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Keywords: painting, the painter, the artist, a picture, Russian painting, 18 century, XVIII century, Levitsky

RUSSIAN PAINTING OF SECOND HALF XVIII CENTURY

XVIII century in Russia is not only time of rise of public consciousness, public and philosophical idea, but also time of blossoming of art. Near to names of coryphaeuses of Russian science and the literature - Lomonosov, Fonvizin, Radishcheva, Derzhavin names of Russian artists - Rokotova, Levitsky, Borovikovskogo, Losenko, SHibanova stand.

In XVIII century in painting the realistic direction starts to prevail. The hero of art, the carrier of public and aesthetic ideals becomes the alive and conceiving person. At this time new genres of painting are formed: historical, landscape, household. A variety and completeness of genre structure have received development last decades XVIII century. Painting is widely distributed: are enriched imperial assemblies, there are family collections in capitals, country towns and manors. Receive social recognition of role of the painter, the poet, the actor. With same time the first art exhibitions and sale of products, a role of professional opinion on questions of the art, the first aesthetic treatises communicate.

the First and largest figure in the field of historical painting Anton Pavlovich Losenko (1737-1773) was. He has written all some pictures, among which " Vladimir and Rogneda " on a scene of Russian history and " Hector's Farewell with Andromahoj on a theme of "Illiada" Gomera. Both pictures today seem in many respects archaic, but in due time they are famous the big popularity and became the first thematic compositions in Russian art.

Feodor Stepanovich Rokotov (1735-1808) - the oustanding master of a camera portrait, i.e. the image of model up to a level of a breast where all attention of the artist is concentrated on the person. The main thing for Rokotova - to show internal experiences of the person, his spiritual exclusiveness. Roars was the excellent master of a female portrait. Female images of the artist are determined feelings of internal advantage and spiritual beauty, they are majestic and humane. Poetry of images, a subtlety of picturesque relations, ease and softness mazka were inherent in his creativity. His brushes belong portraits N.E. And A.P.Strujskih (1772, GTG), " the Unknown person in a cocked hat " (the beginning 1770, GTG), " the Unknown person in a pink dress " (1770th. GTG).

In second half XVIII centuries artists start to pay attention the image of life and a life of peasants. The serf artist Potyomkin Michael Shibanov's column has devoted a country theme the works.

Among other artists of XVIII century it is possible to note Vladimir Lukicha Borovikovskogo's (1757-1825) creativity which was third of conducting masters of a portrait of the second half eighteenth century. His cloths are allocated with the underlined lyricism, contemplation, attention to a pattern of personal experiences of the person. He has written such pictures, as " Ekaterina II on walk in TSarskoselskom park " (1794, GTG) and " D.A.Derzhavinoj's Portrait " (181Ç, GTG), as domestic variant of English " a portrait - walks ". Sentimentalism proniknuty female images of the artist - M.I.Lopuhinoj's (1797) portraits, E.A.Naryshkinoj (1799), E.G.Temkinoj (1798, all in GTG). In a composition of cloths the artist allocated the big role to a landscape.

On portrait painting of the eighteenth century significant influence rendered contemporary F.S.Rokotova Dmitry Grigorjevich Levitsky (1735-1822). The essence of the Russian century of Education was embodied in Levitsky creativity, whose blossoming falls ekaterininskoe at reign.

Levitsky Creativity shows, that Russia was included in the European circle. Educational ideals of advantage, reason and naturalness, actual for the western cultural consciousness, rather for him are significant. On picturesque skill his portraits do not concede to works of the best French and English contemporaries. Anybody so is juicy and plausibly does not write material patterns, admiring with his jewelry and a variety: shine of bronze, weight and perelivami fabrics.

Occuring from a sort of priests, Levitsky has found taste to drawing since the childhood. His father, Grigory Kirillovich, in pridachu to a ministry, was the famous on Ukraine the engraver, "spravshchikom" printing houses Kievo-Pecherskoj Laurels. The educated person, the poet - fan, he has received art formation in the West. By family tradition, having ended seminary and the Kiev spiritual academy, the son helped the father in execution of allegorical programs for theological debates. His training "arts" could proceed, when for a management of picturesque works in F.B.Rastrelli Andreevskom builded on the project a cathedral in Kiev in 1752 there has arrived Alexey Petrovich Antropov. Both Levitsky were at him " on intercepting ". Having estimated their diligence, Antropov recommended the grown-up for a post of the temple auditor - to withdraw icons of " a unskillfull groove ", and younger in 1758 has invited to itself in pupils.

Antropov was the portraitist - to that and learned. At Levitsky the first orders have appeared: the craft not only attracted, but also promised to feed, and it was important, as in family the daughter grew up. Subsequently Levitsky becomes the most "fashionable" artist - he will be literally filled up with individual orders. Already under own initiative, for " polishing of style ", he takes some lessons from well-known foreigners of the Lagrene-grown-up and Valeriani. And in 1770 there has come the present success - for " A.F.Kokorinova's Portrait " (1769), shown on an exhibition of the Academy of arts, the artist not trained in it has received a rank of the academician, and in one year has been invited to conduct a portrait class.

Levitsky wrote portraits how that demanded aesthetic and ethical standards of an epoch. Models by all means should be submitted in advantageous light. They do not hide, that pose for the artist. From here their pride bearing, conditional gestures, indulgent sights. Napisuemye were represented normally in magnificent clothes, smart uniforms, in stars and medal tapes. However through this enchantling spectacle of riches and parade of grades the close spectator can see alive and sanguineous images of uncommon people.

Takov A.M. Golitsyn which portrait has been created by Levitsky in 1772. The statesman, the dignitary, he is represented according to laws of a smart portrait. For this purpose the artist has chosen the big format of a canvas and the point of view from below, has given pokolennyj a cutoff of a figure. A broad gesture the vice-chancellor specifies a bust of empress, emphasizing thus the direct relation to the events promoting the introduction of Ekaterina II on a throne.

Levitsky sings of virtues " educated monarhini " in a composition " Ekaterina's Portrait II in a temple of the goddess of Justice " (1783). The allegory here is so complex, that the artist had to premise to a portrait his vast description: " Its Imperial Majesty, burning on an altar makovye flowers, endows precious rest for the general rest... In distances the high sea is visible, and on a fluttering Russian flag the staff represented on military board Merkuriev means the protected trade ".

Early - we shall conditionally tell, baroque - Levitsky "is still verbose". "Speaking" attributes, the didactic gestures, the space mastered by things are necessary for the story about the person for it. Among such portraits it is especially interesting " P.A.Demidova's Portrait " (1773)

All these latent senses people of XVIII century realized. It was clear, for example, that the clouds which have saddened the sky in a children's portrait, hint at occurrence of the first passions; that the flower in a hand or on a corsage is a sign of a poetic nature, and the rose differs on emblematike from a field bouquet. Life during that epoch of rhetorical gestures and to theatrical reserve as though assimilated to scenic action, and people in the household behaviour aspired to correspond to a certain constant role. The tearing between "pose" and "nature" will be realized later; while and vzyskuemyj educators " the natural person " organically exists in system of conventional signs.

very curious a series from seven portraits "Smoljanok" (1772-1776) - graduates Smolnogo of institute (Institute of noble maidens), otlichivshihsja in exhaustive performances is represented. Levitsky has written these 7 products in such a manner that they are perceived as a unit.

Before us kostjumirovannye portraits, but masks as though just right to models. The child - an embodiment of " the natural person ", and these young ladies still almost children. One of the best in a series - E.N.Hrushchevoj and E.N.Hovanskoj's double portrait. Young actresses dressed in theatrical suits play pastorals. Levitsky sensitively catches specific features of each of represented. Brisk and playful Hrushcheva, playing the gentleman, confidently feels like on a scene. It with genuine pleasure, easily and naturally conducts the party. The second heroine of a portrait, Hovanskaja, absolutely other. Its high, childly the angular figure in a magnificent crinoline seems awkward. It has tensely stood in the pose specified to it, and any shifts cannot force Hovanskuju to be coquettish and affected as that is demanded with a role.

Levitsky, certainly, was not true " the person of Education ". It is impossible for the artist of second half XVIII century: too the hierarchical distance between it is still great and models, too dependent his position from monarshih favour. At Ekaterina Levitsky oblaskan, at Paul, certainly, on the contrary: it should participate in humiliating trial concerning the series of portraits of gentlemen of an award ordered by empress over. Vladimir which its successor does not wish to claim and pay. He writes "sleznitsy" on instances, " pochtitelnejshe drops to stops ", behaves according to court etiketu - and at the same time voluntary leaves from public service in 1787 (references to bad health in the application on resignation are unpersuasive - to Levitsky at this time 52 years, and it should live almost up to 90). He will return to Academy the adviser only in 1807 at Alexander I - more precisely, it will return, humanely taking into account old age, the former merits and present necessity to feed grandsons. But will leave " a grain place " - unless it not gesture just as a failure to hold a post of the inspector of the Academy, promising material benefits? Levitsky can serve only to to what " everyone on the intimate intention, or dejstvovaniju belongs to an arrangement ". So the individual consciousness wakes up and becomes stronger in it, - as well as in his heroes: in N.I.Novikove, N.A. Lvov, I.I. Dmitrieve, I.V.Lopukhin and others.

Portraits of " intellectuals of XVIII century " (the name, certainly, not quite historically correct - this layer only arises) do not form a separate cycle in Levitsky creativity. But he embodies a lot of people which have made glory of Russian and European culture of that time - from the ideological inspirer of domestic intellectual elite Deni Diderot (1773-1774) up to " the Unknown composer " (1781). Probably, with someone from them Levitsky has consisten in one Masonic lodge (the assumption not quite proved, but probable), and participation to the general circle of ideas has defined treatment of images which, as a rule, is extremely simple.

Any postanovochnogo a peak-to-peak, any rhetorical gestures: even the wig and smart clothes are not obligatory for the philosopher. But in laconic characteristics Levitsky already closely comes nearer to psychological gains of a portrait of the next century.

Closely, - but not absolutely. By exact definition of critic A.M.Efros, " Levitsky at all did not advance time, and went in a leg with it ". Similarly to Derzhavin in poetry, he has embodied in painting the spirit of an inconsistent epoch - its decorative pyshnost and gravitation to rationalistic ideals, belief in education and carnal, "nutrjanoe" sensation of life. In his heritage it is possible to find out and almost Rembrandtesque a prediction of "portrait - destiny" (" the Portrait of priest G.K.Levitsky ", 1779) and poluetnograficheskie experiences in spirit of a waking up mode on national (" the Portrait of daughter Agashi in Russian suit ", 1785); he is skilful to be brilliant - secular (" Anna Davia's Portrait ", " Portrait Ursuly Mnishek ", both 1782) and liricheski-pathetic, is especial in female images (" M.A.Djakovoj's Portrait ", 1778), denying ordinary at that time representation about the woman, as about an essence " veselonravnom, loving only smehi and entertainments "; At last, to it was not equal a portrait smart, in magnificence of composite statements. And lines from a dithyramb written by I.F.Bogdanovichem concerning " Ekaterina's Portrait II in a temple of the goddess of Justice " - " your brush you showed in Petrov a hailstones immortal beauty and mortal the celebration " - can be attributed to all to his creativity.

Portrait and historical painting of XVIII century has been penetrated with ideas of civilization, patriotic pathos, feeling of the public debt. These ideas will find the further development in art of the next century.

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