Biography Vladimir Borovikovsky

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Vladimir Lukich Borovikovsky (1757-1825) - Russian artist, Master of portrait.

Vladimir Borovikovsky was born on July 24 (on August 4, on the new style) of 1757 in the Hetmanshene in Mirgorod in the family of Cossack Luke Ivanovich Borovikovsky (1720-1775). Father, uncle and the brothers of the future artist were icon painters. In the youth of V. L. Borovikovsky studied icon painting under the leadership of the Father.

From 1774 he served in the Mirgorod Cossack shelf, simultaneously engaged in painting. In the first half of the 1780s, Borovikovsky in the rank of lieutenant comes into resignation and devotes itself to painting. Writes an image for local temples.

In the 1770s, Borovikovsky was close to V. V. Kopnisy and fulfilled his instructions on painting the interior of the house in Kremenchug, intended for the appearance of the empress. Ekaterina II noted the work of the artist and commanded him to move to St. Petersburg.

In 1788, Borovikovsky settle in St. Petersburg. In the capital, at first, N. A. Lvov lived in the house and met his friends - G. R. Dervin, I. I. Chemniser, E. I. Fomin, as well as D. G. Levitsky, who became his teacher. For several years she was engaged in painting at I. B. Lampy.

In 1795, V. L. Borovikovsky for the portrait of the Grand Duke Konstantin Pavlovich awarded the title of Academician of Painting. In 1803 he became an adviser to the Academy of Arts. From 1798 to 1820 He lived in an income house on a million street, 12.

Borovikovsky died 6 (18) April 1825 in St. Petersburg, and was buried at the St. Petersburg Smolensk Orthodox Cemetery. In 1931, the ashes was reburied in the Alexander Nevsky Lavra. The monument remained the former - granite sarcophagus on the lion's legs.

He bequeathed to distribute to the needy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Borovikovsky Vladimir 1825

Borovikovsky Vladimir Lukich -, Russian and Ukrainian artist-portraitist. Until 1788 lived in Mirgorod, he studied at his father and uncle - icon painters, performed icons and portraits, in many respects the traditions of the Ukrainian art of Dopurerovsky time. From the end of 1788 - in St. Petersburg, where he used the advice of D. G. Levitsky, and from 1792 he was engaged in I. B. Lampy. On the worldview and aesthetic views B. also had the influence of the proximity with V. V. Kopnisy, G. R. Derzhavin and especially N. A. Lvov. In the early 1790s. Along with the compositions on religious plots, a miniature began to write (portrait of V. V. Kapnika, Russian Museum, Leningrad) and mostly close to them in the nature of the fulfillment of intimate portraits ("Lysyanka and Dashinka", 1794, "Torzovskaya Peasant Christine", about 1795 - both in the Tretyakov Gallery).
For portraits in 1795 received the title of academician, and in 1802 - the adviser to the St. Petersburg Ax. From the 2nd half of the 1790s. In Portraight B. Find a vivid expression of the feature of sentimentalism. B. Develops in opposition to the official textual portrait of the image of the "private" person with his simple, natural feelings, which are most fully far away from the "light", on the lap of nature. Delicate, bluish color, light, transparent letter, smooth, melodic rhythms create a lyrical atmosphere of dreamy elegidity. Images B., especially in women's portraits, with all the differences in fresh and vividly seized individual appearance of the model, marked with the community of idyllic mood. B. writes his characters (portraits M. I. Lopukhina, 1797, Tretyakovskaya Gallery, V. I. Arsenyeva, 1795, Russian Museum) in a lung turn, with a tendered head, immersed in gentle thoughtfulness on the background of a hunted chimney of the park landscape. Russian Empress ("Catherine II for a walk in the Tsarskoselsky Park", 1794, Tretyakov Gallery; Options Option 19th century - Russian Museum) B. Pictured by Alley, in Salopa and with a Level. Since early 19 V. In the works of B. (especially in the front portraits of A. B. Kurakina, 1801-02, the Tretyakov Gallery, Paul I, 1800, the Russian Museum) The characteristic is becoming more prose, and a picturesque manner (under the influence of classicism) - energetic and clear [portrait Unknown in turbans (probably writer A. L. J. de Stal), 1812, Tretyakov Gallery].

Alexander Fedorovich Bestuzhev	Anna Sergeyevna Reason		archangel Michael 1815 Tretyakovskaya gallery Moscow	Arrested Mikhail 1794
Varvara Andreevna Tomilov	Great Princess Elena Pavlovna 1799 Hermitage	Countess Vera Nikolaevna Zavadovskaya	Countess Ekaterina Mikhailovna Ribopiere	Daria Alexandrovna Valuev	Daria Semenovna Baratov
Children S. yagnenkom	Ekaterina Gavrilovna Gagarin	Ekaterina Nikolaevna Davydova 1796 Pushkin Museum Moscow	Bishop Russian Orthodox church	Germain de Stal 1812g 68x88cm Tretyakovskaya Gallery Moscow	Ivan Dunin 1801
Ivan Mikhailovich Yakovlev	Ivan Mikhailovich Yakovlev	Jesus in the coffin	Jesus	Cleopatra Ilyinichna Lobanova-Rostovskaya	Knyazhna Lopukhina
Labzina Anna Evdokimovna	Lazarev Minas Lazarevich	Lisanka and Dashenka 1794g 26x31cm Tretyakovskaya gallery Moscow	Lopukhina Ekaterina Nikolaevna	Maria Nikolaevna Yakovlev 1796	Marfa (Maria) Dmitrievna Dinine 1799 Tretyakovskaya gallery Moscow

Mikhailovsky lock	Naryshkin Elena Alexandrovna 1790 Russian Museum St. Petersburg	Natalia Petrovna Golitsyn	Venison Elizabeth Markovna	Portrait of russian Poet Eugene Baratynsky 1820	1800 Russian Museum St. Petersburg
Peter Andreevich Kikin 1815	Cover Blessed Virgin Mary	Portrait A. and V. Gagarines 1802g 69x75cm Tretyakovskaya Gallery Moscow	Portrait A. I. Bezborodko with daughters 1803	Portrait A.G. and A.A. Lobanov -Rostovsky 1814 Russian Museum St. Petersburg
Portrait Adam Adamovich Menelsa	Portrait Alexandra Dmitrievich Arsenyev 1797g 58x74cm Hermitage	Portrait Alexandra Semenovich Tail 1801g 56x71cm	Portrait Alexey Alekseevich Konstantinova 1806	Portrait Alexey Ivanovich Vasilyev 1800	Portrait Grand Prince Konstantina Pavlovich 1795g 52x67cm

Portrait Great Princess Alexandra Pavlovna 67x76cm	Portrait Great Princess Mary Pavlovna 1800g	Portrait G.S. Volkonsky 1806	Portrait Gavrily Romanovich Derzhavina 1811 Pushkin museum Moscow	Portrait adjutant General Count Peter Tolstoy 1799g 59x72cm	Portrait count Alexandra Kurakina 1802g 259x175cm Tretyakovskaya gallery Moscow
Portrait of a graph G.G. Kusheleva 1801	Portrait of a graph Razumovsky 1800g 63x49cm	Portrait YES. Derzhanina 1813g 284x284cm Tretyakovskaya gallery Moscow	Portrait D.P. Trochinsky 1899 Russian Museum St. Petersburg	Portrait Dmitry Levitsky 1796 Russian Museum St. Petersburg	Portrait E. Temkin 1798
Portrait E.A. Archaarova 1820 Russian Museum St. Petersburg	Portrait E.I. Nekludova 1798	Portrait E.N. Arsenva 1796 Russian Museum St. Petersburg	Portrait Ekaterina Aleksandrovna Novosilseva	Portrait Catherine Vasilyevna Torsukova 1795	Portrait Catherine Kropyotova
Portrait Elena Alexandrovna Naryshkin 1799	Portrait Elena Pavlovna	Portrait Emperor Paul I. 1800g 33x49cm Tretyakovskaya Gallery Moscow	Portrait Empress Catherine II. 1794 Tretyakovskaya Gallery Moscow	Portrait Empress Elizabeth Alekseevna 1795	Portrait Empress Elizabeth Alekseevna 1814

Portrait Empress Maria Fedorovna 71x82cm	Portrait Karageorgia 1816	Portrait Knyagini N.I. Kurakina 1795 Russian Museum St. Petersburg	Portrait Prince A. B. Kurakina 1799g English museum St. Petersburg	Portrait Kosheleva	Portrait M.I.Olopukhina 1797 Tretyakovskaya gallery Moscow
Portrait Martha Arbenva 1798	Portrait Murthase-Kuli Khan, Brother Agi Moomeda, Persian Shaha 1796 189x284cm Tretyakovskaya Gallery Moscow	Portrait unknown with a child	Portrait Nikolai Sheremetev	Portrait Olga Kuzmichny Filippova	Portrait Paul I. 1796
Portrait Pavel Semenovich Masyukov	Portrait Writer Alexander Labzina 1805g 65x79cm Tretyakovskaya gallery Moscow	Portrait Russian poet Gavrily Derzhavina 1795 Tretyakovskaya Gallery Moscow	Portrait S.A. Raevskaya 1813 Pushkin Museum Moscow	Portrait F. Borovsky 1799 Russian Museum St. Petersburg	Portrait Christopher background Benkendorf1797g 68x56cm
Portrait Yuri Lysyansky 1810	Feet Princess Margarita Ivanovna Dolgoruky	Praskovaya Bestumev 1806	Rodzianko Ekaterina Vladimirovna		Sambursk Andrei Afanasyevich 1790

St. Blgv led. kn. Alexander Nevskiy Tretyakovskaya Gallery Moscow		Torsukov Ardalon Aleksandrovich 1795	Christine Peasants of trapping 1795 Tretyakovskaya Gallery Moscow	Queen Alexander and archivienceac Stephen 1815	Yakovlev Nikolai Mikhailovich

Wikipedia material - free encyclopedia:
Relatively late, in the late 1790s, Borovikovsky acquires the fame of the famous portraitist. In his work prevails a chamber portrait. In female images V. L. Borovikovsky embodies the ideal of the beauty of his era. On the double portrait "Lizonka and Dashenka" (1794), a portrait of love and loan attention captured the maid family of lions: soft curls of hair, white face, light blush. The artist subtlyly passes the inner world of people depicted by him. In a chamber sentimental portrait, which has a certain limitation of emotional expression, the master is able to transfer the variety of intimate feelings and experiences of the pictures of the models. An example of this may be completed in 1799 "Portrait of E. A. Naryshkin". Borovikovsky seeks to approve the intrinsicness and moral purity of man (Portrait of E. N. Arsenyeva, 1796). In 1795, V. L. Borovikovsky writes "Portrait of the Torlen Peastery of Christine", we will find the essay of this work in the work of the Master's student - A. G. Venetsianova. In the 1810s, Borovikovsky attracts strong, energetic personality, he focuses on citizenship, nobility, the dignity of portrayed. The appearance of its models is made restrained, the landscape background is replaced by the image of the interior (portraits A. A. Dolgorukova, 1811, M. I. Dolgoruki, 1811, etc.). V. L. Borovikovsky - author of a number of parade portraits. The most famous of them are "Portrait of Paul I in White Dalmatics", "Portrait of Prince A. B. Kurakin, Vice-Chancellor" (1801-1802). The front portraits of the Borovikovsky most brightly demonstrate perfect possession of the artist with a brush in the transmission of the material texture: the softness of velvet, glitter of gilded and satin robes, the radiance of precious stones. Borovikovsky is also a recognized master of portrait miniatures. The collections of the Russian Museum store works belonging to his brushes - portraits A. A. Melalas, V. V. Kapnikova, N. I. Lvova and others. As the basis for your miniature, the artist often used tin. Creativity V. L. Borovikovsky is a merger of classic and sentimentalism styles developing at the same time. In his last years, Borovikovsky returned to religious painting, in particular, he wrote several icons for the Kazan Cathedral under construction, the iconostasis of the Church of the Smolensk cemetery in St. Petersburg. Gave painting lessons beginnerly by the artist Alexei Venetsianov.

Rod. In Mirgorod, the current Poltava province, July 24, 1757, mind. On April 6, 1825, his father, Starzhil Mirgod, the icon comrade Luka Borovik (the same written by Borovik and Borovikovsky, as well as Luke and Lukyan, mind. In 1775) ... ... Large biographical encyclopedia

Vladimir Lukich Borovikovsky Straot of work Bugaevsky gracious Date of birth: 1757 Date of death: 1825 Nationality: Ukr ... Wikipedia

- (1757 1825) Russian painter. Portrait of Borovikovsky is inherent in the features of sentimentalism, the combination of decorative subtlety and the grace of rhythms with the right transmission of character (M. I. Lopukhina, 1797). From 1800 xs. Tested the influence of classicism (A. B. ... ... Big Encyclopedic Dictionary

Borovikovsky (Vladimir Lukich) The artist of historical, church and portrait painting, was born in 1758 in Mirgorod, died in 1826 the son of the nobleman, he in young years consisted of military service, which left in the rank of Lieutenant and then settled in ... ... Biographical Dictionary

Russian and Ukrainian artist Portraitist. Until 1788 lived in Mirgorod, he studied at the father and uncle icon painters, performed icons and portraits, in many ways, closest traditions of Ukrainian art ... ... Great Soviet Encyclopedia

- (1757 1825), Russian and Ukrainian artist. Portraitist. Until 1788 lived in Mirgorod, he studied at his father and uncle icon painters; From the end of 1788 in St. Petersburg, where he used the advice of D. G. Levitsky, and from 1792 he was engaged in the Austrian artist and ... Artistic Encyclopedia.

Borovikovsky Vladimir Lukich - (1757-1825), artist. From 1788 lived in St. Petersburg. He studied painting at D. G. Levitsky and Austrian artist I. B. Lampy Senior (from 1792). Academician of painting from 1795, Counselor of Petersburg AH from 1802. The author of numerous portraits ... ... Encyclopedic Directory "St. Petersburg"

- (1757 1825), artist. From 1788 lived in St. Petersburg. He studied painting at D. G. Levitsky and Austrian artist I. B. Lampy Senior (from 1792). Academician of painting from 1795, Counselor of Petersburg AH from 1802. The author of numerous portraits ... ... St. Petersburg (Encyclopedia)

- (1757 1825), painter. Portrait of Borovikovsky is inherent in the features of sentimentalism, the combination of decorative subtlety and the grace of rhythms with the right transmission of character (M. I. Lopukhina, 1797). Such a restrained work of the Borovikovsky 1800 x Gg ... ... ... encyclopedic Dictionary

Borovikovsky, Vladimir Lukich - V.A. Borovikovsky. Portrait of M.I. Lopukhina. 1797. Tretyakov Gallery. Borovikovsky Vladimir Lukich (1757 1825), Russian painter. Portrait of Borovikovsky inherent in the features of sentimentalism, a combination of decorative subtlety and rhythm grace with ... ... Illustrated Encyclopedic Dictionary