Academy, and on February 21, 1797, the president offered the Council to issue 500 rubles on February 21, 1797. At the expense of his salary (which he taught on January 12, 1796, he expressed a desire to reveal the artists, but at the exhibition of that year there was no works of artists who deserve encouragement), as a reward of prof. Kozlovsky for the group of Minervy, subcamed by Empress.

Continuing the service at the Academy, Kozlovsky was appointed on December 31, 1796 to the commission for describing paintings, marbles and toppers of the Imperial Hermitage, in 1797 he was executed from marble the Statue of Amur for the same museum; On July 27, 1799, he was elected a senior professor of sculpture in place of Martos, chosen in adjunct rectors; At the end of the same year, the approbation of his project of the monument to Suvorov at the Tsaritsyn meadow in St. Petersburg was awarded, and in May 1801, to fulfill it, received the rank of college adviser and rich tobacco; A year earlier, in April 1800, the state of the emperor was submitted by the President of the Academy of Arts. A. Stroganov Marble Statue "Channel with a lamb" of the work of Kozlovsky, and to Ohoy Porphyr Pedestal; September 1, 1802 g. Muravyov trained to the president on the highest command, for consideration, the petition of prof. Kostlovsky on the command to satisfy him for a marble statue representing "Himes", made in case of marriage of the Grand Duke Konstantin Pavlovich and the Hermitage. October 2, after the death of Kozlovsky, Leontyev notified the gr. Strogonova, that he is a decisive response to the end of the bas-relief, started late prof. Kozlovsky (for the building of the Medical and Surgical Academy), can not report, without learning before the will of the Minister of Internal Affairs, c. V.P. Kochubey, and for three days before that, the President proposed the Council of the Academy to give students a program for the construction of a tombstone's monument to the late professor (at the Smolensk Cemetery), as a result of which Chekalovsky sent GR. Strogonov on April 15, 1804. Two sculptural and one hand-drawn sketch of such a monument, for which Pensioners are demo-Malinovsky, Pimenov and Prokofiev and received three gold medals. In addition to the aforementioned works, Kozlovsky were fulfilled: the marble statue, the "vigor of Alexander the Great" (she represents the hero sitting on the bed in the nap and holding the ball in the right hand, ready to ride in the school), a colossal group of Samson with Lvom for Peterhof Garden and Decorations for The Tauride Palace, as well as bas-reliefs in the Marble Palace, depicting: "Return of Regula in Carthage" and "Camilla, Liming Rome from Galov."

The artistic critic of the first half of the XIX century, says that "each of the works of Kozlovsky detects an extraordinary ability in the author, a lot of feelings, imagination, an original look and workshop. But, despite these advantages, I must say that Kozlovsky, full of originality and genuine living talent, was a romantic of a kind. Examples of antiquity and monuments of classical art were not for him an exceptional model of perfection: here it should be said to honor that he was still in the outcome of the past century, he understood the conventionality of graceful ancients. This was led to Kozlovsky in the artistic library The admission degeneration is considered to be an art where the expression of the feeling replaces the expression of the character, where the ferventness and playfulness of the imagination are called creativity. But on this road, where the other would certainly be quite, that is, it would be a pathetic and rude mannerist, Kozlovsky retained his dignity: works it does not have the perfect perfection and beauty of AntiCH Oh, differ in the naturalness of the character and free simplicity of the imitation of nature. "

Kozlovsky issued the best of his drawings in the form of a book (part of the sculptures filled with them), engraved with strong vodka and lavais; Some of them are the name of Engraver Korsakov, others - without the name of the master. Only 42 non-numbered engravings on 24 sheets, including the "Banya" ascribes to him, where women wash together with men.

The cases of the archive I. A. X. 1774-1800; "Mother Collection. For the history of I. A. Kh., P. N. Petrova, and" Pointer to Him ", A. E. Yundolov; "Monasons in 1840," p. 177; D. Rovinsky "Detailed Dictionary Russian. Engravers", 1894, t. I; Nagler "Künstler-lex.", VII.

N. Sobko.

(Polovtsov)

Kozlovsky Mikhail Ivanovich

One of the best Russian sculptors got upbringing in St. Petersburg. Academy of Arts, in which his nearest mentor was Professor Zhilla. At the end of the course in 1772, he was sent to other regions, he worked in Rome and Paris and, returning to Russia in 1782, for the Jupiter group with Garimist, wung abroad, was recognized as appointed in academician. In 1788-97. He was again in Paris, where he was instructed to supervise the pensioners sent there by the Academy of Arts. In 1794, an academician, as an artist, who had already proven his talent and knowledge of the preceding work, and after those who were increased and the rank of professor. From 1794, until the end of his life, he taught a sculpture at the Academy. Died in 1802

From his works, to a strong degree of reference to the direction of French breeding of the late XVIII century, the most famous are: the monument to the Suvorov commander, in a Tsaritsyn meadow, in St. Petersburg, the colossal statue of Samson, torn in the mouth of the lion, "decorating the main Peterhof fountain, marble statues:" Sitting Girl "(in the Winter Palace) and" Amur, takes out the arrow from his quiver "(in the Imperial Hermitage)," Himes ", performed on the occasion of the marriage of Cesarevich Konstantin Pavlovich, a male figure for studying human anatomy (écorché) and bas-reliefs:" Regulatory return In Carthage "and" Camill, delivering Rome from Galov "(both in the marble palace, in St. Petersburg).

A. S-in.

(Brockauz)

Kozlovsky, Mikhail Ivanovich

nice sculptor; Pupil of the Academy of Arts and Professor Sculpture. Rod. 26 Oct. 1733, mind. 16 Saint. 1802.

Kozlovsky published the best of his drawings in the form of a book (part of the sculptures fulfilled by it), which are stamped with a hard water and lavais. Some numbers are the name of Engraver Korsakov; Others without behalf.

This book consists of 42 engravings, printed on 24 sheets of large format, without a title sheet and without text and table of contents; Engravings are not ammounted. Among their number 17, the Russian bath, according to the certificate of E.I. Makovsky and Tropinin, engraved by Kozlovsky himself; It seems to be engraved and many other pictures of the same publication.

1. "The thoughts of Socrates on the immortality of the soul, - Proekt of the monument of the monument." Lavis engraved. 16.10½ x 114.

2. "Diogen in a public disgusting of human defects; S.M. Kozlovskaya. 12.5 x 17.7½. Engraged strong vodka. On the second prints, the inscription fixed and delivered: "place."

3. "Merop delighted with the Son from Tyrop; Op. M. Kozlovskaya"; etching; 15.47, x 21.2.

4. Solomon court; Outlock: "Oh. M. Kozlovskaya." 9.6 x 15.6½.

5. "Christ is twelve in the Church of Holy Saints; etching;" op. M. Kozlovskaya. "4.10½ x 18.7½.

6. "Travel Gallatei; cit. M. Kozlovskaya"; etching. 5.61 x 19.1½.

7. "Appelles Painter choose the best model for the image of its Venus; S.M. Kozlovskaya"; etching; 13.61 x 18.8.

8. "Muitions of Khutsella in front of a portrait; cit. M. Kozlovskaya"; etching; 15.81 x 14.9.

9. God talks with Peter and Paul; etching; Op. M. Kozlovskaya. 6.11 x 5.9.

10. Virtuous Roman; Ohform: "From the picture of Kozlovsky. Circled by A. Korsakov." 7.8½ x 6.7½.

11. "Bakhusovo Festival; Op. M. Kozlovskaya"; etching; 11.2 x 23.4.

12. "Ideal sacrifice"; Grav strong vodka and aquatility; 11½ x 23.10.

13. Argus: "Oh. M. Kozlovskaya." 4.31 x 3.11. Etching.

14. Camel: "Oh. M. Kozlovsky" 4½ x 5.8. Etching.

15. Tezie kills boar; "S.M. Kozlovskaya"; 9.6 x 7.3½. Etching.

16. Hercules kills Lion: "S.M. Kozlovskaya"; 9.5½ x 7.4½. Etching.

17. "Russian Bath; Oh: M. Kozlovskaya." 14.9 x 31.1.

18. Teaching of Midicina; Large engraving on two boards, grow. Strong vodka and aquatine: "Oh. M. Kozlovskaya" 9.5 x 41.5½.

19. "Evangelist; Op. M. Kozlovskaya"; 3.97, x 5.7. Etching.

20. "Bictitis of phylosov; S.M. Kozlovskaya"; etching; 4.5 x 3.10½.

21. "Bakhusovo journey. From the figure of the city of Kozlovsky. Drawn A. Korsakov." 9.1011 x 13.4½. Etching.

22. "Young Tviya is a fascinating father of his Tudita; cit. M. Kozlovskaya." 5.1 x 5.5½. Etching.

23. "Abraham Isaac brings to sacrifice; S.M. Kozlovskaya." 4.2 x 5.4. Etching.

24. "Ancient marriages. From the figure of G. Kozlovsky. Recubs A. Korsakov"; Grav kr. vodka; 9 x 14.4.

25. "From Tasz Clorinda. S.M. Kozlovskaya." 7.1 x 8.8. Gravir. Strong vodka.

26. "Dynon is burned. S.M. Kozlovskaya"; 5.11 x 8.5½. The etching passed by a cutter.

27. "Artemiz mourns his spouse. S.M. Kozlovskaya." 6.3 x 8.3. Etching, cutter.

28. "Abduction of Europe. S.M. Kozlovskaya." 5.9 x 8.7½. Grav Strong vodka and a cutter.

29. Performers: 1) with a shot and rams; 2) with a tray on the shoulder; 3) with a basket, with mushrooms; on the head; 4) with pancakes on a plate. Outlock: "Oh. M. Kozlovskaya." 6.6 x 14.8.

30. Performers are three women's trafficking figures and one men's, with a game. Outlock: "Oh. M. Kozlovskaya." 7.8 x 14.8.

31. "Ajax carries the body of Patrolovo. Cit. M. Kozlovskaya." Etching. 5.3 x 5.10.

32. Venus with Amur: "S.M. Kozlovskago". Etching. 4.9 x 5.11½.

33. "Vulcanovo journey; cit. M. Kozlovskaya." 8.4 x 14.31. Etching.

34. "Veniamin in Egypt; S.M. Kozlovskaya"; 6.6 x 9.6½. Etching.

35. "Centaurus kidnaps the mistress y Hercules; cit. M. Kozlovskaya." 9.2 x 6.9. Grav crepe. Vodka and a cutter.

36. "Abraham brings to the sacrifice of his Isaac; Op. M. Kozlovskaya; crepe. Substitute and cutter. 8.9 x 8.

37. "The tombstone of the late Melicin; S.M. Kozlovskaya." 6.7 x 7.6. Etching.

38. "Plato and Aristotle; S.M. Kozlovskaya"; 6.2 x 5.6½. Etching.

39. "Children's dance; S.M. Kozlovskaya"; 6.101 x 13.8. Etching.

40. Musicians - Two men's figures playing Volyn and Dudka, one of them is asked; Ofort: "S.M. Kozlovskaya." 5.2 x 5.10.

41. "Hercules kills Antea; S.M. Kozlovskaya"; etching. 6.21 x 5.51.

42. "Scipion dismisses a captive. Op. M. Kozlovskaya"; etching. 8.1 x 11.5½. 1st state of the board to signatures.

(Rovinsky)

Kozlovsky, Mikhail Ivanovich

the famous sculptor, pupil., Pensioner and Professor I. A. X., r. October 26, 1753 † 1802 on September 16.

(Polovtsov)

Large biographical encyclopedia. 2009 .

Watch what is "Kozlovsky, Mikhail Ivanovich" in other dictionaries:

- (1753 1802), Russian sculptor. Representative of classicism. He studied in St. Petersburg Ah (1764 73) in N. F. Zhilla; The professor in the same place (from 1794), among students S. S. Pimenov, V. I. Demoum Malinovsky. Pensioner Ah in Rome (1774 79) and Paris (1779 ... ... Artistic Encyclopedia.

Russian sculptor. Son of the fleet trumpeter. He studied in St. Petersburg Ah (1764-73) at N. F. Zhillya A. P. Losenko, was a pensioner ah - in Rome (in 1774-79) and Paris (in 1779-80), where he also worked in ... ... ... Great Soviet Encyclopedia

Kozlovsky Mikhail Ivanovich - (1753-1802), sculptor; Representative of classicism. Studied in ah (1764-73), academician from 1794; He taught there (from 1794). Pensioner AH in Rome (1774-79) and Paris (1779-80). Master of monumental decorative and machine plastic, ... ... Encyclopedic Directory "St. Petersburg"

Mikhail Ivanovich Kozlovsky (1753 - 1802)

M.I. Kozlovsky died before all his famous contemporaries - sculptors, but before the other was formed as a master of classicism.

Mikhail Ivanovich Kozlovsky was born in the family of a regimental musician, - as reported by the researcher. At twinn't aged, the future sculptor entered the Academy of Arts (Karpova E.V. Sculptor Mikhail Kozlovsky / Almanac. Issue 180. - SPb.: Palace Editions, 2007. - S.5. Russian Museum represents). He studied at Nicolas Zhilly, about which we have already spoken, and in the process of learning, gold and silver medals received. Upon completion of education in 1773, he was sent by a pensioner to Italy, from where after the six-year stay went to Paris. Upon returning to St. Petersburg, M.I. Kozlovsky was brought to participate in work on decorative - monumental works, decorated with architectural monuments of the capital and park ensembles near St. Petersburg. He was the author of the famous Samson sculpture, a defeating lion, in the ensemble of Peterhof, participated in the creation of the decorative decoration of the marble and Chesmensky palaces, the temple of the friendship of the royal village.

Polycrate. Bronze. 1790.We present the works of Kozlovsky, made in the late 1780s. In the center of the hall we see the statue of the "Polycrat", the plan of which originated at the sculptor during the period of life in Paris. If you remember that at this time it happened in France, the choice of the theme filled with tragic and philosophical meaning will be clear. It was the time of revolution, the time of executions, bloodshed. On July 14, 1789, Bastilly was taken - prison, personified the old regime. The authorities even demanded from Russian artists-pensioners to take up the weapons and join the rebel, what Kozlovsky, as the most brave and active, replied: ".... Nas The Imperial Academy did not send it here, so that the gun goes here." (Karpova E.V. Decree. The book, from 17.) The plot of sculptures are taken from the history of ancient Greece. Polycrat - the rule of samos island. He was very rich and lucky in all his affairs. Winned enemies, lived in luxury. But he understood - and this corresponded to the Greek philosophy - that a person cannot be equal to the gods that everything should be paid. Otherwise, the gods can send misfortune. And the polycrat decided to draw the gods. He came up with to send them the most important treasure - a precious ring. How to send a gift to the gods? The polycrate threw the ring to the sea. But it happened so that the next day the cook was clearly caught by the caught fish and discovered the ring in it. The polycrate realized that the gods did not accept his gift. Soon the war began with the Persians, and the polycrate was treacherously issued by enemies. He was cruelly executed - crucified on the tree. This moment shows the sculptor. On the trunk of a tree we see the inscription in Greek, in translation meaning: "No one is happy, while alive." German Poet Friedrich Schiller wrote a poem on this theme "Polycrats Runs", known for us in the translation of Vasily Andreevich Zhukovsky.

Sculpture is shown in a complex reversal, it must be circumvented to get a complete impression. The polycrate seeks to free themselves, the muscles of the body and the left hand are strongly tense, but the sufferer face and the powerless lowered right hand say that the hero's strength is dried. In the composition of the figure we see the legacy of Baroque.

For inspection of the following statues, we should go to the lobby. Vigil Alexander Macedonsky

The name of Alexander Macedonsky and glory passed through the century. He lived only thirty-three years old, he headed the state and the army at the age of 20, and in a long time, which he led to the peoples of the Mediterranean, Egypt, Persia and India, did not suffer a single defeat. In the process of wars, Alexander founded several cities called him name. One of them lived to this day is Alexandria in Egypt. The image of Alexander Macedonsky attracted poets, writers, artists, sculptors. Not left indifferent to this, as we say, the romantic hero, and our M.I. Kozlovsky.

Alexander (356-323 G.D. N.E.) - Son of the Macedonian king Philipp II. From the literature, various stories from his youth, who speak his mind and courage, for example, he was able to tame a wild and evil horse, which was not given to anyone. Alexander teacher was the famous Greek philosopher Aristotle. It is known that Alexander and adolescent age prepared himself to military fences. For example, he forced himself not to sleep. To this end, a vessel was supplied near his bed, and in his hand, Alexander held a ball (made of metal or marble). It was alarm clock. When the young man fell asleep, the ball fell with a ringing in the vessel, and wake him. Here is this plot and chose a sculptor for his work.

Young Tsarevich is represented by the beautiful young men, the entire appearance of which is made on the basis of ancient statues. It relies on the hand, in half aid, and his posture is emphasized here the prevailing point of view here. But still, in order to carefully discern the sculpture, we must consider it from different sides. Alexander sits on the bed, among military attributes: we see a helmet, Quiver with arrows, shield on the pedestal and split scroll - this is a manuscript of the poem of Homer "Iliad", whose character - Achille - was a favorite hero of Alexander. Consider a pedestal. On the shield is depicted by a centaution (receiving, half losses), which raises the hero of Achilla. As the researcher notes the work of A.G. Sechin, upbringing is the meaning of this sculpture. (A.G.Schin. On the question of the plot of the statue of M.I. Kozlovsky "Vigil of Alexander Macedonsky" // Pages of the history of domestic art. XVI-XIX century. V. - SPb.: State Russian Museum. 1999. - With .62-68). It can be emphasized that both the allegory, and the idea of \u200b\u200bmoral education, self-improvement, and the artistic solution of sculptures are characteristic of classicism. Kozlovsky quickly learned the main provisions of this style, which we see and on the example of this work, and on others performed in the 1790s.

Catherine II as a femis

This statue in an allegorical form glorifies Catherine II. Themis is the goddess of justice in ancient Greece. Empress Ekaterina II, German Princess Sofia Augustus Frederick Anhalt-Crebst (1729-1796) is known as Catherine Great. Peter III's wife, killed by Guardsmen in 1762, the mother of Emperor Paul I killed by court in 1801, grandmother who loving his grandchildren, two of whom reign - Alexander I and Nikolai I, writer, author of the play and fairy tales. Missed "Okaz" - a set of laws. Sculptor E.M. Falcone, at her invitation came to Russia, created a world-famous monument "Copper Horseman" here. Catherine has always surrounded by people outstanding, smart and talented. She led an interesting correspondence with French philosophers. For example, correspondence with the most influential and famous writer and philosopher Volter is several volumes. Catherine bought a library of Voltaire for Russia, made a note on the fields of books, not yet studied by researchers, and the library of the writer Denis Didro, who even visited Petersburg and talked with the Empress. Catherine II has greatly enriched the Hermitage Meeting of the Purchase of Art Collections. With it, Russia led victorious wars, the commander - Potemkin, Suvorov, Rumyantsev-Zadunay, - glorified the Russian army, was conquered by Crimea. Catherine left memories.

The empress is depicted on the throne in a magnitude pose, which is emphasized by the falling folds of clothing. With the right hand, it relies on the pole, where the scales lie - the symbol of justice - and sticks to them, and the left, as if crossing the figure of the empress, points to the sword, wrapped by a scroll. What does this symbol mean? The sword always symbolizes the war. But here it wrapped his manuscript, a scroll of laws. So, the war ended, the world came, and it was time to quietly fulfill the laws. The idea of \u200b\u200bsculpture, expressed allegorically, calls for peace and moral duty; A deciduous solution - a facade point of view, generalized, deprived of fragments of the appearance of the empress - indicates the sculptor of the classic performance of the monument.

In addition to the majestic and heroic plots of Kozlovsky attracted idyllic motifs where you can show peace, harmony, carelessness. Such is perceived by the "Amur" standing here.

Amur (Cupid in the image of harpocrat)

Who is such Aurur know everything. But who is such a harpokrat? So called the Egyptian god of the mountain. He was depicted in the form of a baby with a finger at the mouth. This image symbolized silence. In the Hellenistic, the Greek-Roman Epoch of Amur in the image of the garple was considered the God of silence. (Mythological Dictionary / Sost. M. N.Batvinnik and others. - L. Stud. - Peda. Publishing House, 1959. - P. 43.) You can say that this is a real classic sculpture. Hymen

God is marriage in the ancient Greeks and Romans. The sculpture was made in connection with the marriage of the Grand Duke Konstantin Pavlovich and the Great Princess Anna Fedorovna (Yulia Henrietta Ulriki, Princess Saxen-Koburgsoy). There are attributes of wedding celebrations - a shield with portraits of the bride and groom, stitching doves, joined hands, flowers and horn of abundance.
The "Girl with a Butterfly" belongs to calm and carefree images.

Yakov Dolgoruky, Blowing Tsarsky Decree

Prince Yakov Fedorovich Dolgoruky (1659 - 1720) was the companion of Peter I. participated in the military campaigns of Peter. He was a senator and headed the military commissariat. From 1717 he was appointed president of the Audit College. He was known to justice, integrity, directive judgments and fearlessness. Yakov Dolgoruky was not afraid to contradict the Peter himself, if he did not agree with him. Once there happened an event that served as the topic for sculpture. Senators signed a decree, "according to which the Novgorod and St. Petersburg province, and without the broken war, were obliged to send the peasants to the ruin of the Ladoga Canal." (Karpova E.V. Sculptor Mikhail Kozlovsky. / Almanac. Issue 180. - SPb.: Palace Editions, 2007. - p.47. Russian Museum represents). Yakov Dolgorukhae said that the peasants are already burdened by the war and defeats, and should not send them to new works. And he ruined the royal decree. Peter was angry, and then realized that the Dolgoruk was right. Not everyone would have managed to do this! The figure of the hero is given in a lung turn, which does not violate the front point of perception. In his hand, he has a torch - the symbol of truth. At the feet - snake and mask. Snake - an evil symbol, a mask - a symbol of hypocrisy. Allegory means that the hero tramples hypocrisy and evil in the name of the truth celebration. On the post lay a decree in an expanded form, the inscription in French reads: "Decree of the emperor, burdened for a ruined country" (Karpova E.V. ibid). Here they also have scales symbolizing justice. High humanistic, moral idea of \u200b\u200bsculpture corresponded to classic ideals. Artistic execution also answered the canons of classicism. Kozlovsky does not show a historically loyal suit of the hero, he is dressed in Roman tog and boots. Faced face idealized by lush curls.

The monument to Alexander Vasilyevich Suvorov became the most famous and recent work of the sculptor early from the life of the sculptor.
Reduced repetition of the monument A.V. Suvorov installed in St. Petersburg in 1801. Bronze, granite. 1801.Kozlovsky worked on this monument in 1799 - 1801, having started him as soon as the glory about the campaign of the Army Suvorov through the Swiss Alps reached St. Petersburg. Alexander Vasilyevich Suvorov (1730 - 1800) - the great Russian commander, the world famous, who did not know a single defeat. The monument was ordered to Kozlovsky Emperor Paul I. In accordance with the aesthetics of that time and canons of classicism, the sculptor created not a portrait of Suvorov, but his monument to his victories. Suvorov turned seventy years, and he, returned from the most famous Italian and Swiss campaigns, was sick and soon died. The commander is represented in the image of the god of war, on it helmet and lats, in his hand raised, he strongly holds the sword. The shield of the commander covers the papal tiara (the headdress of the Roman Pope), and the crown of the Sardinian and Neapolitan kingdoms. Symbolism means that the Russian army under the leadership of Suvorov led victorious wars in these lands. Suvorov is represented in a heroic position, with a proudly raised head, its cloak lies with dynamic folds, as if he was heated by the wind. On the granite pedestal, we read the inscription: "Prince ITALIK Count Suvorov-Ramnica." Suvorov received these titles for his brilliant victories - in the Russian-Turkish war on the River Rimnik in 1787 - 1791 and above the troops of the young then General Napoleon in 1799, although he did not have to fight with Napoleon himself. Fearless Commissioner also received the title of Generalissimus. This sculpture presents a generalized monument to the commander and his victories that glorified the Russian army. In the creation of the pedestal, the young architect A.N. Voronichin, Future builder of the Kazan Cathedral, and sculptor F.G. Gordeev, about which we have already spoken. The bronze bas-relief with the inscription falls two winged geniuses - allegorical figures denoting peace and glory. The monument was opened on May 5, 1801, a year after the death of the commander. Contemporaries spoke about him: "Suvorov was a miracle of our century. He shone the greatness of the soul and the simplicity of good morals. " (A.V. Svorov. Letters. // Edition prepared V.S. Lopatin. - M.: Science, 1987. - P. 747).

It can be recalled that during the Great Patriotic War, this monument, like Kutuzov and Barclay de Tolly, was left open. He inspired fighters, recalling the exploits of Russian soldiers. The troops salted him, leaving the front.

Pictures of the first Russian artists of the Academy are placed in the same hall. We have already mentioned this educational institution, but we will talk a few more details. The idea of \u200b\u200bcreating in Russia the Academy of Arts was held by Peter the Great in his youth. But the implementation of it was prevented by war. In the famous office from the buildings operating since 1706 and the construction of a new capital, St. Petersburg, worked masters of decorative art. The world with the Swedes was concluded in 1721, and already in the next, 1722, the emperor began to create a large Scientific Center with the Academy of Sciences, the University, Gymnazia and the Academy of Arts. The Academy of Sciences was founded in 1724, and was opened in 1725 after the death of the Great Tsar. He died on January 28, 1725. At the Academy of Sciences operated the picturesque, sculptural and architectural department, where they were taught mainly foreign masters. Empress Elizabeth Petrovna transformed this department to the Academy of Arts.

It happened like this: Camger, a friend of the Empress, an educated man of his time Ivan Ivanovich Shuvalov, about which we have already mentioned, cared for artistic education in Russia. In 1757, he filed a project to create the Academy of Arts in the Senate. Elizabeth Petrovna approved the project. So the daughter of Peter the Great fulfilled his father's dream. Soon the construction of the building of the Academy of Arts on Vasilyevsky Island began. In Western European countries - Austria, Italy, France and others, the Academy of Arts has already worked and there were ideas, certain canons and image rules. We have already talked about them. In the process of examining paintings, repeat again.

Share.

Early, revealed from the boy's ability to draw the drawing to give him in 1763 to the Academy of Arts.

Here he was defined in the cultural class, in which N. Zhillae - Fr. Ankazian artist, an educator of many talented sculptors of that time.

In addition to the modeling, which Kozlovsky was seriously engaged, the drawing was great and sincere hobbies. Therefore, when choosing a specialty, he fluctuated for a long time, not knowing what to give preference: painting or sculpture.

In 1772, Kozlovsky was awarded the gold medal of the 1st degree for the program bas-relief "Prince Izyaslav on the Brani field" (Gypsum, Research Museum of the Academy of Arts of the USSR).

The sculptor appealed to the topic of domestic history. Kozlovsky managed to create a dynamic scene: the poses of the heroes are full of expression, their gestures are exaggeratedly patter. The artist has not yet come to strict conciseness and restraint, which will be characteristic of the mature period of his creativity.

Having received a large gold medal for the diploma work "The Return of Svyatoslav with the Danube" (1773), Kozlovsky finishes academician of art. To continue education, it goes to Italy. Acquaintance with the works of antiquity, deep studyantiquity monuments and cloths of artists of the Renaissance enrich His creativity are expanding the horizons.

Unfortunately, from Roman works, except for several drawings made with a huge temperament and perfection, nothing has come to us.

Apollo

In 1780, the Marseille Academy of Arts assigns the title of academician. This is a certificate of popularity of his works abroad. Returning to his homeland, Kozlovsky performs numerous work on the decoration of architectural monuments.

He performs bas-reliefs for the concert hall in the royal village (Architect D. Roserengi) and for the Marble Palace in St. Petersburg (architect A. Rinaldi). At the same time, he performed the marble statue of Catherine II, presenting it in the form of Minerva (1785, MRM). The artist creates an idealized, full of greatness, the image of empress-legislation. The statue liked Catherine, and Kozlovsky received permission to travel to Paris "to acquire knowledge in his art."

Hymen

In 1790, in Paris, the sculptor performed the Statue "Polycrat" (MRM). The theme of human desire for freedom, expressed in the work, was consonant with revolutionary events in France, whose witness was Kozlovsky.

Polycrate. Gypsum. 1790. Russian Museum.

The master portrayed the most busy moment of suffering from a polycrate, chained to the tree to the tree. Never another sculptor reached such expression, drama, strength in the expression of complex human feelings and such a formation of a plastic solution. This helped him great knowledge of anatomy, work from nature.

In 1794, Kozlovsky was awarded the title of academician, then "in respect of his diving" was appointed a professor, and in 1797 he was a senior professor.

The role of him as a teacher of the Academy is extremely high. Excellent draftsman, sensitive, attentive teacher, he gained universal respect and love. From his workshop, a whole Pleiad of young talented sculptors was published: S. Pimenov, I. Terebanev,V. Demoust-Malinovsky and others.

Minerva and genius of art.

The end of the 80-90 years of the XVIII century is the heyday of the sculptor talent.

The topics of heroic sound, full of high patriotic pathos, in this period they attract the artist.

In 1797, he carries the statue of the "Yakov Dolgoruky, Blowing Tsarsky Decree" in marble. It is significant that the artist turned to the topics of Russian history, the events of the recent past.

"Yakov Dolgoruky, Blowing Tsarsky Decree." Marble. 1797. Russian Museum.

He was attracted by the image of the companion of Peter, who was not afraid in the presence of the emperor to break the signed by the king of an unfair decree, imposing unbearable on the ruined peasants. The figure of Dolgoruky is determined, hardness. His face is angry, sternly. In the right hand torch, in the left - scales of justice; At the feet - a dead snake and mask, personifying cunning and pretense.

Kozlovsky turns to the plots of the Homerovsky epic, Roman history. A large place in his work occupies work on the way Alexander Macedonian (1780E, MRM).

In the statue of "Alexander Macedon", the sculptor captured one of the episodes of raising will with the future commander. The beauty and perfection of the figure, flexibility and smoothness of the junior body movements are attractive. Silhouette of a statue, characterized by clarity and expressive contours.

Vigil Alexander Macedonsky.

A number of sculptural and graphic sketches created a number of sculptural and graphic sketches. Among them are the most successful marble statuette "Ajax protects the body of the Patrole" (1796, timing), the theme of which - the male friendship is transmitted in the intense movement of the figure of Ajax, in a wide step, in an energetic turn. The contrast of the dead motion of the downgraded body of Patrole and strong muscular Ajax gives the stage drama.

Almost all the works of the Kozlovsky recent years are penetrated by the heroic pathos, the spirit of the courageous struggle. In the bronze group "Hercules on horseback" (1799, MRM), the idea of \u200b\u200bvictoriousness of Hopes Suvorov is symbolically expressed.

The artist presented a commander in the form of a young man Hercules, galloping on horseback. His figure is very vitality and real. This group in a certain extent was the preparatory stage in the artist on the largest, largest work - a monument to the great Russian commander A. V. Suvorov.

Hercules on horseback

The Kozlovsky began with a huge hobby in 1799 to the creation of a monument. The sketches preserved in the Russian Museum indicate long and complex composite searches, infinite changes in solving the image.

Only in the latest options, the artist came to the thought of submitting Suvorov "God of War" with a sword and a shield in his hands. For the glorification of the strength and courage of the Russian commander, Kozlovsky turned to an allegorical form, creating an idealized generic image of a warrior. There are no specific features of Suvorov's personality. The main idea, expressed by the artist in the monument, is to show the brave, determination, unshakable will of the commander. The knight is depicted in an energetic, but restrained movement. He rapidly, easily takes a step forward. High, as if for a blow, a hand with a sword is listed. He covers the crown and papal tiara. Sharply turned towards the head. In the open, young, the pride of the face is the expression of calm courage.

The frontal decision of the statue is characterized by solemnity, calm, monumental clarity. When looking at the right, the warrior movement in the offensive impulse; The viewer looking at the monument on the left side, clearer feels emphasized hardness, confident power of the shape. The pedestal designed by Kozlovsky with the participation of L. N. Voronikhina is harmoniously connected with the plastic solution.

monument to Suvorov

The massive, rhythmicly dissected form is contrasted contrasted with a light and graceful figure of the hero. The monument was solemnly opened on May 5, 1801 and installed in the depths of Marsov fields near the engineering castle. Only in 1820, due to the reconstruction of buildings on the Marsfield.

Monument to Suvorov - the top of the creativity of the sculptor. His appearance was the largest event in the russian life of Russia. From it begins the history of the Russian monumental sculpture of the XIX century.

Another outstanding work of Kozlovsky, the best decoration of Peterhof Cascades was "Samson" - the central statue of the sculptural ensemble, in the creation of which the best Russian winds of F. I. Shubin, I. P. Martos, F. F. Shchedrin, F. G. Gordeev, etc.

But, perhaps, the very significant role was the role of Kozlovsky, the work of which composedly completed and united the sculptural complex of a large cascade. The artist again appealed to the symbolic decision. Bogatyr Samson personifies Russia, and Leo is a defeated Sweden. The powerful figure of Samson is given by the artist in a complex reversal, in a tense movement.

SAMSON, bursting

Samson Kozlovsky is one of the most prominent works of decorative sculpture. The ensemble of Peterhof fountains, destroyed by the fascists during the Great Patriotic War, is now restored.

The last works of Kozlovsky were the gravestone monuments of P. I. Melissino (1800) and S. A. Stroganova (1802, "Necropolis of the 18th century", the Leningrad Museum of the City Sculpture), performed by the heartfelt sense of grief.

The life of the sculptor broke into his talent itself.

Amur with an arrow

Genius. Pavlovsky Palace

Psyche

Ajax protects the body of the Patrole

Mikhail Ivanovich Kozlovsky is one of the founders of Russian classicism.

Gifted with a variety of talents and a rapid creative temperament, it is more known as an outstanding sculptor. It is unlikely that some of his contemporaries managed with such skill to express the epoch of the great wars and a high lift of Russian public thought. His works, whether they are connected with the heroic of antiquity, or the glorious past Russia, embodied the ideas of living modernity. Using the language of the allegory, the sculptor invariably nominates the topic of protest, struggle and suffering. According to the strength of the tragic sound, the work of Kozlovsky echoes the poetry of Derzhavin. Organic proximity binds its sculpture with the works of ancient masters. The world of ideas and images, courageous plastic of heroes, contemplating, suffering, struggling, akin to the creations of the Great Michelangelo.

Like most artists of the XVIII century, Kozlovsky came out of a democratic environment. He was born in St. Petersburg on October 26, 1753 in the family of a military trumpeter. Father served in the Baltic Gallery Fleet, in Unter-Officer Rain. The family lived on the outskirts of the capital in the Admiralty Gallery Harbor. In 1764, as of his father, the eleven-year-old Michael, trained in Russian diploma and arithmetic, was taken among the pupils of the Academy of Arts. Three years later, a talented student was distributed to the sculpture class to Professor Nicola Hilla. The years of studying Mikhail Kozlovsky coincided with the period of ripening classicism in European painting, sculpture and architecture. The cornerstone of the aesthetics of classicism is the idea of \u200b\u200bimitating the masters of ancient Greece and Rome. The main features of the theory of classicism are torn to the rationalist and metaphysical dogma of the European, mostly German and French philosophy of enlightenment. From 1774 to 1779, Kozlovsky held a retired academy in Rome. In 1779, he went to Marseille and from there to Paris. In February 1780, the Marseille Academy of Arts honored his rank of academician. Pensioners of Kozlovsky talk about how carefully he studied the ancient monuments, penetrating deeply into the essence of the theory of classicism. He was as closely attentive in the work of the masters of the New Time. His enthusiastic review of Michelangelo's "terrible court" has been preserved. The great master of the Renaissance, unfortunately, was underestimated by the artists of the 18th century, but Kozlovsky saw kinship with his own creativity and temperament in his "terrible dressing and art." 1

Kozlovsky returned to St. Petersburg in 1780, a mature master and immediately took a prominent place in the Russian artistic environment. He quickly entered the circle of advanced noble intelligentsia. His first work in the homeland argued the virtues and the immortal glory of great people who earned the gratitude of the Fatherland. Examples of civil values \u200b\u200band love for the Motherland Kozlovsky embodied in historical bas-reliefs, graphic compositions, sculpture. The most famous works of Kozlovsky - Monument A.V. Suvorov at the Marsfield in St. Petersburg and holding a central place in the plan of the ensemble of a large cascade in Peterhof, the sculptural group "Samson, bursting a mouth of the lion."

The Russian Museum presents the classical statues of Mikhail Kozlovsky. Consider four of them - sophisticated, sharp, alive, solid, logically clear - images of ancient heroes.

1780s G.G.

The statue of the "Vigor of Alexander Macedonsky was performed by Kozlovsky in the second half of the 1780s. Probably the customer was Favorite Catherine II Potemkin. He wished to portray the future "king of the four sides of the world," who gives all his time to study and even sacrificing the sake of reading to submit this valiant example of youth. "Alexander" should have decorated with a festival in the Tauride Palace, conceived by Potemkin for the Empress. It is known as Catherine, the prestormal of his young chosennes, supplied with the approval of the extremely busy "older" favorite, wanting to create outstanding state leaders from them, but, alas, did not have any success.

The statue carries an allegorical meaning, the plot is taken from the works of the ancient historian Quinta Kurction. I quote his legends: "Alexander in young still years, with the reign of the father of his philip, wanting to save great knowledge in sciences, tried to rebuild himself from sleep and always fell asleep, having a copper ball in his hand, who, with deep sleep, falling in the pelvis, awake Its produced by a knock. "

Kozlovsky depicted Alexander, sitting on his bed at the moment of complete exhaustion, when him, during the night occupation, struck treacherous fatigue. To solve their plan, the sculptor elected a complex pose, deploying a shape of the young man in depth. A strong trained body bent, defeated by God's sleep, curly the rejected head rests on a bent left hand, one leg is thrown to another. Right hand fingers barely holding a copper ball over the bowl. Another second, and they will smoke - the ball with a loud knock will fall and wakes Tsarevich. Kozlovsky completely managed to convey the state of the rear-year man. Alexander sleeps until the ball falls.

In order to enjoy the beauty of the body of a young athlet, you have to get around it around and repeat it again. You will be fascinated not only by the main character, but also a sculptural still life that tells about his world. A small bed is covered with a cloth falling by wavy folds. Kozlovsky managed to transfer their elegant lines in marble. Right hand with a bowl rests on a helmet, decorated with a lush sultan. Special attention attracted the shield leaning towards the lie and decorated with bas-relief on the favorite story of Alexander "Education Achilles Centaur".

Polycart

The image of the ruler of the samos of a polycrate, rich and lucky man, treacherously destroyed - one of the most tragic and in the work of Kozlovsky, and in Russian art of the second half of the 18th century. Sculptor executed a statue in 1790. The plot is drawn from ancient history - a famous historical fact. Ancient Greek Samos Tyrant was brutally deceived by the Persian Satrap with the Orowood, inviting it in 522 BC. In the city of Magnesia to deny the treasure. Polycrate trustfully arrived, but a treacherous orroita came with him treacherously, ordered to grab him and crucify. The plot taken from the ancient history served as a sculptor to respond by the language of the allegory to the events of living modernity. The advanced people of the 18th century saw in the polycratic symbol of variability of happiness. Thior Polycrat was rich and gracious to the treasures, ambitious, ruthless to his subjects, terrible for enemies, but he did not escape betrayal and killed a terrible death. During the years of the French revolution, this image acquired a new, even greater, relevance. About the polycratic People of the 18th century, accustomed to thinking by allegories, remembered because they saw around a lot of "polycrats" and "policiaries" - deceived by the brutal fate of the former lucky people. The statue was created in Paris, in the rapid years of the revolution, where Kozlovsky was with his students. Kozlovsky managed to embody the pathos of suffering and struggle in the form of a dying person. He knows what is doomed, but passionate thirst for freedom is expressed in a tense, unequal struggle with death, immeasurable excitation. The body of the polycrate bends in unbearable flour, but every muscle is tense, the hand, compressed in the fist, thickened up, the leg is sharply assigned to the side. The whole figure with swollen veins, painfully tense muscles, is covered by a rapid impulse. The polycrate is looking for supports, hoping to gain force. He crares out to break the way as a servant Michelangelo, but the forces leave him, death is coming. The drooping head, a lifeless hanging hand, talk about the hopelessness to free themselves. The exhausted face of the deathly distorted flour. On the trunk of the tree to which the polycrate was tried, an ancient Greek inscription was carved: "... no one can consider himself as a lucky time while he is alive."

In 1764, at the eleven age, the son of the Gallery Fleet, the future outstanding Russian sculptor XVIII century. M. I. Kozlovsky, became a pupil ah. The years of his teachings coincided with the period of formation in the European art art style classicism, one of the founders and the most striking representatives of which in Russian plastic he was subsequently. After graduating from Ah in 1773 with a large gold medal, Kozlovsky as a pensioner lives in Rome (1774-79), where antique art studies, as well as painting and rebirth plastic. Especially attracts the work of Michelangelo Buonarot.

Kozlovsky completed his pensioner trip to France, where he spent a year and where the Marseille Academy of Arts assigned to him the rank of academician. In 1780, he returned to his homeland.

The main theme of the works of Kozlovsky in the initial period of creativity becomes the topic of civil valor, the forces of spirit and self-sacrifice. The heroes of his reliefs on the plots from the history of ancient Rome (for the Marble Palace in St. Petersburg) sacrifice in the name of the Fatherland and Public Good: "Farewell to Regula with Rome Citizens" (1780), "Camill delivers Rome from Galov" (1780-81). Exalted and concise image of the image, a clear composition, thoughtfulness and clarity of each line and shape - all this is greatly combined with the architecture of the building, which is built in the style of early classicism. But the Commonwealth of the sculptor with the architect was particularly harmonious in the fulfillment of gypsum reliefs for the concert hall in the Ekaterinensky Park of the Tsarist village. The pavilion was erected by J. Rosengy in the style of mature classicism (1783-88). The general theme of all reliefs is music. Here Orpheus plays on Lira, taming wild animals, Apollo is musitizes Cerech, here and the muses with the attributes of the arts. The rhythmic structure of reliefs, their balanced composition, smoothly the current contours of the figures and the greatest solemnity of images - everything contributes to the creation of a musical atmosphere of the pavilion.

In 1784-85 The sculptor was performed from marble a large statue of Empress Catherine II in the image of the ancient Roman goddess of Minerva wisdom. Having shown by an ancient cloak and crowned with a helmet (the attribute of the goddess), the empress with one hand points to the trophies lying at her feet, symbolizing wins, and in the other - keeps a scroll with the laws stated on it, which were published for "prosperity of their subjects." So Kozlovsky embodies the idea of \u200b\u200bthe perfect monarch - the defender of the Fatherland and the wiser of the law.

Another marble statue performed by Kozlovsky in the second half of the 1780s, "Vigil Alexander Macedon, has an equally complex allegorical meaning. The image of an ancient hero served as a sculptor to embody the moral ideals of the Epoch of Enlightenment - the upbringing of solid will and the desire for knowledge. The composition and the general plastic solution of the statue are imbued with the spirit of "calm greatness and noble simplicity", everything is distinguished by rigor and proportionality, everything is built on a smooth flow of contours and forms. The body of a young man is covered by a dedicated disconnection, musculature as it were, "squeezed" the finest film of the matte cover of marble, headed to his hand leaning on his knee ... But calm is deceptive.

Many Kozlovsky drawings have been preserved, which for the most part are the nature of the preparatory sketches for future works of sculpture and are associated with it around the topics of the scenes (mythological, biblical and evangelical) and the means of artistic expression. However, a number of its drawings can be considered independent, full of finished articles of graphics. Among them, two drawings, complete drama and emotional heat, are especially distinguished, "the death of the Ippolitis" and "Tezesey leaves Ariadna" (both 1792).

1788-90. Kozlovsky again spends in Paris, where it goes "for the worst acquisition of knowledge in his art" and where he receives a grandiose flow of impressions caused by the events of the revolution in his eyes. It was in revolutionary Paris that the topic of the next major work was originated - the statues of the "Polycrat" (1790). The plot of the death of the Samos Tirana of the Polycrat, taken from the history of ancient Greece, served as a sculptor for an allegorical response to the events of modernity. Passionate thirst for freedom transmitted here, a sense of suffering and painful doom reflected the artist's desire to make art more emotional, enrich its figurative language.

In 1792, Kozlovsky completed one of his most beautiful works - the Marble Statue of "Sleeping Amur", where I created the image idyllic and harmonious. A similar in the mood image of Dan and in a small marble statue of "Psyche" (1801) - the embodiment of spiritual purity, dreams of a happy, no darkened childhood.

In the second half of the 1790s. Kozlovsky attract the themes of Russian history (Statue "Prince Yakov Dolgoruky, Blowing Tsarsky Decree", 1797; "Hercules on horseback", 1799). The desire to create an image of high spiritual nobility and courage, in its direction close to the people's ideas about the hero, is most fully implemented by the sculptor in the monument A. V. Suvorov in St. Petersburg (1799-1801). The bronze knight in lats and the feathel helmet covers the shield three-marked altar and a gustful sword brings the sword. His head is proudly sprinkled, movement is energetic. Cloak, scored on top of the lat, drops out folds. Such is a symbolic image, in an allegorical form glorifying Russia and its great commander.

At the very end of the XVIII century. The best Russian windows were attracted to work on updating the sculpture of a large cascade in Peterhof. The role of Kozlovsky is particularly significant: the SAMSON, who was created by him, taking a central place in the ideological intent and compositions of this ensemble. Even in Petrovsky, he was distributed in the art of an allegory, according to which the biblical Samson (identified with the Holy Sampweight, on the day of the celebration of the memory of which, June 27, 1709, was observed over the Swedes under Poltava) personified the winning Russia, and Lion (coat of arms of Sweden) - defeated Charles XII. Kozlovsky used this allegory, creating a grand work, where in the martial arts of the mighty titanium with the beast the topic of the marine power of Russia is revealed. (During the Great Patriotic War, the statue was abducted by the fascists. In 1947, the sculptor V. L. Simonov, with the participation of N. V. Mikhailov, fulfilled the new model in its sample, thus returning the lost monument to new generations of spectators.)

Since 1794, Kozlovsky becomes a professor of sculptural class ah. Among his students - famous in the future Vahatteli S. S. Pimenov and V. I. Deut-Malinovsky.

Kozlovsky died suddenly, in the flourish of his talent.

Vigil Alexander Macedonsky. The second half of the 1780s. Marble


Hymen. 1796. Marble


Minerva and genius of art. 1796. Bronze


"Samson, tearing the mouth of a lion." Sculptural group of a large cascade in Petrodvorets. Made by V. L. Simonov in 1947 according to the sample of 1802. Bronze


Monument A. V. Suvorov in St. Petersburg. 1799-1801. Bronze, granite


Self portrait (?). 1788. Sepia.