The sculptor Paolo Trubetskoy at the Tretyakov Gallery. Paolo Troubetzkoy (studying old photography) Life in Europe

Seventy years have passed since the death of the famous Russian sculptor Paolo Trubetskoy. This light, shiny name retains a very special aroma and special attitude to this day. It is naturally associated with the idea of ​​the artist's personal creative freedom from any tendentious requirements.

Trubetskoy burst into Russian artistic life like a meteor, and his name without effort and immediately appeared in the constellation of the names of the Silver Age. The talent of the sculptor in Russia was immediately noticed, highly appreciated and supported in every possible way. Trubetskoy was dearly loved among progressive figures of Russian culture. His name and works did not leave the pages of the magazine "World of Art".

It so happened that we do not even think about whether he is a Russian artist at all, although his art clearly belongs to the whole world. The son of a Russian prince and an American woman, Paolo (Pavel Petrovich) Trubetskoy (1866-1938) was born, raised, educated and began his creative life in Italy. In Russia, he worked intermittently between 1898 and 1906. By 1898, he managed to create a number of unconditional masterpieces, participated in many international exhibitions and was already a mature master. Twice (in 1906-1914 and in 1921-1932) his workshop was located near Paris; in 1914-1921 he lived and worked in Hollywood, where he bought a small house and built a spacious studio. In 1932, Trubetskoy returned to Italy, ended his life in the town of Pallanza on the shore of Lake Maggiore. Everywhere he felt at home and worked with the full dedication of his creative powers.

Paolo Trubetskoy belonged to that happy type of artist who comes into the world with an already established specificity and his own unique face. They are destined not to come from anyone and, as the sculptor himself said, “not to leave behind offspring in art,” they just have to be born on time. Fate decreed that Trubetskoy was not only born on time, but managed to find himself in Russia, first in Moscow, and soon in St. the process of the formation of a new synthetic style, and the Moscow plastic school, which has almost completed its work on the creation of new artistic coordinates, has not yet said a decisive word. She seemed to be waiting for a happy occasion. This happy occasion happened to be Paolo Trubetskoy.

He had a huge success, got the glory of an innovator and even in some way the halo of the head of a new Moscow school, although the main burden in the revival of Russian sculpture fell on the shoulders of completely different people. And if it were presumptuous to believe that Russia had something to do with the nature of his work, then without a stretch it can be argued that it was she who created the "Trubetskoy phenomenon". It is not known whether the sculptor was happy or upset by the fact that since 1900, when he exhibited his works in the Russian department of the World Exhibition in Paris and initiated, as O. Roden put it, a "Russian triumph" in the world, his name became associated with the Russian sculptural school.

The roots of Trubetskoy's art should be sought in northern Italy, in the artistic milieu of Milan, which in the 1880s became the birthplace of sculptural impressionism. It was the Milanese Medardo Rosso (1858-1928) who was the first to formulate the program of the new trend and emphasize its focus on fixing the “visual image from the object”. Sculptural impressionism has many roots associated with the "verism" movement (from the Italian “ laverita”), in the 1870s - 1880s, dominated in North Italian painting, literature, sculpture and music, but he himself opened an era of new plastic thinking, the dominant of which was, first of all, the awareness of the single existence of an object and space. Freeing sculpture from the need to speak the traditional classical and neoclassical language, securing the artist's right to express subjective ideas about a life phenomenon, establishing the cult of light and a pictorial surface that was sensitive to its changes, impressionism in sculpture laid the foundations of plasticism of the early twentieth century.

Paolo Trubetskoy did not receive a systematic art education, but the aesthetic views of his contemporaries were familiar to him from childhood and were close to the nature of his talent. He easily assimilated the culture of "bocetto" - a sketch from life, which was used by his first teacher, the representative of verism Giuseppe Grandi (1843-1894), borrowed a lot from Medardo Rosso, in particular his way of artistic organization of the surface of sculpture with flowing or discontinuous strokes - "primary elements" , its picturesque, "raw" character of modeling.

The artist, by the grace of God Trubetskoy, quickly enough managed to develop his own plastic style, his own style in sculpture, which, despite a large number of imitators, no one was able to repeat in full. Unlike Medardo Rosso, who sought to “force himself to forget matter,” to dissolve it in the air, he always maintained a balance between the constructive foundations of sculpture and the space in which they develop. This allowed him to work not only in easel, but also in monumental sculpture. The surface of his works also acquired individuality: the "raw" brushstroke became more cultured, more organized, self-sufficient, refined and beautiful. Trubetskoy gave him self-worth. Juicy, temperamental, and sometimes deliberately effective, he made the surface of sculptures made in soft pliable materials unusually mobile. A varied - sometimes absorbing or reflecting light - texture intertwined light volumes with air and light environment, subjecting them to constant visual changes, which created the impression of an extraordinary vitality of his sculptures and radically distinguished them from the anemic and deathly samples of late academism. This was the first thing that amazed and captivated the students of the Moscow School of Painting, Sculpture and Architecture, where Trubetskoy was invited to teach, and where about 40 people enrolled in his class in the first year. The appearance of the master was compared here with "a stream of fresh air."

A lucky chance, good luck really accompanied the creative destiny of the artist. But a happy accident is sometimes prepared by the whole previous life, and the name Trubetskoy only at first glance seems bohemian. Being a man of great efficiency and self-discipline, from a young age to death, he did not let go of the stacks and subordinated all his vital interests to the only passion and profession - sculpture. Moreover, Trubetskoy was not an indifferent figure around whom fame was woven by itself. On the contrary, he did everything to win fortune to his side. Undoubtedly, the atmosphere of the late XIX - early XX century, unusually spiritually saturated, charged with currents of many bright talents, so generously splashed out literally in all areas of Russian artistic culture, nourished and kept Trubetskoy's art on the crest. But it is also indisputable that he was able to accurately capture the spirit and appearance of time and become one of its brightest exponents.

The very manner of Trubetskoy's work, completely new for Russia, aroused respect and admiration in the school. The process of his work, most likely, was a very spectacular, fascinating "action" that mesmerized and drew the viewer into the orbit of the mystery of the emergence of an artistic form. This follows from the surviving memories of eyewitnesses. Leo Tolstoy, who every day came on horseback to pose for Trubetskoy in the studio on Myasnitskaya and made the artist a celebrity all over Moscow, was sincerely surprised at his ease of handling all the complex conglomerate of material technology that forms the basis of any sculptural work. This seeming lightness awakened in the writer a desire to try to sculpt himself. An infectious atmosphere of creativity was created around Trubetskoy, in which the personality of the maestro played no less a role than his art. Everyone who watched his work - from the then just beginning sculptors N.A. Andreeva, S.T. Konenkova, V.N. Domogatsky to the venerable painter V.A. Serov, - I wanted to be a little more frivolous, a little more relaxed, "like Paolo."

Indeed, it seemed that there was nothing "non-plastic" in the artist's environment, something that he could not easily recreate in sculptural images. Not burdened with the burden of purely Russian problems, Trubetskoy, who came from another world, worked freely. The new form, which at that time so worried Muscovites, was born to him as if by itself, as a direct reflection of life. Refined and aristocratic, she pushed into the background difficult questions about design, mass, weight, architectonics. They were present in his things as something given, each time being inseparably fused with the character of the images (be it a portrait, a statuette or a genre). In each case, the master was able to catch that “instant shock” in which the main, from his point of view, the content of the depicted situation or model was concentrated.

The expression "sculpt ala Trubetskoy "(that is, quickly, juicy, lively and cheerfully) became part of the speech of Moscow sculptors. For them, the very type of artist, who personified Paolo, was also new. "Tall", "prominent", as they wrote about him in the press, with excellent manners, who knows how to behave and at the same time, a relaxed artist, alien to secular conventions, an artist of the European type, he allowed himself to ignore any authorities, have a hobby and flaunt that "for the sake of complete independence of thought and attitude to life, he never read or read anything." Natural self-esteem, independence, the natural requirement of respect for his art put him in a very special position in the school. For the sculptor, a separate workshop was built, high, with an overhead light and wide doors, into which "paired carriages and Cossacks on horseback" could freely enter, as B.L. Pasternak, who turned out to be an unwitting observer of everything that was happening there (one of the windows of his father L.O. Pasternak's apartment began to go out into this workshop). Director of MUZhVZ Prince A.S. Lvov was in a hurry to build a bronze casting workshop for Trubetskoy and ordered the magnificent foundry worker Carlo Robecchi from Italy. From the point of view of Muscovites, this attention to the needs of the artist was unprecedented.

However, various groups of the Russian art society received Trubetskoy far from the same. The press at the same time fell on him streams of the most flattering praise and the most derogatory criticism. From the standpoint of today, it is not so important whether the maestro was scolded or exalted. The decisive thing turned out to be that art criticism was involved in the discussion of sculptural problems proper, which for a very long time remained in the shadows in Russia. The sharp polarity in the assessments of Trubetskoy's art at the beginning of the twentieth century can no longer surprise: the fierce dispute between academic and innovative art belongs to history, and history has decided in favor of the latter. People of the old academic persuasion dubbed Trubetskoy's art decadence. According to I.E. Grabar, decadence at that time was called everything that "deviated aside from the classics in literature, painting and sculpture."

For obvious reasons, sculptors who received art education within the walls of the IAH (V.A.Beklemishev, R.R.Bach, M.A.Chizhov, A.M. Opekushin, M.M. Antokolsky, A.L. Ober) and Those who dreamed of getting an order for a monument to Alexander III, which eventually went to Trubetskoy thanks to the preference of the Dowager Empress, could not understand and appreciate the new plastic form. Possessing an academic foundation of literacy, they sincerely did not see it, believing that it simply does not exist, and Trubetskoy's ideas and inspiration “do not care that water poured into the air” (A.L. Aubert) is not allowed to be perceived. The "angular scraps" of the surface of Trubetskoy's sculptures "struck the eye in the wildest way" by V.V. Stasov. "How many cavaliers, military men, civilians and even dogs and horses, mutilated in the clay!" - exclaimed the critic in the article "Decadents at the Academy". A.N. Benois, and I.E. Grabar saw in Trubetskoy an outstanding sculptor of our time. It was all about the approaches: while the magazine "Golden Fleece" enthusiastically wrote about the "perfect in its wildness" method of its sculpting, the president of the IAH I.I. Tolstoy was completely at a loss in assessing this method, when he really had to pay for the project of the monument completed by the sculptor. Trubetskoy asked for an amount 10 times higher than the highest fees of officially recognized Russian sculptors. “If Trubetskoy is the new Michelangelo,” wrote poor Ivan Ivanovich, “then you can pay him whatever he asks, but who is able to decide?” Indeed, academicians considered Trubetskoy a "plebeian in art" who was not familiar with either anatomy or drawing. He, in turn, reasonably called them artisans, unable to create freely and creating bad copies, "imitations", "tortured profiles of spiritualized heroes."

During Trubetskoy's stay in Russia, his work was on the rise. Here he created a number of first-class works: "Gagarin with a Child", "Moscow Cabby" (both - 1898, Tretyakov Gallery), "Portrait of Leo Tolstoy" (1898-1899, Tretyakov Gallery), "I. Levitan ”(1899, Tretyakov Gallery),“ Tolstoy on a Horse ”(1899-1900, RM),“ Children. Princes Trubetskoy "," The Model. Dunechka "(both - 1900, State Russian Museum)," Botkin with an Umbrella "(1901, Tretyakov Gallery)," Witte with a Setter "(1901, State Russian Museum) and others. delightful particulars and details of Russian life "(VV Rozanov), without special explanations, conquered with their beauty and grace. The master gave food to the imagination of artists with a radically new character of plastic thinking and language, a new way of achieving the unity of form and content. For some period, Trubetskoy completely captured the minds of the young generation of Russian sculptors.

Russian criticism very often ascribed features to Trubetskoy's works that were not originally characteristic of them. First of all, this affected the monument to Alexander III, opened on Znamenskaya Square in St. Petersburg on May 23, 1909 - one of the brightest works of not only domestic, but also world monumental art of the early twentieth century. Far-reaching conclusions were drawn from the words allegedly said by the author that in this work he set himself the task of depicting one animal on another. Due to the ingrained habit of interpreting works of plastic arts from literary platforms more understandable to society, for a long time they tried to guess some hidden deep and critically bold content in this monument. Trubetskoy, however, quite sincerely said that he was fundamentally alien to politics, as well as to any social problems. It was pointless to look for criticism in the monument to the emperor, because the author really wanted to please the royal family and win the competition. In addition, it is known that the sculptor treated animals almost better than people. Therefore, even if he really uttered the above words, he put a very simple meaning in them. In the monument to Alexander III, Trubetskoy solved the bold artistic task of interconnecting two large sculptural masses at the moment of stopping movement. To portray this relationship truthfully is a task more than sufficient for a work of art and, of course, more meaningful and capacious than simply declaring with your monument that the tsar is a tyrant (which, by the way, he was not).

Trubetskoy managed to achieve great expressiveness of form. The viewer almost physically feels how the figure of the overweight rider has moved back, how the horse's body still retains inertial force and is tense by the effort that prevents movement. No, even the most daring and lofty ideas of the artist will not be embodied if the form is weak and inexpressive. The storm of passions boiling around the monument is a vivid testimony to the fact that its plasticity is eloquent, and that the sculptor with his work got into the very epicenter of Russian problems. According to Rodin, the truth is revealed to a real artist through the external plasticity of forms. In everything that he sees and depicts, he clearly senses the outlines of fate. Be that as it may, sincerely wishing to express all Russian power in the majestic image of the emperor, Trubetskoy unexpectedly poses some essential question for himself. The sculptor himself did not try to give answers to it. This has been done by numerous interpreters. But one way or another, the non-trivial monument has become a symbol of Russian instability. This turned out to be the truth of the new art.

The purely artistic "ideological character" of the monument, the fundamental refusal of its author from all academic norms and unshakable attitudes at the first moment, perhaps, was truly understood and appreciated by almost one I.E. Repin. The monument was able to exert influence "with all its artistically moving bronze mass" and therefore did not need a beautiful silhouette, academically competent drawing and proportions from the point of view of classical norms. For Russia, this meant a change in sculptural eras, a cardinal turn in sculptural thinking, which Trubetskoy announced with carelessness enfantterrible. The artistic credo of the master, his plastic perception of the world was most vividly expressed in a conversation with Leo Tolstoy, known in the retelling of the writer's secretary V.F. Bulgakov. When Tolstoy asked what an artist might like about him if he had not read any of his books, Trubetskoy replied: "You have a remarkably interesting sculptural head." This was the essence of his artistic platform. The sculptor sculpted, how he saw, how he felt the form, he foresaw its development in space and imparted to it alone its characteristic movement. Such a construction can in a sense be considered an imitation of nature, when a form that grows and gains strength from within is gradually revealed to the outside. Trubetskoy always said that he loves a life "not dried up by scientific speculation." Like the impressionist painters, he was attracted by the uniqueness, the "uniqueness" of the essence of what he would like to depict, but for the sculptor, first of all, the plastic content of the surrounding world is essential.

Young Moscow sculptors first "got acquainted" with impressionism interpreted by Paolo Trubetskoy, a master of charming and always characteristic “ portrait- statuette”. They liked the effect of their wonderful pictorial texture so much that at first the very essence of the new form was believed by many in a specific surface treatment. In reality, it was only a consequence and means of a fundamentally new system of constructing an artistic image. The main achievements of impressionism consisted in the fact that it included space in the very fabric of the sculptural work. There was only one step left to make it part of the structure. The discovery of the possibilities for the development of the impressionistic form belongs to the genius of Rodin. Proceeding from the basic premise of Impressionism, which is that "intermittent stimuli act stronger than flowing evenly" (B. Christiansen), Rodin created a form that not only did not move away from volume, moving towards a flat image (as was the case with Medardo Rosso), but in which the volume was fully affirmed and even reinforced by some "special means." Christiansen, who philosophically interpreted impressionism as a phenomenon, called these means "decomposition of continuity." An essential feature of this form is that "given only in its characteristic accents, it more excites the imagination and creative independence of the perceiving subject" (VN Domogatsky). That is, having relied on the natural “knowledge” of the human eye and its spontaneous “indignation” by the absence (or deformation) of the right form in the right place, the artist could expect a counter and very active creative impulse from the viewer, restoring the natural form in his imagination.

Rodin's discovery of the reinforcement of the form, the accentuation of its characteristics concealed unlimited possibilities, and the sculptural form was almost immediately pushed forward by Rodin himself. In fact, 1900, when Sculptural Impressionism gained worldwide recognition at the World Exhibition in Paris, was the only point of its highest rise. The life of impressionism in sculpture was almost three times shorter than in painting because he came to sculpture much later, and realized his revelations almost instantly. The logical growth and development of the impressionistic form were the works of the late Rodin, Maillol, Bourdelle, Bernard, and then - representatives of various leftist currents: A.P. Archipenko, O. Zadkina, G. Moore, J. Lipschitz and many other avant-garde artists. The effects of their completely non-impressionistic form, such as, for example, the placement of bulges and depressions in opposite to natural places or the use of gaping voids inside the sculptural volume, all genetically go back to the same basic premise of impressionism. The world of volumes was established everywhere, in which the form was modeled by the artist's thought. Simple fixation in sculpture could only be an episode and again gave way to composition, construction, compositionality.

The revolution carried out by Rodin in the system of plastic thinking was not immediately comprehended in Russia. But already from the beginning of the 1910s, graduates of the sculptural class of the Moscow School of Painting, Sculpture and Architecture began to engage in the interpretation of post-impressionist ideas and concepts. Only the sharp, characteristic manner of Paolo Trubetskoy could no longer satisfy them. Many of them even complained that the brightness of this manner, unexpected for Russia, for some period led the search of Muscovites away from the main paths of the development of world sculpture. One of the most consistent admirers of A.T. Trubetskoy. Matveev physically destroyed his work of the Impressionist period. The "bottleneck" in Trubetskoy's worldview was precisely what he declared with such pride: "do not learn anything, do not follow any models, ignore the authorities, be it Dante or Tolstoy, the great Greeks or the powerful Rodin."

In an era of stormy and rapid changes in art, he turned out to be the most resistant figure to external influences. The spontaneity, the originality of his gift did everything for him, but he did not want to learn and transform his gift. His form did not gain strength over the years. It is no coincidence that we are talking about Trubetskoy's work as a whole. It is indeed very homogeneous, although, of course, the works differ in the degree of perfection. Trubetskoy's art was the art of today, and while this day was new, it seemed innovative. But as soon as the artist wanted to receive dividends from his innovation, he began to slide uncontrollably into salon art. Gradually, Trubetskoy turned into an official, fairly moderate portraitist of the international aristocracy and all sorts of celebrities. His works, exhibited at the Paris Salon in 1906, still drew quite favorable criticism. Critics A. Segar, A. Alexander, S. Reinach, poets T. Klingsor and R. de Montesquieu wrote about Trubetskoy, and Rodin responded positively. But they all appreciated the sculptor as a representative of the Russian school, still very little known in the West. His time was rapidly running out. Impressionism became for everyone only an excuse to push off and pass by and further. Artistic perception changed at that time almost every day, and the form, which lived only in the present, immediately turned out to be the day before yesterday. In Russia, many even believed that Trubetskoy died shortly after 1914, when he left for America, and his name disappeared from Russian and European exhibitions. But he was alive until 1938 and worked literally until his last days. This is the case when the artist has outlived his art.

The charm of Trubetskoy's name and a certain halo around his personality in Russia is largely due to the fact that, having barely had time to scatter fireworks through Russian exhibitions, he disappeared from the artistic horizon just as quickly as he appeared, without having time to irritate the “too frivolous superficial note "(AN Benois) of his works. The era in Russia was changing rapidly, all sorts of painful problems quickly arose, and he eluded them, like a very beautiful and carefree bird that dropped several amazing sparkling feathers on the fly - a rare success in the creative biography of such artists who are destined to be happy and unhappy in life. speak out to the end.

The appearance of Paolo Trubetskoy in Russia at the turn of the 19th and 20th centuries became an important event for Russian sculpture. Oddly enough, it was his frivolity that helped to finally disavow the impotence of the outdated academic form and get rid of looking back at it. This alone is enough to love maestro Trubetskoy with "special love."

Paolo Trubetskoy ... a name that few know now, although those who have been to St. Petersburg have certainly seen his most famous work in one way or another - a monument to Alexander III, a disgraced monument under Soviet rule. Although even now the sculptural image of the emperor on horseback stands almost hidden in the courtyard of the Marble Palace.

Monument to Emperor Alexander III in St. Petersburg. Old postcard

In 1900, Trubetskoy won a competition organized by order of Emperor Nicholas II for the creation of a monument to Alexander III among such famous sculptors as R.R.Bach, V.A.Beklemishev, A.M. Opekushin, M.A. L. Aubert, A.O. Tomishko. The construction of the monument summed up the work of Trubetskoy in Russia. Trubetskoy created about fifty easel works in Russia. This was an unusually fruitful period of his career. In 1906 Trubetskoy left for Paris.

Emperor Alexander III

The biography of the sculptor and artist is very interesting. Pavel (Paolo) Trubetskoy was born on February 15, 1866 in Italy in the town of Intra near Lake Maggiore. His father, Prince P.I. Trubetskoy, was at the Russian royal court. In 1863, he came to Italy as a diplomat at the Russian embassy in Florence, not knowing yet that he would remain here until the end of his life. The prince's wife was an American woman, Ada Winans, who came to Florence to study singing. She was keenly interested in music, painting, sculpture, and literature. Thanks to her, an artistic atmosphere reigned in the Trubetskoy house.

In 1874, Paolo completed the first sculpture - the head of a singing old man made of wax. In 1877-1878 Paolo studied and graduated from primary school in Milan. Returning to Intra, at the insistence of his father, he entered a technical school. He even took private lessons in physics and mathematics, but was reluctant to study. In 1885 Trubetskoy bought his own studio in Milan. And a year later he took part in an exhibition in Milan for the first time, where he showed the sculpture "Horse", and the work was noticed.

Leo Tolstoy and Paolo Trubetskoy during a horse ride

Paolo Trubetskoy sculpts the sculpture of Leo Tolstoy

Soon the Trubetskoy family went bankrupt and sold the villa. Paolo is forced to live independently. From 1886 until his arrival in Russia, Trubetskoy had a so-called "period of poverty". The artist moves from place to place, working on farms to earn money for a living and art. 1897 is a memorable year for Trubetskoy. He participates in the Venice Biennale. Some critics associated the beginning of Trubetskoy's creative maturity with this exhibition. In the same year he went to Russia to visit relatives and there he accepted the offer of Prince Lvov, director of the Moscow School of Painting, Sculpture and Architecture, to teach sculpture. His activity as a teacher greatly influenced the formation of a number of Russian masters.

Project of a monument to Emperor Alexander II Sculptor Paolo Trubetskoy

Grand Duke Andrei Vladimirovich Sculptor Paolo Trubetskoy

Portrait of Grand Duchess Elizabeth Feodorovna Watercolor by Paolo Trubetskoy

Sculptural image of Grand Duchess Elizabeth Feodorovna Sculptor Paolo Trubetskoy

Trubetskoy's talent turns out to be so bright and unusual that the works of a very young sculptor begin to appear at exhibitions and attract attention. Trubetskoy shows his works at exhibitions of the World of Art, the Union of Russian Artists, at foreign shows, including International Exhibition in Paris in 1900, where his works were awarded a medal of honor.

Guard at the monument to Alexander III

But back to the monument to Alexander III. Opinions about him were very mixed. " I am reproached, - recalled Paolo Trubetskoy, - that I didn’t seem to have finished my work, that there was a lot of unfinished work in it. I think this reproach is unfounded. Everyone understands the completeness of a given work in his own way. There is nothing classic about the monument - it is a completely ideological monument. I am inclined to explain the negative attitude towards me on the part of the public to a large extent to a certain originality, novelty ... It is all the more understandable that St. Petersburgers are not at all accustomed to a new word in this field of art ... " And further: “ They reproach me with a fat horse. But I had to choose a heavy horse for the monument, taking into account the heroic figure of the king. As for the question of what I was striving for - for portraiture or the expression of a well-known idea - in this case, of course, I pursued both goals, because without portraiture there can be no monument, and without a symbol there can be no work of art. I wanted to represent the great Russian power in the image of Alexander III, and it seems to me that the whole figure of the emperor on my monument embodies my main idea».

Paolo Trubetskoy in his studio

When Trubetskoy exhibited his works at the Roman Secession in 1913, they no longer aroused much interest. Critics wrote that Trubetskoy works in the spirit of "outdated impressionism." In 1914, the sculptor travels to the United States. Trubetskoy intended to spend several months in America, but because of the war he stayed until 1921. The artist arranged personal exhibitions in New York, Philadelphia, Chicago, San Francisco. In 1932, Trubetskoy returned to Italy. The last work of the master was the figure of Christ mourning humanity, which does evil. On February 12, 1938, Trubetskoy died at the Villa Kabianka.

S.Yu. Witte with a setter. 1901 g.

Artist I.I. Levitan 1899 bronze

Trubetskoy sculpts a figurine of Tolstoy on horseback

Models of sculptures by P.P. Trubetskoy 1900


Model of the monument to Emperor Alexander II by P.P. Trubetskoy