Painting of the second half of the XVIII century. Female portrait of the late XVIII century (Rockots, Levitsky, Borovikovsky) Test on the history of the arts Levitsky Rockies Borovikovsky

The visitor of the Russian Museum, which comes from the exposition of icon painting to the Hall of Peter I, experiences sensations similar to those that in the film "Matrix" survived Neo, who took a red tablet from the hands of Morfus. We just surrounded spiritualized images, bright colors and harmonic lines, which only remotely reminded visible around, but their non-flavless Kraso-Ty was represented in our world the law and order set by the urbanity of the Universe. Welcome to reality - crossing the threshold, we are descended to the pretentious world of dark paints and a deliberate bodyality, flattened by the light of embossed persons, as if peeled from black backgrounds. We came to look, but they themselves were under cross-fire of views: almost all exhibits here are portraits. From this time and for the entire upcoming age, the portrait will become synonymous with Russian painting.

The history of the Russian portrait of the XVIII century is the picture of the visual self-awareness of the nation, expanded in time the process of finding Russian "Persons". The Petrovsk era is addictive to the appearance of an individual embedded in a social hierarchy. From the estate standard recorded in the confident-but-limited repertoire of the Pos and expressions of the face, the portrait goes to the prestitution of a thinner relationship between the appearance and the inner world of the character. With the arrival of sentimentalism, the life of the soul becomes the value, a sign of a person, harmoniously combining nature and civi-lization. Finally, romanticism and the era of 1812 will allow - probably for the first time in Russian art - to be born the image of an internally free man-century.

Speaking of portrait, you need to remind a few things. First of all, in the Social Society, he is the privilege, a marker and at the same time a guarantor of the status of the model. In the overwhelming majority of cases, the heroes of the portraits became pre-bills of the highest public layers. The portrait in which the necessary conventions of the image (pose, costume, entourage and atroids are observed and agree, will automatically ensure the high social status of their passion. Portrait reflects and broadcasts social behavior standards. He seems to say: "Before you a noble man. Be similar to him! " So, the nobility portrait for centuries is not only an impeller, but also a person who is inherent in elegant ease, that is, a property that has long served as a bodily expression of nobility and Breeding, and therefore supplies to elite.

Portrait painting is a kind of industry. The very character of the portrait market involves a high degree of unification. Portraits are quite clearly divided into solemn (parade) and more chamber (private). They, in turn, suggest a certain set of formats, poses and atroids, as well as the corresponding price list that takes into account whether the artist himself performed a portrait from beginning to end or entrusted less response to the work of the workforce.

From the first of his steps in the ancient world, the portrait played the role of magical: he literally replaced the depicted and extended his being after death. The memory of these archaic functions accompanied the portrait and then when he became one of the genres of painting and sculpture of the new time. She was re-given, in particular, literary works, who described imaginary communication with a portrait: Poetic "interviews" with him, stories about love in portraits, and in the era of romanticism - terrible stories about coming images. They definitely say that pore-tert "as a living", he "breathes", he lacks only the gift of speech, etc. As the Pra-Voice, the pictures described by poets were the fruit of their imagination. However, the tradition itself, persisted by the wordness during the centuries, asked a portrait perception method and reminded that he belongs not only to the world of art, but is directly related to the problem of human existence.

Classical art theory low values \u200b\u200bportrait. This genre occupies the appropriate place in the academic hierarchy. At the end of the XVIII century, for example, it was believed that "in portrait ... Rode is always made only one figure, and for the most part in the same position ... You can not this genus ... to compose with historical ...". At this time, the portrait painting associated with imitating imperfect nature should not be prestigious employment. Meanwhile, in Russia there was a different situation: the portrait of the company became the most faithful way of the artist to success. Starting with Louis Caravaca, Ivan Nikitina or George Gota, the creation of portrait-Tov was one of the main tasks of the court painters. But the artist of the first half - the middle of the XVIII century is still a multi-stage: Sheremetev-Skystaya Ivan Argunov performed a variety of host whims and ended his path to the householder, leaving painting; Andrei Matveyev and Ivan Vishnyakov were supervised behind the architects and decorators of the office from strictly; Similar duties were at Alexey Antropov in the Synod. However, for one copy of his own coronation portrait of Peter III, ordered by the Senate, the artist received 400 rubles - only a third less than his annual Synodsky salary.

Alexey Anthropov. Portrait of Peter III. 1762 year

With the basis of the Academy of Arts in 1757, the situation began to change. Previously, the Russian portraitist, like the Renaissance subsection, studied the craft in the workshop of the artist's workshop or took lessons from the Celebrities. The forty-year-old Anthropov was improved under the guidance of Pietro Rotary - a painter moved to Russia with a European reputation-Quea. Argunov studied at the grooved, and on the command of the Empress himself instructed the painting "Sing's sleeves from the voices", among whom was the future historic painter Anton Losenko. Now the artist was based on a holistic method proven generations. Portrait class at the Academy was founded in 1767.

Despite, the Cas exoro, the low hundred-tus genre, of the nine who graduated from the Academy of Pupils of the first reception five were released as portraitists, and only two specialists were engaged in historical painting. Portraits occupied an important place at the Academician exhibitions and allowed the artist to make a full career - to become "appointed" (that is, a corresponding member) or even an academician. Borovikovsky semi-chil first title in 1794 by the image of Ekate-Rosi II on a walk to the Tsar-Skoselsky Park, and a year later, for the portrait of the Grand Duke Konstan-Tina Pavlovich. A portrait of a man's creative professional in itself could symbolically increase his status. Levitsky depicted the Kokori-Nova architect in 1769 according to the standard of portrait of the State Dee-Tel: Rector of the Academy of Arts with a sword and in a luxurious costume of the Stoi-Mo-Stew in his annual stinging of a gesture with a gesture indicates a secreter with an academic casnaya, printing Academy and its plan. Four years later, the artist letter-flax will reproduce this scheme in the portrait of Vice Chancellor Prince Golitsyn.

Vladimir Borovikovsky. Catherine II for a walk in the Tsarsko Selo Park. 1794 yearState Tretyakov Gallery

Vladimir Borovikovsky. Portrait of Grand Duke Konstantin Pavlovich. 1795 yearChuvash State Art Museum

Dmitry Levitsky. Portrait of A. F. Kokorinova. 1769 year

Dmitry Levitsky. Portrait of Vice Chancellor Prince A. M. Golitsyn. 1772 yearState Tretyakov Gallery

The second half of the century opens an alternative to a portraitist - work on private orders. Fyodor Rockots occurred, most likely, from Cre Post, but he drove the nobility in the military department. When his career at the Academy of Arts was not asked, he moved to Moscow in 1766-1767, and the trove of knowing the old capital was the extensive clientele of the artist. In his example, we can make an idea of \u200b\u200bthe position of the in-demand painter. For written in its own coincidence, the royal portrait of an Eka-Therin awarded 500 rubles rokotov. The first historiographer of the Russian Art-Government of the XVIII century Jacob Schlyten testifies that in St. Petersburg, the artist was "so skillful and famous that he could not alone handle all his jobs ordered ... He had about 50 pore-tents in his apartment, Very similar, nothing was finished on them, except for the head [this certainly assumed the participation of substrursions] ". If in the 1770s his standard portrait cost 50 rubles, then in the 1780s he was already estimated in a hundred. It would be a positive artist to purchase a plot of land for 14,000 rubles, to build a two-storey stone house on it, to become a member of the English club and merit once-Drazed remark of the contemporary: "Rockots for Govlovy became nursing and important."

Fedor Rockots. Coronation portrait of Catherine II. 1763 year State Tretyakov Gallery

The contrast between the icon painting and the portrait of the XVIII century clearly shows the power of the Petrovsky revolution. But the Europeanization of the visual forms began earlier. In the 18th century, the masters of the Armory and other Israes created a hybrid icons and portrait - Personuna (from the word "person", which in the first half of the XVIII replaced the word "portrait" in Russia). By the end of the XVII century, Parsuna already uses the scheme of the European parade pore-tre-one, borrowed through Poland and Ukraine. The task came from the portrait - the appearance of a person in his social role. But the visual means in many people remain icon: the flatness of the shape and space, the condition of the body structure, explaining the text in the image, ornamental trapping of robes and attributes. These features and in the XVIII century have long been kept in the provincial nobility portrait, in portraits of merchants and Du-Ho-Venation.

Portrait of Tsar Alexei Mikhailovich. Parsuna of an unknown Russian artist. End of the 1670s - the beginning of the 1680s State Historical Museum

The Petrovsky Pensioner Ivan Nikitin studied in Italy is the first Russian master, "forgetting" about Persun. Its portraits are quite simple in composition, it uses only a few iconographic types, rarely writes hands and prefers dark color gamut. His portraits are often marked by special plausibility, the face is interpreted emphasized the relief, the recognition prevails on idealization. Chancellor Gabriel Golovkin is the perfect image of the Meritocratic monarchy of Peter: the ill-stretched pyramid of the figure crosses an oval face in the framing of the wig. Calm dignity, pride and self-confidence are informed by the hero and a restrained, but natural pose, and meeting the viewer with a straight look. The parade of Kam-evils with orders and ribbon is almost merged with the background, letting it focus on the face. The dark medium pushes the head of the head outside, the brush of his left hand indicates the boundary of the space of the canvas, and the filigree you-written blue Order of the Band as if it swing her, leaving our space. This picturesque trick, forcing the illusion of presence, one-time helps to reduce the psychological and social distance between the model and the viewer, irresistible in the Dopurerovskaya Personne.

Ivan Nikitin. Portrait of the State Chancellor of Count G. I. Golovkin. 1720s State Tretyakov Gallery

Andrei Matveyev returned from the Netherlands around 1729 created his portrait with a young wife. If we agree with this generally accepted identification today, then we are not just the first well-known self-portrait of the Russian painter. In this image of the differences, the equilibrium of men and women for Russia is presented. Left hand artist ceremoniously takes the hand of companions; Right, patronizing at hugging, sends it to the viewer. But the entire formal meaning of these gestures of the houses and the assignment is unexpectedly erased. In a very uncompanited canvas, a female figure is not just right hand from a man, but also takes exactly the same picture space as he, and the heads of the spouses are located strictly on the same line, as if the scales are measured at one level.

Andrei Matveyev. Self-portrait with his wife. Presumably, 1729 State Russian Museum

Portrait of the middle of a century is mostly an image is not a person, but status. A characteristic example is the spouses of Lobanov-Rostov brushes Ivan Argunov (1750 and 1754). With all the recognition of the characters in front of the viewer, first of all, the "noble nobleman" and "kind of beauty", the position of which once and is permanently fixed by uniform, the mountainous mantia and a silver sew dress. Artist of the middle of the XVIII century - Russian and foreign - extremely carefully conveys a suit and its elements: fabric, sewing, lace; In detail discharges jewels and on-hands. In these portraits of Argunov, the body of the character is composed by space, expanded along the plane of the canvas, and the tissues and decorations are discharged with such a detail, which is forced to remember Persune with its decorativeness and a special, surface vision of the human body.

Ivan Argunov. Portrait of Prince I. I. Lobanova-Rostovsky. 1750 yearState Russian Museum

Ivan Argunov. Portrait of Knyagini E. A. Lobanova-Rostov. 1754 yearState Russian Museum

Today we value the work of the Russian portrait of the XVIII century, in which the conditional image seems to be lost integrity, and the decorum (the balance of idea and real in the portrait) is broken in favor of the likelihood. Obvious, but, hence the charm, which is endowed for the modern viewer, iso-brotherhood of a decade of Sarry Farmor (1749). The subordinate father of the Kan-Callerie from the buildings of Ivan Vishnyakov submitted a child in the form of an adult girl, scoring a fragile figure into a front-line composition with a column and in the background in the background. From here and the attractiveness of such images, where the face deprived of an external beautifulness seems to be the key to the truthful transmission of character: these are the anthropow portraits of the Stats-Ladies of Anastasia Izmailovaya (1759) or Anna Buturlin (1763).

Ivan Vishnyakov. Portrait of Sarry Eleonora Farmor. 1749 yearState Russian Museum

Alexey Anthropov. Portrait of stats-ladies A. M. Izmailova. 1759 yearState Tretyakov Gallery

Alexey Anthropov. Portrait of A. V. Buturlin. 1763 yearState Tretyakov Gallery

In this row, the portraits of the haircut brushes of Argunov are also stood (1757). The goat of Hripunov, an elderly man with a massive nose, squeezes a leaf of layer-female paper in his hands and, as if he climbed his reading, stops the audience a sharp look. His young spouse holds in his hands the revealed book and with a spo-coin dignity looks at us (according to confessional books, Feodosia Khripunova is unlikely more than twenty years: the characters of portraits of the XVIII century often look older than their age). Unlike modern France, where the book was not rare in the era of the Encyclopedia, even in the aristocratic portrait, the characters of the Russians of the XVIII century are very rarely represented by reading. Related by attributes and restrained portraits of the four rats in Europe would be attributed to the portraits of the third class, which freshenive enlightenment values. In them - as, for example, in the portrait of the doctor Lerua, the work of Jacques Louis David (1783) - not the status, but the activity of the hero, not the positiveness of the appearance, is honestly improved.

Ivan Argunov. Portrait K. A. Khripunova. 1757 year

Ivan Argunov. Portrait of H. M. Khripunova. 1757 yearMoscow Museum-Manor "Ostankino"

Jacques Louis David. Portrait of Dr. Alphonse Lerua. 1783 yearMusée Fabre.

With the names of Rockot and Levitsky, for the first time in Russia, there is a new time in Russia, an idea of \u200b\u200ba strictly individual manner, which seems to be aware of the models: Now you can safely talk about the lady, "Founded from the Rockoth's canvas", about the cavalier "With the Pestrote of Levitsky." Various in the manner and spirit, both painters make not only the images of con-book people in their portraits, but also feel painting as such that affects the smear, texture, flavor - regardless of the plot. Obviously, this is evidence of a gradual change in the status of the artist, its self-esteem and the emerging public interest in art.

Rockots - the first master of emotional portrait in Russia. The formation of his manner is associated with the impact of the Italian Rotary, whose maiden's "heads" are natively considered spicy baubles Rococo. But Rockots could see in them an example of a variety of thin, slipping intonations - what distinguishes the images of the Russian artist himself. From the dark background of the preceding nicknames of Roco-Tov goes to the background with an indefinite, similar haze, not so much the approximate figure to the viewer how much absorbing it. The body closed in a uniform or dress acquires a subordinate value, the person is now completely dominant. It is worth looking at the way Rockots write the eyes: in such things as the famous portrait of Alexandra Struj (1772), the pupil is written by the fused smears of close colors with a bright glare, - the gaze loses the shabby, but it becomes depicted. The insecurity of the environment, the smoothing of the contour along with a blurred, but saturated view of the heroes create no analogies in the Russian portrait, the feeling of multidimensional character in which - first of all in women - emotions play a decisive role. In this regard, Rokolovsky characters are the people of Sentiment-Malism, in which they are prioritized by social roles and ambitions, but an emotional depth and spiritual mobility of a person.

Fedor Rockots. Portrait of A. P. Strujskaya. 1772 year State Tretyakov Gallery

It seems non-random that sophisticated, but devoid of external effects of the Rokotova's manner took shape in Moscow with his traditional life, family and friendly tradition. At the same time, the most brilliant painter of Russia of the XVIII century was bloomed in the aristocratic and court catherine capital, the most brilliant painter of Russia of the XVIII century - Dmitry Rij Levitsky. In the work of this out suits from the family of the Ukrainian Sacred-Nick, who graduated from the St. Petersburg Academy of Arts, Russian painting first reached the European level. It was endowed with a gift to create full-blooded and noble images, the ability to fascinatingly accurately transmit a variety of textures - tissues, stone, metal, human body. At the same time, a number of his works introduced Russian art in the context of advanced mental movements of the era.

Thus, the laws of self-rescience submission to Russian enlightenment of the law were embodied by Levitsky in the film "Catherine II - Conodater-Nitsa in the Church of the Goddess of Justice" (1783). The main portrait of the ruler always embodies his official image. Levitsky's canvas - a unique case, when the image of a monarch, fully responding with the canons of the genre, is a nose of society a sovereign, conveys the aspirations of the enlightened nobility.

Dmitry Levitsky. Portrait of Catherine-legislation in the temple of the goddess of justice. 1783 year State Russian Museum

Empress in a laurel wreath and a civilian crown, sacrificing his peace, burns poppies on the statue of the femide altar with the inscription "for a common good." At the pedestal of the sculpture, the profile of Solon - the Athenian lawyer of the Cancer. The imperial eagle sits on foliants of laws, and in the removal-vayu-smiling behind the queen sea, the Russian fleet is visible under the Andreevsky flag with Zhez-scrap Mercury, a sign of protected trade, that is, the world and pros. In addition to the educational idea of \u200b\u200bthe rule of law, other pollocks are possible here. It was suggested that the canvas should have become the center of the ensemble of portraits of the Cavalier Duma of the Order of St. Vladimir and to rely on the Tsarsko Sofia, thus entering the ideological apparatus of Catherine.

This portrait, the program of which belongs to Nikolay Lvov, and the order - Alexander Bezborodko, was probably the first piece of Russian vibrant pisi, which turned out to be a general event. He consisted in the same Hono-wine "" appeared in the same 1783 thro. At the same time, Ippolit Bogdanovich printed the station to the artist, at which Levitsky, once-returning the idea-lo-guy-MU portrait, is the first case of directly frayous painting to the pub-face. Thus, the portrait took on the functions of the narrative historical canvas, which the will of the Wild Society of the idea and become new to the event for a relatively broad audi-thorium. This is one of the first signs of the new pro-Chesses for Russia: the image of the art ceases to serve the utilitarian needs of the elite (representation-tation of political and personal ambitions, decoration of life, visa-lying knowledge, etc.) and post-pension An important element of the National-National Culture, organizing a dialogue between different parts of society.

Seven cloths of the Smolyanka series, written in 1772-1776, are depicting the nine pupils of the Smolny Institute of Noble Maidens of different "WHO Roshov" (periods of study). This is a monument, an experiment, which reflected the key ideas of European prospects: the upbringing of a new person, advanced education for women. They also clearly indicate a gradual change in the relationship to the pericides of human life: if a child in the Russian portrait appeared, as a rule, a small adult, then Smolnyanka demonstrates steps towards adolescence, which is exactly in this portrait series for the first time - a separate, independent stage. Girls are dancing, performing the same-trawling roles, but two closer images of the "old-she-cursanits" glans of the aliens and Catherine Molchanova seek the result, embodying two hypostasis of an enlightened woman. Alimova plays an AR-FE, representing IS-Cry - which are associated with human sensory nature. Mol-Cha-Nova represents the intellectual beginning. She poses with a book and a vacuum pump - a modern tool that allows to study the material nature of the world. From the portrait attribute, it turns here in a sign based on the scientific experiment of best knowledge.

Dmitry Levitsky. Portrait of Feodosia Rzhevskaya and Nastasya Davydova. 1771-1772 yearsState Russian Museum

Dmitry Levitsky. Portrait of Ekaterina Nelidova. 1773 yearState Russian Museum

Dmitry Levitsky. Portrait of Catherine Khrushcheva and Ekaterina Khovanskaya. 1773 yearState Russian Museum

Dmitry Levitsky. Portrait of Alexandra Levshina. 1775 yearState Russian Museum

Dmitry Levitsky. Portrait of Ekaterina Molchanova. 1776 yearState Russian Museum

Dmitry Levitsky. Portrait of alcoholic glaties. 1776 yearState Russian Museum

Dmitry Levitsky. Portrait of Natalia Borshovoy. 1776 yearState Russian Museum

The works of Vladimir Borovikovsky, a student and fellow countryman of Levitsky, clearly show that the Sentimentalist Values \u200b\u200bin the last ten years of the XVIII century became the basis of the representative of a private person. Now the pore-troet is clearly stattered into the parade and private. The image of the "Diamond Prince" of Curakina (1801-1802) shall be shifted with a deliberate luxury, which is nointed so for the love of jewelry and displacement pomp. Like a row of Goya's webs, it shows that the magnificence of painting becomes one of the latest arguments in favor of the greatness of the aristocracy: the models themselves are no longer able to withstand that pathos, which is dictated by the genre.

Vladimir Borovikovsky. Portrait of Prince A. B. Kurakina. 1801-1802 years State Tretyakov Gallery

Haming-ternya for the "Epoch of Sensitivity" The hybrid is the iso-monoto-ekaterina II in the royal village (see above). Portrait in growth against the background of a monument of military glory is underlined by chamber modus: he pre-enter the cum in the furry at the time of a secluded walk in the Avenues of the Park. POR-TRAT did not ponrably Catherine, but, most likely, suggested by Pushkin Mizan-scene of the meeting of Masha Mironova with Empress in the "Captain daughter". It is at the Borovi-Coke landscape for the first time among Russian artists become a regular portrait background, denoting a whole range of ideas related to the ideas of naturalness, sensitivity, part-of-room life and one-non-nice souls.

Nature as a projection of spiritual experiences is a characteristic feature of the culture of sentimentalism, saying that the internal world of man becomes unconditional value. True, in many works of Boro-Vikovsky "involvement of nature" the character acquires the character of the cliché, witnessing that sensitivity and naturalness turned into fashion. This is especially noticeable in the virtuoso-fulfilled women's portraits, following the ideal of the young "natural" Kra-cell and calculating poses and model attributes. On the other hand, this frame of the pastoral portrait made it in the number of fastener characters. Such, for example, "Lysyanka and Dashinka" (1794) - the courtyard girls blocked by the painter of Lviv, almost indistinguishable externally from young nobles.

Vladimir Borovikovsky. Lysyanka and Dashinka. 1794 year State Tretyakov Gallery

If, in the face of Levitsky and Borovikovsky, Russian painting became a row with co-temporal artistic trees, the next generation of Russian pore-treasters solved a new task: their art finally built a dialogue with the Great Painting of Europe of the XVI-XVII centuries, the tradition of which in the addresses Russia was absent. The prerequisites for it became the formation of the Ermitage Collection of the Hermitage Collection, as well as long-lasting travels abroad, which has successfully graduated from the Academy of Young Art-Nikov. Karl Bryullov designed his own image on the legs of the "Old Master" and at the same time recreated in Russian soil the magnificence of the Varyikov-Skogo-Paradinary portrait with his symphony luxury color ("Sum-Nitsa", 1831; Portrait of Sisters Sisters, 1839).

Orest Cyprosensky. Portrait of an artist Adam Karlovich Schvalbe. 1804 year State Russian Museum

In the portrait of Pushkin (1827), the dialogue with tradition is built at the level of Iko-niography, still understandable Europeans of the turn of the XVIII-XIX centuries. Hand-crossed on the chest and asked the poet's gaze represent the echo of the personifications of melancholy - temperament, which started with the Renaissance era, was considered as a sign of genius.

Orest Cyprosensky. Portrait A. S. Pushkin. 1827 year State Tretyakov Gallery

The collective hero of the works of Kiprensky was the generation of 1812. These portraits are distinguished by unprecedented in Russian art with a "behavior" of characters. The comparison of the "formal" portrait of Colonel Evgraph Davydova (1809) and a series of graphic portraits of participants in the Patriotic War of 1812-1814 (Alexei Lansky, Mikhail Lansky, Alexey Tomilov, Efim Chaplica, Peter Olenina and others, all - 1813). The first varies characteristic of Europe XVIII and early XIX century the type of two-rich portrait. Davydov's Pose does not simply demonstrate to the abundance of ease, it iconographically adds the character, since Prakkitel's famous "resting satir" is rising: the classical statue is committed to the advantage of the hero of the canvas. But the feeling-lubricated side of the satir is only the back side of his belly natu-ry, and the Cyprosen's superbly enjoys this prototype memory (simultaneously sign and plastic), creating the image of a hero who is in Ras-Leng-Nome, But able to straighten, like a spring. Each of the quaran-dash portraits of young "veterans" also to some extent subordinated to any portrait cliché, but together they demonstrate the unprecedented graphic freedom and a variety of formal solutions: the pose of the body, head slopes, gestures, views. In each individual case, the artist was not from predetermined roles, but from the person dropped in front of him. This ease of heroes together with the demonstrative ease of execution acts as a viewing embodiment of the internal "self-standing" of the intersection - unprecedented until that time in the Russian history of the feeling of freedom.

The XVIII century was significant for Russia with noticeable changes and significant achievements in the field of art. His genigar structure, content, character, means of artistic expression changed. Both in architecture, and in sculpture, and in painting, and in the chart, Russian art went on pan-European development paths. Back in the depths of the XVII century, in Petrovsky times, the process of "priority" of Russian culture took place. In the formation and development of the secular culture of the pan-European type, it was impossible to rely on old artistic ways of expression, for which new tasks were not on the shoulder. Foreign masters invited to Russian service not only helped create new arts, but also were teachers of Russian people. Another equally important way to obtain vocational training was the parcel of Russian masters for study in Western Europe. So many Russian masters received high training in France, Holland, Italy, England, Germany. I think that it was at this stage that Russian art entered into a closer contact with the style trends developed in the Western European art of the new time, through which they had to go through their way and to him. However, at first the process of restructuring the artistic consciousness of Russian masters proceeded with great difficulties, in the method of their work, traditional ideas also affected the laws of medieval creativity in the form of monumental-decorative paintings and the iconography.

In the second half of the XVII century, together with other types of art in Russia, painting is experiencing serious changes. To a certain extent, they prepare those indigenous reforms that occur in it at the beginning of the XVIII century. When entering into the position of the art of the new time (with significant intake compared to other advanced Russian countries), Russian painting in its own way reflects the general patterns of this stage of development. On the forefront, secular art is put forward. Initially, secular painting is approved in St. Petersburg and Moscow, but since the second half of the XVIII century has been gaining significant distribution in other cities and estates. The traditional branch of painting - the icon is still widely widespread in all layers of society. Russian painting developed throughout the 18th century in close contact with the art of Western European schools, coming to the universal heritage - works by the art of the Renaissance and Baroque art, as well as widely using the experience of neighboring states. However. As the researchers have already established, art as a whole and painting in particular, throughout the XVIII century are connected with a single orientation and have a pronounced national character. During this period, the greatest masters of their business were created in Russia - representatives of the national art school and foreign painters.

1. Portrait of the First Half XVIII century

In the early works created at the turn of centuries, the elements of medieval portrait painting are still preserved, with a characteristic transmission of the social status of the model, the staticness of the poses, the flatness of the interpretation of forms, interest in the ornament. Parsuna played an important role - she was the transmitter of the main features of a new portrait method, which in Russian conditions was transformed into his own way. Portraits belonging to this line are distinguished by large sizes, composite schemes borrowed from the front papers of Western Europe of the XVII century, impressiveness and impressiveness, strict social labeling and "important notch".

The models depicted on such portraits embody almost the icon indifferent first. Painting in them combines a volumetric and concrete personal letter with plane "valleys" - as it was in Parsuna. Parsuna brought Russian painting on the road of machine tooth - gave him not only the features of similarities, but also picture, gave her place in the emerging secular interior. But by the end of the 1710th Gg. Portraits in this style have ceased to satisfy customers because of their heavily, Kosonazychy and Archaizma, which became apparent after the first foreign travel of Peter. Customers have a new landmark - the art of the West (primarily France): paintings are bought abroad, foreign artists are invited to Russia, and the Russians are to study.

The main line (Nikitin and Matveyev) of the portrait development is confidently coming forward, and Parsuna loses its attractiveness in the eyes of high-ranking customers. Nevertheless, the farther from St. Petersburg, the more clearly the features of Parsuna will manifest itself in the province - throughout the 18th century, and then the 1st half of the XIX century. The peculiarity of this line of portrait is its involvement in the icon painting, which herself during this period, losing medieval spirituality, becomes compromise, bright and elegant. It will affect some artists close to the office from the buildings.

1. The line lying aside from foreign retirement is complemented by artists who independently have done the way from the icon painting to the portrait, domestic masters of home sweating and fans of painting - noble-amateurs.

2. Rossika is represented by foreign artists who worked in Russia throughout the 18th century. This line is heterogeneous on the national composition and high-quality level. She is closer to the main flow of a Russian portrait, its task is to exhibit a local model to the Olropean Field. Thanks to the Russian art, the contact of Russian art with the art of neighboring countries is at the level of typology, style and formation of general artistic quality criteria.

3. Actually, the domestic school (Ivan Nikitin, Alexey Matveyev, Ivan Vishnyakov, Alexey Anthropov, Ivan Argunov). Their work is characterized by skill and accuracy in the transfer of appearance, although they have not achieved complete perfection. (From the next generation, Rockies, Levitsky, Borovikovsky belonged to it). This main line is distinguished by continuity. At the same time, she possessed inner unity - at first she was aimed at mastering the main artistic principles of the new time, then, gave them to them, began to evolve in accordance with the pan-European style trends (Baroque, Rococo, classicism, sentimentalism, predocant).

Gradually, the portrait began to recreate the internal content of man more deeply. In the first quarter of the 18th century, portraits appeared, which truthfully captured images of many outstanding contemporaries. The largest artists of the first half of the 18th century were I.N. Nikitin and A.M. Matveyev. They faster than others overcame icon-painted influences and created a truly artistic work of the art of the new time.

Already early portraits of Ivan Nikitich Nikitin were distinguished by great skill of performance. Peter the first was very proud of Nikitin and the artist repeatedly wrote portraits of the emperor himself. Brightly manifested the artist's skill in the portrait of Peter on a mortal app. This unfair work carries the traces of a quick, bold letter, it is made in a sketchy manner with a confident hand of an experienced artist.

Most significant not only in the work of Nikitin himself, Noah in general in the Russian portrait painting of the first half of the 18th century the so-called "portrait of the outdoor hetman". The artist depicted the elderly, as if tired of the long works of man. This is one of the few portraits in which a person is not posing is not represented in front of the viewer in the "Supil Light", and full of deep inner life. The artist and the coloristic solution of the canvas were great.

The portrait art of Nikitin - the vertex in the history of the development of Russian painting of the first half of the 18th century. No one from his contemporaries, artists failed to achieve such deep penetration into the creature of human psychology, such artistry and professional skills.

Andrei Matveyev first of the Russian masters received a full-fledged Western European art education. In Russia, a young artist returned after the death of his royal patrons - Peter I and Catherine I. In August 1727, he came to St. Petersburg and was examined by Louis Karavak, who noted that Matveyev writes "the person" well and has more "in paints, rather than in the picture. " Matveyeva was credited to the state of the office from buildings. In 1731, he received the title of Master and led the picturesque team of the Office, the Chief State Institution, which was carried out by architectural and picturesque work in the country.

From the documents it is known that Matveyev wrote battle paintings for the summer house, scenic work for Peterhof, decorated Anichkov and Admiralty triumphal gate, even found a subscription drawing sketch depicting "wedding to the kingdom" (1732). The artist also participated in the painting of the Petropavlovsky Cathedral, royal residences in St. Petersburg, until the end of his days he wrote icons for the Church of Saints Simeon and Anna. Unfortunately, many of Matveyev works are known only on mentions, others are not always indisputable on the author's affiliation. The most interesting from the remaining heritage of Andrei Matveyeva is his portraits. They reached our time very few, among them: "Allegory of painting" (1725), "Self-portrait with his wife" (1729), "Paired portraits of princes of Golitsin" (1728).

Of course, at the beginning of the 18th century, a number of other talented masters worked in the field of portrait genre. The variety of forms of the portrait genre manifested itself in the works of miniaturists - G.S. Musician and A.G. Ovsov, who created a series of portraits of Peter I and his closest environment. They became the first major masters whose miniatures reached the present day. Both artists worked first in the Armory Chamber, and then moved to the new capital - Petersburg. As they performed, first of all, the orders of Peter I, it is natural that royal portraits prevail in their legacy. One of the works of Musician is a portrait of Peter I on the background of St. Petersburg. Not less interest is the earlier work of 1717 - the portrait of the royal family, which shows Catherine, and the figures of the children standing: Elizabeth, Anna, Tsarevich Alexey and Little Peter Petrovich. The miniature composite solution suggests that the artist was well acquainted with a European parade portrait - most likely, through engraving. But for European miniatures, such group portraits were innovation. And the merit of the master is that he first introduced this genre to Russian art. Musician in the first of his work is not very strong in the figure - the disproportionality of the figures, some frost and stiffness of positiveness is noticeable. Attention attracts, above all, the color is a colorful miniature solution. Surprisingly festive, elegant. If we recall the famous products of the Usolian masters of the XVII century, they involuntarily note the similarities of their color scheme with the works of Musician. Apparently, the artist in the weapon chamber saw the Usolian craftsmanship products, which was reflected in his portrait miniatures.

Starting from Petrovsky time, a portrait in Russian art came out on the 1st place according to the degree of prevalence and quality. The portrait "actually took over the basic burden of mastering the artistic principles of the new time." In the works of precisely this genre, unknown persons were tested earlier - composite schemes, colorful techniques, stylistic installations. Simultaneously with the portrait, other genres, the necessary absolutist state, developed historical and allegorical compositions, thanks to which Russian culture was part of the world of an unfamiliar system of personification.

Acquisition to the laws of easel painting in the afternoon Russia went hard. Artists needed not only to master the new understanding of the meaningful part, but also learn how to competently build the picture plane, the art of perspective and an anatomically correct transmission of the human body, as well as the basics of oil painting techniques and the flats of color.

The specific feature of the typology of the Russian portrait of the XVIII century is the absence of or extremely rare group (including family) portrait, which in the same era was very illustrative for England and France of the same time; as well as the absence of "scenes of interview". Up to the 2nd floor. The XVIII century was absent sculptural portrait.

2. Features of the Russian portrait of the middle of the XVIII century

From the mid-XVII to the middle of the XVIII century, the portrait was mostly court circles - whether the royal memorial "Parsuna", a parade imperial portrait or image of people, one way or another close to the supreme power. Only from the mid-XVIII century, the portrait "goes" into the mass of the ordinary local nobility, under the influence of the enlightenment there are still rare images of peasants and merchants, portraits of cultural figures are created. " In the 1730-1740s, the nobility is strengthened, which further contributed to the reform of the liberty of the noble. The portrait became an indispensable tool and self-affirmation, and aesthetization of life. By the 1760s, portrait art was already widely mastered not only at the imperial courtyard, but also in remote landowners. In the 1760-1780s, many features of the Russian portrait of the XVIII century are definitively determined. The period of formation, the transition from the old forms of culture, the apprenticeship of the West was completed.

For the late Elizabethan reign (the end of the 1750s - the beginning of the 1760s) was characterized by the ideal of beauty associated with the identity of the Empress Elizabeth Petrovna. This is a wide cheerful reality acceptance, festive feeling, a triumph of natural start. Often, this ideal appears in the rounded roads of strongly imminent people. Nevertheless, many masters have this joy of being and physical contentment are complemented by a restrained attitude towards the image of a person who goes back to the forms and traditions of icons and parswes. Vital energy, which is visible in powerful forms and bright colors, is constrained by the "frozen perfection of the detached persons and clear outlines." The Parsuna goes in such early portraits a certain squeezing of the posture, and the color of the object is sometimes saturated that it looks characteristic of the color symbolic color characteristic of the medieval art system. "Decautions" (the fact that below the person) is interpreted flatly, the canvas is created crafts in good faith, as a kind of thing, in the interpretation of a person's image, traces of symbolic thinking remain - all this is a remnant of transition from mid-centuries to a new time. By the 1750s, the camera in the interpretation of the image is noticeably enhanced in the Russian portrait. For example, Anton Losenko cultivates the machine genre, and therefore decorative decorative decreases in its portraits, the role of the gesture increases, there is a plot associativity, the chamber space occurs.

The middle of the century - the time of lifting and reviving national traditions - in the field of painting is represented by the names of I.Ya. Vishnyakova, A.P. Anthropova, I.P. Argunova. The lightness and freedom in the construction of the composition, in the movement of the brush and the smear of Petrovsky pensioners, is replaced by the masters of the middle of the century greater traditionality of the letter, deliberation in the position of the model.

On the outstanding skills and gifting of Ivan Yakovlevich Vishnyakov can be judged by portrait of K. and N. Peischini and especially Sarra Formra. Posing a girl in the dress of the court lady, the artist, at the same time, captured the living and real image of adolescence and stiffness of movements, some tension poses, angularity. Despite the staticness of the model, conventionality in the interpretation of the figure, gesture, ornament, the portrait of Sarra Formorm conquers with his poetch. This, in my opinion, is one of the best picturesque cauldron of the middle of the century.

A large master of a picturesque portrait that combined a variety of artistic techniques was in the mid-18th century Alexey Petrovich Antropov. Portrait of stats-ladies A.M. Izmailovaya (1759) is interesting for the expressive characteristic of the model. Its distinguishes the national and historical typics of the image, painting-plastic wholeness. Portrait is simple in composition. It is built on a combination of sonorous and blue tones.

I.I. Argunov (1729-1802) - Sheremetyevsky fortress graphs - a representative of a very talented family of architects and artists. He created numerous portraits of Sheremeney and the people of their circle. Usually they did not pose him, and Argunov, as he himself told him, wrote them, watching during the solemn holidays in the palace. The best works of the artist include pair portraits K.A. Khripunova, "Foreign College of Translator", and his wife (1757) - people of more than-known origin. Argunov depicts its models to close-up: they seem to be near the viewer.

But Career A.P. Anthropova as a portraitist was under the direct influence of political events that took place in Russia. The replacement of the reigns tangible at his work. On December 25, 1761, after the death of Elizabeth Petrovna, Peter III joined the Russian throne, her nephew and a legal successor.

His Holiness Synod to decorate its parade hall, A. P. Antropov is a portrait of a new ruler of Russia. Such work was part of the artist's responsibility for the Synodal Office. For the first time, Anthropov had the opportunity to show their picturesque skills, creating a parade imperial portrait in full growth. This gave him the hope that when changing the royal environment he could gain access to the palace and, if lucky, to achieve the title of court artist.

In February 1762, A. P. Anthropov performs a small sketch, which is now in the Tretyakov Gallery. In the sketch, where beautiful and finely selected flavor, Peter III is depicted in the conditional interior, which is similar not to the receiving room for solemn audiences, but rather on personal chas. The figure of the new emperor is placed in a peculiar picturesque frame: on the one hand it framed a spiral column with garlands of leaves, and on the other - the doorway with a selected drapery. On the left on a pinkish wall, the artist puts a portrait of Peter I in the carved frame - this item should have evidence of the successful legality of the police from grandfather to the grandchildren and triggered to indicate the program of the reign on the program, because Peter III stated in his first manifest, which will be "to follow the footsteps Promotud sovereign, grandfather of our Peter the Great. "

We are unknown in what kind of relations the artist and sovereign were located; We do not know whether Peter III poses Anthropov. You can guess, however, that the sketch did not like the emperor, who claimed the role of the great ruler and the commander. And the painter departs from the initial plan. The final portrait of Peter III is a parade canvas that answered all the canons of this genre. Immediately for the imperial portrait of the attributes of magnitude and royality: on the table - crown, scepter, power; On the chair - the ermine mantle. Peter III appears in an energetic pose, with a foot nominated foot; With one hand, he relies on the marshal rod, and the other put on the belt. Thanks to the distorted perspective, Paul Dan in a bit unnatural perspective, and the figure of the king towers over the viewer. The space has been expanded: the battle scene appeared in the window opening - the hint of Peter III required by the picturesque canon of Peter III, which, right, did not possess. The artist obviously wanted to achieve an exalted and at the same time a pompous effect.

In 1762, at the request of the former member of Synod, Archimandrite of the Trinity-Sergiev Monastery of Lavrentia Khotsyatovsky A.P. Anthropov writes a reduced and truncated version of the same portrait of Peter III. Now he is stored in the Sergiev Posad Museum-Reserve. Here the sovereign is represented in a more relaxed pose. The royal regalia half cut the frame of the picture. The ugly face of Peter Fedorovich is softened by a black and white modeling. The author's copy turned out to be more successful in a picturesque attitude than the original. Then A.P. Anthropov writes another, the fourth portrait of the monarch - in the midst of a military camp. Before the October Revolution, the canvas was located in the Winter Palace, then it passed into the Russian Museum.

The top authorities definitely accounted for the Anthropov interpretation of Peter III. Indirect confirmation of this can be the fact that at the same time with A.P. Anthropov write Peter III was invited by F.S. Rockots. In April 1762, with an unprecedented hasty - in two and a half weeks - Rockots performs a generated portrait of the sovereign with all the royal attributes. The picture did not make a favorable impression at the courtyard, maybe because he was written. Rokolovsky version remained unclaimed, and all subsequent orders were transferred to A.P. Anthropow.

However, the palace successes of the artist, as well as the Board of Peter III, turned out to be short-lived. With a new king, there were sharp changes in the internal and foreign policy of Russia. As a result of the coup on June 28, 1762, the wife of Peter III was proclaimed by the Empress, the new Empress Ekaterina II. A.P. Anthropov was not lucky: in front of him, the prospect of becoming a court artist at the court of Peter III, but Ekaterina Alekseevna, of course, did not want to provide such a high and prestigious place to a person who was a favor of the spouse hated by her.

However, the master artists were needed. Subsequently A.P. Anthropov performed many palace orders and repeatedly wrote the Mother Empress. The place of the court artist, however, fastened behind the Danish Vigilius Eriksen, which created the famous equestrian sweating of the queen and a portrait in front of the mirror.

Since 1768, the court artist Catherine II became Stefano Torelli, who created lush allegorical canvas in her honor. For the sake of justice, it should be noted that in its picturesque skill, foreign masters were higher than our Anthropow.

3. Portrait of the late XVIII century

The painting of the last decades of the XVIII century is distinguished by significant variety and completeness. First of all, this is due to the foundation of the Academy of Arts. The Russian school is now being mastered by those genres of painting, which were previously represented only by the works of old and modern Western European masters. The largest achievements of Russian painting of the last decades of the XVIII century are associated with art portship. The second half of the 18th century, portrait art reaches its heyday. At this time, the largest painters of F.S. Rockies, D.G. Levitsky and VL. Borovikovsky, who created a brilliant gallery of portraits of contemporaries, works, charming the beauty and nobility of human aspirations. The Russian portrait of that time happily combines greater depth and significance in the image of a human person. Artists recreated the image of a person with the help of various picturesque funds: exquisite colors and reflexes, a richest system of multilayer laying of paints, transparent lusters, fine and virtuoso use of the texture of a colorful surface.

Creativity F.S. Rockotova (1735-1808) is one of the most charming and difficult pages of our culture. Already in a rather mature age, he was adopted at the Academy of Arts. His early works are portraits G. Orel (1762-1763), E. B. Yusupova (1756-1761) indicate its involvement in Rococo culture. The signs of this style are in the coronation portrait of Catherine II (1763), which became a model for the image of a very discerning empress. A lot of portraits came out of the artist's brushes - Poet V.I. Mikes (1769-1770), almost all of the Vorontsov family - he himself (end of the 1760s), his wife M. A. Vorontsova and children (1770s). In the period of the eighties of the eighteenth century in Portraight F.S. Rockot is prevailing the shade of proud consciousness of its own significance, to this period include: Portrait of a young generals V.E. Novosilseva (1780), noble lady E.N. Orlova. Rockots wrote mainly chamber portraits. In his works, the desire of the best, enlightened part of the Russian nobility to follow the high moral standards was reflected in his works. The artist loved to depict a person without a parade environment, irrespective.

Even in the early works of rokotov - portraits of the Grand Duke Paul, the girls E. Yusupova and others affect the ability not only to correctly convey similarity, but also to give the image of great spirituality.

Creativity Rockot flourished in the following years, when the artist enriches even more and complicates color, achieves in portraits of transmission internally significant, elevated image. In later portraits, Rockies emphasizes intellectuality and spirituality of their models. Usually rockers all focus focuses on faces. People in his portraits are almost always smiling, often intently, sometimes mysteriously look at the viewer. They are united by something general, some kind of deep humanity and spiritual heat. As if portrayed something nauseas, they drag. They seem to be immersed in the mysterious picturesque background.

When the work of rokotov was flourished, the activities of another largest portrait of Dmitry Grigorievich Levitsky, who created a series of truthful, deep on the characteristics of portraits began. Created by the artist gallery portraits of contemporaries brought him well-deserved fame. There were solid orders. One of them was ordered by I. I. Petsky Portrait of P.A. Demidov (1773). The descendant of the Tula Kuznetsov, which turned into the reign of Peter I in a fabulously rich breeder, leaked the prophyuses to the great original, who was surprised by his eccentrics not only Petersburg and Moscow, but also Europe. Levitsky managed to convey the individual traits portrayed, skillfully and finely combine them with a deep understanding of the complex nature of his model. Demidov is presented in a home coat and a cap, leaning on a garden to the garden watering can. The proud posture is underlined by a solemn gesture pointing to pots with flowers, whose lover was this balovd Fortune. For all the parody of the image, apparently agreed with the customer, Levitsky managed to combine these features of extravagance with elements of the front portrait (columns, drapets, landscape overlooking the educational house in Moscow, huge donations on which made by Demidov were known in society). However, in the face of the shredded Skpsisis and Ironiya's notes. The portrait testifies to the high mastery of the artist, his ability for an external, scorch to see the features of deep humanity.

In 1773-77. Levitsky was engaged in fulfilling the order of Empress Catherine II, who instructed him to write seven portraits of pupils of the Smolny Institute of Noble Maiden. This portrait gallery is combined with a common idea: the artist introduced Smoleanok dancing or playing theatrical scenes. Images are given on the background of landscapes or draperies, so each of them is perceived as a peculiar storyline. In the portrait E.I. Nelidova (1773), presented dancing, the election of movements is revealed in the graceful turn of the figure, and the immediacy and charm are expressed in the tricky brilliance of Brown Almond-shaped eyes and a frail smile. In addition to single-portraits of Smoleanok - G.I. Avoye playing at the Harp (1776), E.I. Molchanova, sitting at the table with physical devices (1776), A. P. Lev-Tire (1775) and N.S. Borshovoy (1776) shown by dancing - Levitsky created and pair portraits F.S. Rzhevskaya and N.M. Davydova (1772?), E.N. Khovanskaya and E.N. Khrushchova (1773). The last portrait, depicting adolescent girls who play the scene from the comic opera "the whims of love, or Nynetta with the court, is especially successful. Playful ten-year-old Khrushchev, who performs a male role, and shy Khovanskaya, timidly looking at his "cavalier", were seen by Levitsky in all the immediacy, breaking through the bored theatrical gestures. The unity of composite techniques, the rhythm of movements and a subtle coloristic solution combine this original portrait suite. Among the official parade portraits created by the artist, the picture "Catherine II - the legislation in the Church of the Goddess of Justice" (1783) occupies a special place. In it in allegorical form, the presentation of Russian enlighteners about the perfect monarch is expressed. Catherine II is depicted in the mountainous mantle, against the background of columns and drapery, the firmware from the poppies in front of the statue of the goddess of justice. Behind the balustrade - a sea landscape with ships, resembling the victories of the Russian fleet on the Black Sea; At the foot of the Empress - an eagle with a laurel branch in a beak, sitting on the huge foliants of the Code of laws, as if approves the role of Catherine II - legislation. A similar concept of the image answered the requirements of classicism - style that prevailed in the literature and art of the end of the XVIII century. His ideals were determined and the nature of the so-called Lviv-Derzhavinsky mug, to which Levitsky was close. Advanced thinkers and writers N.A. Lviv, G.R. Derzhavin, V.V. The Kopnis was a great influence on the artist. During this period, Levitsky created portraits of philosopher D. Didro (1773), which is now with Geneva, and writer A.V. Storecovitsky (1781). Masterfully written Portrait of N.A. Lviv (the end of the 1770s), in the personality of which the best features of a person of the Epoch of Enlightenment were embodied: a sublime mind, talent, cleanliness and nobility of thoughts.

Livitsky portraits are distinguished by a large variety. For the artist, all his models are people with a complex inner life. He did not shine them, remaining objective in his characteristics.

Levitsky was a wonderful draftsman and colorist. His portraits are always harmonized in color, golden light envelops the canvas. The artist often resorts to intense juicy paints, which make up a single and characteristic gamma for him, in which the clarity and purity of the tonal and color relations reign.

Vladimir Lukich Borovikovsky was the third outstanding master of the portrait genre of the late 18th century. The fate of Vladimir Lukich in the root changed two allegorical paintings, made for the decoration of the Kremenchug Palace, one of the "travel palaces", which were erected on the path of Catherine II in the Crimea. Pictures liked the Empress and poles her pride. At one of them, Peter I was depicted in the appearance of the landpasher and Catherine II, the falling field, and on the other - the Empress in the appearance of Minerva surrounded by the wise men of ancient Greece. The royal praise opened the Borovikovsky road to St. Petersburg.

A 30-year-old painter could not do a 30-year-old painter and therefore received private lessons from his famous countryman D. G. Levitsky, and from 1772 - from the famous Austrian painter worked at the court of Ekaterina II, I.B. Lamp, and also copied the best samples of European painting and work of their mentors.

It turned out to him enough to master professional craftsmanship. At about 4 December 1794, Lampi appealed to the Council of the Academy of Arts with a letter, in which he requested to award his student V.L. Borovikovsky title of academician. Obviously, "Portrait of Catherine II on a walk" was presented. This request suggests a high appreciation of the granted Russian student, which is a foreigner artist gives him.

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

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

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

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

For beautiful female images, Borovikovsky created a specific portrait style: a waist image, immersed in thoughtful figure based on a hand on any stand, and the background for languid bending of the body in light light clothes is a quiet landscape.

In portrayed Borovikovsky challenged the ability to elevated feelings, cardiac experiences, which corresponds to the sentimental mood of the society and the direction in the literature. In women's portraits, the artist sought to special poetry of the model, to a peculiar relative and at the same time elegant, slightly idealized its image.

The artist retained its brilliant craftsmanship and vigilance.

Borovikovsky raised two students, one of which was Alexey Venetsianov, who took the poetic perception of the world from his mentor.

By 1810, in the works of Borovikovsky there was a turn to the romantic direction. This thinnest poet of the sentimental female image and the greatest samples of his skills opened the road to creative achievements of romantic artists.

Conclusion

Throughout the XVIII century, Russian art of painting has passed a big way of becoming under the laws of the new time. The needs of the epoch were reflected in the preferential development of secular painting - portrait, landscape, historical and domestic genres.

Since the beginning of the 18th century, the artists brought their skill to extraordinary perfection from a rather primitive image of a human face. Studying foreign painters, the domestic masters not only adopted their knowledge, but also surpassed them and added deeply Russian flavor to their art.

Portraits of the beginning of the century depict predominantly social personality of a person, his best sides, his pompousness, sometimes fictional beauty. But throughout the century, the state, public mood, as well as the attitude of the artist to the person depicted is strongly changed. The masters have no longer set a task to make a portrait look like a model. They were not so much interested in the solemnity of filing as the inner world of man, his essence, his predisposition to spirituality. By the end of the 18th century, painters give the soul of their models, the finest moods, variability of characters.

The 18th century had a huge weight not only in the history of the development of the Russian state, but also made gigantic adjustments to Russian art. For the first time we can not only read about the great people of the past, but also see the faces of those on which our future has depended on. The portrait, as a direction in art, seems to me one of the most important not only for people, but also for the history of their people.

Russian artists of the 18th century managed to embody in colors and marble, the characters, the spiritual world of their contemporaries. It was in the portrait that created the art of this time their best works.

Russian painting of the second half of the 18th century is a completely new phenomenon, independent of Western European trends in painting from classicism to romanticism, this is an early Renaissance realism, Renaissance classic, which becomes especially obvious when a high classic, both in painting, in architecture and in literature Slow down to appear in the first half of the XIX century.

All this is an explanation. Since the artist turned his eyes from the face of the Savior and the Mother of God to face a person - the most characteristic feature of the Renaissance Mirosania and Art, then naturally the leading genre, during the 18th century almost the only one, becomes the portrait and the highest artistic achievements are related to it.

A person in his entire reverent vitality - this is what one thing worries and occupies an artist, as a sample of civil virtues, then by itself, self-concrete personality person, she is worthy of all respect, attention and admiration. This humanity of the senses and self-awareness of the person appears already at Matveyev in a "self-portrait with his wife" and becomes a distinctive feature of a Russian portrait in the work of FS Okotov, D.G. Lytitsky and V.L. Korovikovsky.

Renaissance, as it was in the era of Renaissance in Italy, - appeal to antiquity and to man, what it is, outside religious reflection.

And such an atmosphere originated in Russia for the first time, maybe still at the time of childhood Peter, and his games with "fun", the doctrine and works were sheaven with this foreboding and feeling a new life. No wonder Peter, building the ship, having lowered it into the water, called the artists to capture it on paper, canvas or on copper to print engravings. Also with the city, while he grew up, also with people.

Renaissance is a culture, her creation, the study of the nature and nature of a person through anatomy and the art of a portrait. Until now, the attitude of a person has mediated by God, the presence of sacred, now the person himself will mediate this attitude towards another and the world, which is humanism in the most general and direct form. A person appears in front of himself - after another, as if looking in the mirror, in our case, the artist. The novelty of this situation is one of the phenomena of the new life, Renaissance.
And we see that, we feel, we feel in portraits of rokotov, which at the same time masterfully owns a brush and has a unique feeling of color. This is a rare master even in a number of the greatest artists of the Renaissance in Italy.

Magnificent and male portraits of rokotov. "Portrait of A.M. Rimsky-Korsakov" (end of the 1760s.) The artist does not just grab the appearance of the model, he has a living appeal to appeal in all the novelty of his impression itself and life itself, as in the spring, while hairstyle, and Caftan with thin finishing strokes - all new also, and novelty creates a feeling of lightness. This is the youth of the model and the striking artist's skill, which playing owns a brush of genius.

"Portrait of Graph A.I. Vorontsova." (About 1765.) Here, the distinctive property of portraits of rokotov is still clearer, this is an artistry inherent in both the artist and its models. With regard to the creation of Rafael, they speak "Grazi", it is undoubtedly present at Rockot. About the column A.I. Vorontsov we know how about the Cross Father Pushkin in the future. This means Pushkin as a child could see the portrait of his godfather in his youth and even his author.	"Portrait V.I. Maikov" (between 1775 and 1778). It is known Vasily Ivanovich Maikov served in the Semenov regiment, and the career of the military for him was natural, as well as the essay of the poems, because he began to be so kept. But a young officer or poet showed "tape" and resigned in 1761. He settled in Moscow, from where he was probably a family and, according to him, "I was like a singer, I got up with Apollo and Muses became familiar." In 1763, he published the heroic-comic poem "Player Lombera." He wrote Basni, satire, his tragedies went on stage.	"Portrait of N.E. Stretch" (1772). This is another poet from the circle of families in which rokotov is obviously appreciated. Nikolai Eremeevich served in the Preobrazhensky regiment; After resigning in 1771, he lived in his estate Ruzaevka Penza province. He started his own printing house to print his poems on expensive paper, and they say, with the same decisive he punished the peasants in the hall of the arts called "Parnas", where the portraits of Rockotov were hung, which he highly read the poet, turned to him in verses and prose as to friend.

"Portrait of A.P. Strush" (1772). The disharmony in the guise of her husband appears in the guise of his wife concentrated harmony. You can not know anything about this woman, the artist captured her image with captivating completeness, this is the embodiment of grace and female beauty. The muffled precious radiance of the dress as if tiredly lowered shoulders. In big eyes with convex pupils there is no openness, as if the inner curtain is omitted, with the pellena tears guess by the artist.	"Portrait of an unknown triangle" (beginning of the 1770s). He hung in the house of the jet. This is a young man or a young woman in a masquerade costume, because a female portrait appears in X-rays, that is, a high hairstyle, earrings, a decolted dress, while the face remains unchanged. Here is the mystery, and most likely just playing the masquerade of the artist and his friends.

But the work of Dmitry Grigorievich Levitsky (1735-1822) is especially significant in this regard. He was born in Ukraine in the family of a priest, who at the same time was a famous engraver. He studied in St. Petersburg at A.P.ANTROPOV from 1758 to 1762 and in his team engaged in the decoration of the triumphal gate built in Moscow on the occasion of the coronation of Empress Catherine II.

The portrait of the architect Alexander Phillipovich Kokokerinova (1769) is very significant that in the first of the famous works of Levitsky, "Portrait A.F. Kokorinova" (1769-1770), we see the architect, builder of the building of the Academy of Arts and its rector. "Kokorininov stands at the bronze trimmed, the dark lacquered bureau, on which the drawings of the building of the Academy of Arts, books, paper lie - the researcher writes. - On Kokorinov, a light brown, densely flashed with a golden mundair, over it - silk caftan, lowered with light brown fur. ".	Portrait of Prince Alexander Mikhailovich Golitsyn (1772)	Portrait of the Flegel Adjutant Alexander Dmitrievich Lansky (1782)

"Portrait of P.A. Demidov" (1773), the famous mining supplier. It stands at the table on the terrace, leaning the elbow of the left hand about the watering can; At the base of the columns, followed by an educational house, pots with plants, - their owner, apparently, watered, coming out in the morning, dressed, but in a bathrobe and a night cap. Satin clothes, allay and silver, sparkles. A large figure, a large face - energy and power only guessed, and the hand gesture towards the drawings on the table and the expression of the eye roll out of tightness or sadness. And the parade portrait with developed techniques and the necessary accessories identify the person in all its vitality.	"Portrait of N.A. SEZEMOVA" (1770), "Saligin's village village", says the inscription on the turnover of the canvas. Bearded, road, long, fur, caftana, rejuvenated below the protruding belly, man? This is a fortress Count PB Shheremetyeva, an otkupener who has gone a huge state, that is, a merchant of the new formation. He felt twenty thousand rubles in favor of the Moscow educational house, and on this occasion was ordered by Levitsky his portrait, a parade, but with a dark background, without any special accessories, only paper on her hand down, and the other hand shows on it, paper with a plan of an educational house , depicting a baby and with the text of the Holy Scriptures. This is a sign of time. Two portraits, two heroes - their neighborhood is unique, but it is characteristic of the Renaissance era.	"Portrait of D. Didro" (1773). The philosopher at an urgent invitation of Catherine II visited Russia in 1773-1774. Head without a wig, with hair removals on the back of the head, a pure sloping forehead; The head is not captured and still the impression that Didro looks not just to the side, and height, that is, gives himself to know, apparently, the inner aspiration of the thought of the distance.
Three portraits of everything - and a whole era of transformation of Peter the Great in the new phase of social development rises in humilia.

She has long passed, and no already those eyes
And there is no smile that silently expressed
Suffering - the shadow of love, and thoughts - the shadow of sadness,
But the beauty of her Borovikovsky saved.
So, part of her soul did not fly away from us,
And this look will look and this beauty body
To her indifferent offspring attract,
Learn to love him, suffer, forgive, silence.
Ya. P. Polonsky

Famous German Art Theorist XVIII century. I.I. Winkelman above all set the ability of the artist to embody in his creation noble simplicity and calm greatness. This ability to fully owned three great masters - F.S. Kotov, D.G. Luitsky and V.L. Korovikovsky, who left us the gallery of the persons of the Ekaterininsky and Pavlovsk Russia. Their portraits and today are an excellent source of knowledge about the person of that era, the source is no less reliable than letters, diaries or memoirs. Thanks to the portrait, you can make an idea of \u200b\u200bthe characteristics of the character of depicted, its tastes, manners, and even elusive at first glance gusts of his soul.

In the works of these artists there is a desire to embody in the colors genuine interest in the inner world of the human person, and not abstract vices or virtues. Thus, Russian art made the first, but very confident steps along the path of "personism". Creators of the Russian classic portrait, like G. Derzhavina, could say about themselves: "Mind and the heart of humans were a genius." The style of many outstanding portrait artists is deeply individual. F.S. Rockotova (1735? - 1808) The inner world of the hero on the canvas as if Utien from the immodest eyes of the audience.

Rockots was a master of huge talent. His fate is still not finally cleaned. The artist was from the fasteners of repnete. He graduated from the Academy of Arts. In the mid-60s. XVIII century He writes beautiful portraits - Poet V. I. Maikova and an unknown from the Family of Vorontsov. The most fruitful period of life rokotov is associated with Moscow. Here at the end of the 60s. The mature style of the artist, increasingly becoming a realistic handicap transmission of characters. In Portraight N.E. Strushsky, A.P. Strushskaya, unknown in the triangular, A.I. Vorontsova, unknown in a pink dress, A. M. M. Prokreskov, P. Yu. Sashnyina-Samarina embodied the ability of the master to transfer a unique personality, appearance Which is only a weak reflection of the soul richness hidden from others. Art manner F.S. Rockot is characterized by special poetry.

At the same time, all means of expressiveness are subject to a clear composite and colorful intent. The glory of Russian art is picked up by his canvas, as portraits V.E. Novosilseva, P.N.lanskaya, E.V. Santi, V. N. Srovtevaya. In them, roktsov approves the national specifics of Russian classicism, the essence of which is in high humanism and deep psychologicalness while maintaining the clarity of the expression of the thought and rigor of forms. Great Master of the portrait was D. Glevitsky (1735? - 1822). According to some reports, he was born in the family of the Province (editor) of the Kiev-Pechersk Lavra publications. Education received in St. Petersburg, at the Anthropov School.

All his creative life, the artist dedicated to portrait painting, creating a whole world of people of Russia of the last third of the XVIII century. The first works who received fame were written by DGLitsky in the late 60s. XVIII century These are portraits of the director of the Academy of Arts A.F. Kokokerinov, Otkupshika N.A.Seshemova, Professor of historical painting G. I. Kozlovsky, famous Metsenat A.S.strooganov. The master from the earliest works exhibits the desire to highlight the brightest features of their models.

Much attention, the artist pays to the image of people outstanding marked by the features of the talent. Especially managed by the portraits of contemporaries, glorified by a high intelligence and rich culture. The Museum of Art and History of Geneva stores a unique canvas Levitsky - Portrait of Denis Didro (1773-1774). The artist wrote him during the arrival of the French thinker to Russia. Then, in the 70s. XVIII century, the identity and work of Didro were extremely popular. Levitsky stressed in the appearance of the enlightener, first of all, those character traits that are so appreciated by contemporaries - intellect and ability to benevolent communication. No less expressive image of the Russian enlightener captured the master in the portrait of N. I. Novikova (approx. 1797).

We are watching the man of great mind and a boiler energy, capable of influence its surroundings. The harmony of talent and women's beauty also attracted the artist. The masterpiece of painting XVIII century was the famous "suite" from the seven paintings "Smolyanka" (1772-1776). On the canvases of D. G.Livitsky Elegant, flirty young girls are musitis, dance, play opera scenes. However, behind this "Masquerad" artist managed to see the difference in characters and artistic gifts. His heroines are not posted, but as if they live in picture space.

Unlike many parade portraits of Smolenki, decorative attributes are deprived of decorative attributes. Clear, clear composition of each canvase emphasizes the poetry of images that are in full harmony with the world of sublime muses. Being close to the famous St. Petersburg literary-musical circle N.A. Lvov, D. Glevitsky had an excellent opportunity to observe the life of art people. Many of them he depicted several times. His friend architect, poet, folklorist N.A. Lvov The artist wrote twice. And in the first portrait, and in a miniature of a later time, Levitsky captured a complex and attractive image of a smart, charming, sophisticated person whose knowledge "in the sciences and arts" was extremely valued in the metropolitan circles. Wife Lviv M.A.Dyakov The artist also drew two times - in 1778 and in 1781. On the first canvas, a charming girl with childish swelling lips. True, the charm of youth does not obscure its main advantages - independence and self-confidence. More complex image on the second canvas: it revealed spiritual wealth and talent of the educated woman.

Developing the receptions of the parade classic portrait, D.G. Luitsky in each of his work introduced a "highlight", decently reflecting his individual mana. For example, in the portrait of P.A. Demidov (1773), he combined a serious solemnity with elements of life, the combination of which is issued a slightly ironic attitude of the master to nature. Demidov is depicted in a proud pose on the background of columns and draperies, but in a bathrobe, home shoes and with a watering can in their hands (he was a big lover of flowers). Facial expression speaks a thin man who has ever seen who knows the price and spoiled. The exact characteristics are also obtained by other heroes of D. Slevitsky - P. N. Golitsyn, P.F. Vorontsov, A.S. Bakunina. He reveals the "secrets" of the internal content of the frivolous A.D.Nesky, unnecessarily the director of the court singing chapel of M.F. Poltorsk, the kind and wise approximate Ekaterina II A. V. Kostrukovitsky. Son of his time, D.G.levitsky did not pass the charm of the image of an ideal enlightened monarchy. It is this that appears on his parade portrait of Catherine II - the legislation (1783).

Empress fifty four years old, but the artist depicted it with a chance and slim. Portrait liked the sovereign. G. P. ID Roszavin described it in the "Vision of Murza". At the turn of the centuries, D.G.levitsky lost sight: until the end of his days he no longer worked. The third master of the Pleiads of the geniuses of the Russian classicist portrait - V.L. Borovikovsky (1757- 1825) came to secular painting after Icon Scripture. Another young man he was "open" by the poet V. V. Kopnit, who drew attention to the gift of the young man, painting the church in Poltava region. The Kopnnist brought the artist to St. Petersburg and introduced into the house of N.A. Lvov, who had proven him. Borovikovsky was trusted to write iconostasis in the temples built on the projects of Lviv in Torzhok and in the estate of Nikolsky-Cherenchites.

Soon Borovikovsky becomes a recognized painter. His portraits captivate nobility and harmony of lines. He was willing to pose "Lviv Krug" - G.R. IDRAVIN, V.V. Kapinist, the first wife of Derzhavin Ekaterina Yakovlev. The influence of the enlightener N.A. Elvova affected the works of V.L. Borovikovsky, depicting people "from the people." These are the joint portrait of the two Maids of Lviv, loved by all for a cheerful temper and a singing talent ("Lysyanka and Dashinka"; 1794), and a portrait of the Torlen peasant of Christine (approx. 1795) is one of the few "peasant" images in Russian painting XVIII century. Gentle, as if softened flavor, Borovikovsky's cloth allows you to rank an artist for romantic arts. A number of his portraits was conspited by sentimental "Russian songs", sensitive poetry V.V. Kapnista and I.I.Dmitriev.

One of the best works of Borovikovsky is rightfully considered to be a portrait of M. I. Halline (1797). It brightly reflected the desire of the master to go out for the strict framework of classic regulatory regulations. The artist depicted his heroine into a few "durable", but at the same time a deep poetic appearance. The main concern of the master is to understand the spiritual attitude of the beautiful female. He managed to catch the state of quiet dreaminess and thoughtfulness and thereby discover the sentimental theme for the 'Russian painting. An even greater vital immediacy and intimate Lorism seeks the artist in working on a portrait of gagary sisters, enthusiastic singing and music. At the beginning of the XIX century. V.L. Borovikovsky writes a portrait of A. I. Bezborodko with daughters, where embodies the idea of \u200b\u200bsensitive family attachment of a sentimental type.

The portrait is expressive not only the faces, but also woven hands, fingers, crossed the chain of the medallion, the gesture of the mother, gently attracted to her daughters. So, in the Epoch of Enlightenment, Russian visual art reflected the complex life of a person with his views on the world, illusions, moral positions. Unique images of contemporaries embodied in class-sicted slender images, indicate not only the development of European secular genres. The most important thing is that the national start of new art is born in painting and sculpture, in which, as in antiquity, the ideals of the unity of high morality and beauty are given, thereby maintaining the thread of the continuous cultural development of Russia. In this process, music played a crucial role.

Rapatskaya L.A. The history of the artistic culture of Russia (from ancient times until the end of the XX century): studies. Manual for studies Higher. Ped. studies. establishments. - M.: Publishing Center "Academy", 2008. - 384 C

Fedor Stepanovich Rokotov - One of the best Russian portraitists.

In 1762, adopted by Adjunct to the Newly Used St. Petersburg Academy of Arts for the picture "Venus" presented to her and for the portrait of Emperor Peter III. He enjoyed fame in St. Petersburg Supreme Society. When Catherine II joined the throne, he instructed him, in 1763, writing her portrait for whom he gave him sessions in Peterhof: the portrait of this portrait, depicting the empress to the whole height, in the profile, among the beautiful architectural situation, was presented in Count G. Orlov and currently located in the Gatchina Palace.

Another portrait of the Great Monarchini, waist, was written by Rocky, also from nature (probably in Moscow, in 1765). Catherine remained very pleased with them, finding that he is "of the most similar." The portrait was granted by the Academy of Sciences, which is stored and today. There are many repetitions of this portrait, both accurate and insignificant changes in accessories; Most of them are attributed to the Rocky himself.

In addition to these two images of Catherine, several portraits of Peter III (one - in the Moscow Armory of Peter III (one - in the Moscow Armory, Two - in the Gatchina Palace) and Cesarevich Pavel Petrovich (the best - in the same palace) and a lot of portraits of outstanding people of the Catherine Epoch , including I. I. Shvalov, Count G. Orlova, A. A. and B. A. Kurakina, L. I. Bibikova, P. G. Demidov, G. N. Teplova and others.

The most mysterious work of rokotov, perhaps, is a portrait of an unknown in the triangne, since still the researchers have not established who is depicted on it: either Catherine in a male dress, or the extramarital son of the Empress from Count Orlov.

Portraits of the Graph of the Storeskiy and his wife Alexandra Strujskaya - Count is depicted by a man arrogant, which is intelligent and educated, personally fastened and beat his wife. The wife also appears in the portrait of sad, with sad eyes. "Angel, descended on the ground," said her. Despite the cruelty of her husband, he treated the fortress.

Portrait of Majkova

It is incredibly realistic, he perfectly reflects the essence of this man: a poisonous smile, a cunning look. All people of the highest light were afraid of this man, because he was witty and cynical, and his epigrams were so ulcer that after them, people were afraid to go out.

Dmitry Grigorievich Levitsky is the most significant master of the glorious Pleiades of the artists of the XVIII century. His creativity is a culmination point of the development of the Russian portrait of the XVIII century. The artist, as it were, summed up the result, which was done for the previous period, and laid the foundations of new achievements in the field of Russian realistic portrait.

What was the mission of this person?
In the fact that he revealed an example of the painter of a rare gift, the main thing that became a mirror, which passed the actors of the whole era.

The appearance of Levitsky, with his slightly ball and passionate face, we can see first, on a small oval of the autoportist, where he is in the color of youth, in a three-fourth expressive turn, with a predetermined and stronger, slightly up and away with a dreamy eye; Then in the portrait signed by Borovikovsky: the lips are open, the word flies with them, although there is a wide, but tense and suffer, elbow leaned on a thick book.

The history of Russia in the persons - this can be briefly said about the creative heritage of D. G. Levitsky, the painter of a rare gift, whose brush reflected on the canvas of the XVIII century era. Tsari and Tsarovtricians, philosophers and secular lions, cold beauties and writers, industrialists and diplomats, aristocrats and merchants, officials and military, parents and children - their portraits talk about the past much meaningful any words. Hundreds of persons smart and stupid, evil and kind, sensual and cold, faces of the so-called gallant century. That neither face is character. That neither the face is biography.

These are not just representatives of the Ekaterininsky century, they are his personification, they are his creators. The artist fully fulfilled his mission of the painter of history (although he did not create a single historical picture) and for this, his contemporaries at first brought to the pedestal of glory, and then safely forgotten, absorbed by their affairs, intrigues and calculations. And it is not known as a hormone on the old Smolensk cemetery, a man was buried, who managed to indispens their appearance.

Relatively late, in the late 1790s, Borovikovsky Acquires the fame of the famous portretist.

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 of "Lysyanka and Dashinka" ( 1794 ) Portrait with love and trepidate attention captured Lvous maid families: soft hair curls, white face, light blush.

The artist subtlyly reports the inner world of people depicted by him. In a chamber sentimental portrait, which has a certain limitation of an 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 Borovikovsky most brightly demonstrate perfect possession of the artist with a brush in the transmission of the material texture: softness of velvet, glitter of gilded and satin robes, radiating gems.

Borovikovsky is also a recognized master portrait miniature. In the collection Russian museum The works belonging to his brushes are stored - portraits A. A Me Menelas, V. V. Kapnice, N. and Lvovoy and others. As basics For his 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, wrote several icon For under construction Kazan Cathedral,iconostasis Church of the Smolensk cemetery in St. Petersburg. Gave painting lessons beginner then artist Alexey Venetsianova.