Painter’s masters

With the greatest power and persuasiveness, the image of a modern man was embodied in a pictorial portrait. Not at once were found new methods of image, different from parsun painting, the problem of similarity and individualization in the ceremonial portrait was solved. But these searches were successfully carried out by talented artists, among whom the names of I.N. Nikitin (1690-1742), A.M. Matveev (1701-1739), A.P. Antropov (1716-1795) and I. P. Argunova (1729-1802).

In the second half of the 18th century. In the painting of Russian masters, new genres appeared – everyday, historical and landscape, but the most significant works were still created in the portrait genre, an essential feature of which was the combination of socially significant problems with high artistic merits. The genres of the ceremonial portrait have become more diverse, among which one can note the images of a person in his usual home environment and representative portraits-paintings replete with symbolic details. Significant changes also affected the chamber portrait, which now solves not class problems, but embodies the inner world, the universal human dignity of the individual. Among the painters of this time, one should especially highlight FS Rokotov (about 1735-1808), DG Levitsky (1735-1822) and VL Borovikovsky (1757-1825).

Fyodor Stepanovich Rokotov was destined to become one of the most refined and subtle painters in European art of the 18th century. In his works, the extraordinary poetry and spirituality of the images are striking. There is always something mysterious and enigmatic in them, some kind of understatement that opens up scope for imagination. Rokotov avoided ceremonial, solemn portraits, spectacular and magnificent compositions. His main merit was the creation of a chamber portrait that maximally reveals the inner world of a person, his innermost thoughts and feelings.

Rokotov entered the history of world painting as a brilliant master of chiaroscuro and color. Until now, the refined nobility of his palette, subtle transitions of halftones, the sliding of a muffled flickering, then a brightly flashing light are striking. The glow of the lower color layers through the upper thin glaze strokes applied to the dried layer of oil paint has long been noticed. Rokotov also had his own canon in building a composition. Although he preferred life-size chest or waist-length images, there is no uniformity in them. Rokotov achieved special skill in creating female images: “Portrait of an Unknown Woman in a Pink Dress”, “Portrait of V. Ye. Novosiltseva”, “Portrait of V. I. Surovtseva” belong to the artist’s best creations.

In “Portrait of A. P. Struyskaya” a young woman is captured against a neutral dark background and, like a charming vision, emerges “from the darkness of the past.” Soft shimmering light accentuates her thin, soulful face with slightly narrowed eyes. She looks from somewhere far away: seriously, a little sad, with subtle, slight regret. Many years later, her beautiful eyes will be sung by the poet N. A. Zabolotsky (1903-1958):

Her eyes are like two mists,
Half-smile, half-cry,
Her eyes are like two deceptions,
Covered with the mist of failure.

A combination of two mysteries,
Half-delight, half-fright, A
fit of mad tenderness,
Anticipation of mortal torment …

Struyskaya’s facial features seem to be half-erased, vague, dissolving in the twilight. The contours of her figure are blurred, as if she suddenly appeared out of the gloom and is ready to disappear into it again. In her noble posture, in the spread of her figure, in her gaze, there is a consciousness of remoteness, of involvement in mystery. Sliding shadows on the face, hair, shoulders and dress enhance the feeling of fragility and uncertainty of the image. A transparent smoky fabric, as if woven from air and light, fixed on the shoulder with a precious brooch, gracefully drapes the figure and gives air to the appearance of a young woman. Rokotov only slightly denotes the shades of her state of mind, deliberately not specifying them. It leaves the viewer with the opportunity to unravel, to feel the deeply hidden secret of her nature.

Dmitry Grigorievich Levitsky with equal skill worked in the genre of ceremonial and chamber portraits, created costumed, children’s and family portraits of his contemporaries – nobles and philosophers, industrialists and merchants, military and diplomats, writers and musicians. Levitsky was fluent in pictorial skills, well mastered the artistic techniques of creating images, looking for new ways to convey the inner world of his heroes. I.E. Grabar wrote:

“In the transfer of the intimate, elusive charm of a face that does not shine with beauty, does not stand out for originality, in the image of a simple, average, inconspicuous face – he did not know rivals.”

He skillfully knew how to convey the material beauty of things: rustling satin, gold brocade, light, airy lace. In ceremonial portraits, he always placed the model in an environment that contributed to the creation of the significance and solemnity of the image. Each detail contained an eloquent hint of the real or imaginary merits of the person being portrayed.

“Portrait of PA Demidov”, one of the richest people of his time, is Levitsky’s best artistic achievement. The famous mine owner is depicted against the backdrop of majestic columns and draperies, falling in heavy folds. Behind the columns is the building of the Orphanage, for the construction of which he donated large sums of money. The fate of the children who found shelter there – the “flowers of life” – worries Demidov very much, who is not accidentally captured here in the guise of a gardener. Dressed in a dressing gown and a nightcap, he stands leaning on a large metal watering can. Obviously, there are works on botany and bulbs of some plants on the table. At the base of the columns there are pots of flowers, an object of special pride and concern for the owner. Thus, the portrait of Demidov combines the features of pomp and intimacy of the image. Well,this famous person was known in society as an amateur gardener, eccentric and a great original.

Levitsky achieves the completeness of the characterization. Through the mask of lordly negligence and extravagant external appearance, we clearly distinguish the living features of this extraordinary nature. Demidov’s sleek face is the face of a man tired and satiated with the luxury of life. Short, slightly raised eyebrows, contemptuously compressed lips … The artist managed to create a true image of a person with a complex and contradictory character, endowed with an astute mind, capable of performing incredible and extravagant deeds, being kind and wasteful.

The pinnacle of DG Levitsky’s creativity was a series of portraits of pupils of the Smolny Institute for Noble Maidens, which was under the special patronage of Empress Catherine II. Responsible order largely determined the ceremonial nature of the execution. In the portraits of Smolnyanka, a real hymn of eternal youth sounds.

Each Smolnyanka is immersed in her favorite art or science. Some are shown dancing against the backdrop of theatrical scenery, others are playing a touching comic scene, playing music, demonstrating secular manners. The artist managed to achieve a deep expressiveness and spirituality of the images: they are simple, natural and life-like. “The brilliance and luxury of the masquerade” does not hide sincere human feelings and experiences.

In “Portrait of E. N. Khovanskaya and E. N. Khrushchova” young women from Smolny are trying to seriously play a gallant scene for adults. Lively and playful Khrushchova, dressed in a man’s suit of an amiable gentleman, feels confident on stage. She plays her part masterfully, her movements are bold, graceful and natural. A sly gaze, a seductive smile, a playful gesture of an experienced red tape deliberately betray his true intentions. At the same time, the artist makes us feel that we are not facing a real, experienced actress, but a playful and mischievous teenager who, by all means, wants to seem an adult. Her partner Khovanskaya is also charming. She stiffly froze in the desired flirtatious pose, not knowing where to put her hands. Her tall, childishly angular figure in a fluffy dress next to her brisk and confident friend seems even more awkward and touching.She seriously and attentively looks at her “gentleman”, not quite understanding what exactly is required of her, shy and shy in front of the public.

The artless pastoral plot of the scene allows the artist to reveal two different, but charmingly cute, childish images. A delicate landscape background, transparent thin lace, elasticity of shiny satin are painted with love and thoroughness.

Hundreds of paintings were created by Levitsky during his life, each of them visibly embodies the appearance of people of the 18th century.

The fame of Russian portraiture was increased by the most talented painter of the late 18th – early 19th centuries. Vladimir Lukich Borovikovsky. If the works of Rokotov and Levitsky reflected the features of rococo and classicism, then the work of Borovikovsky is more connected with sentimentalism. The gallery of deeply poetic female images created by him is the best that still remains in Russian portrait art. The artist does not strive for a variety of compositional techniques: his heroines are often depicted against the background of park landscapes, resting on some kind of pedestal. The author focuses his main attention on the faces of his models, conveying youthful enthusiasm and fun, severity and kindness, thoughtfulness and dreaminess.

One of the most poetic works of Borovikovsky is “Portrait of MI Lopukhina”. The image of a young dreamy woman is presented with great love and sincerity. A languid, a little sad look, a gentle smile, free ease of posture are perfectly conveyed by the artist. Her face is far from the ideal of classical beauty, but at the same time, full of charm and spiritual charm. Smooth lines, soft rounded shapes, gentle tones create a special atmosphere of peace and harmony. An airy haze and exquisite color combinations of a white dress, a light blue belt, a lilac scarf, a rose, an ashy hair color, and a green background of woody foliage reinforce the impression of a young girl’s melancholic meditation. In this portrait, Maria Ivanovna Lopukhina is 18 years old, at the age of 24 she passed away …

She has long passed, and those eyes are gone
And that smile is gone that silently expressed
Suffering – a shadow of love, and thoughts – a shadow of sadness,
But Borovikovsky saved her beauty.
So part of her soul did not fly away from us,
And this look and this beauty of the body will
attract indifferent offspring to her,
Teaching him to love, suffer, forgive, be silent.

This is how the poet of the 19th century wrote about this remarkable portrait. J. Polonsky.