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The Russian School of Painting (Eighteenth to Mid-Nineteenth Centuries)

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Total: 795
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Картина «Триумф Цереры»
Картина «Триумф Цереры»
Кавалерийское сражение
Кавалерийское сражение
Картина «Баталия»
Картина «Баталия»
Картина «Пейзаж со стадом»
Картина «Пейзаж со стадом»
Portrait of Tsar Alexis Mikhailovich
Portrait of Tsar Alexis Mikhailovich
Before 1671 (?)/ After 1676 (?)
Portrait of Tsar Ioann V Alexeevich
Portrait of Tsar Ioann V Alexeevich
Late January – early February 1696
Portrait of Tsar Alexis Mikhailovich
Portrait of Tsar Alexis Mikhailovich
Second half of the 17th century. 1680s (?)
Portrait of Tsar Ivan IV the Terrible
Portrait of Tsar Ivan IV the Terrible
Before mid-18th century
Portrait of Tsar Michael Feodorovich
Portrait of Tsar Michael Feodorovich
Second half of the 17th century. 1680S (?)
Portrait of Tsaritsa Marfa Matveevna
Portrait of Tsaritsa Marfa Matveevna
December 1681 – 14 February 1682
Portrait of Governess Sofya Alexeevna
Portrait of Governess Sofya Alexeevna
1682–1689
Portrait of the Tsarina Natalia Kirillovna, née Naryshkina
Portrait of the Tsarina Natalia Kirillovna, née Naryshkina
1687
Portrait of “Patriarch” Milak – Boyar Matvei Naryshkin
Unknown painter School of the Armoury Chamber
Portrait of “Patriarch” Milak – Boyar Matvei Naryshkin
Between 1688 and 1692. Before 1692 (?)
Приморский город
Приморский город
Portrait of Prince Anikita Repnin
Portrait of Prince Anikita Repnin
Late 1690s
Portrait of Tsarina Natalia Kirillovna
Portrait of Tsarina Natalia Kirillovna
Late January – early February 1694 (?)
Portrait of Count Boris Sheremetev
Portrait of Count Boris Sheremetev
Late 17th century
Portrait of Yakov Turgenev
Portrait of Yakov Turgenev
1694 (?)
Portrait of Yermak Timofeyevich
Portrait of Yermak Timofeyevich
Masterpieces
Period:

Total: 103
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Portrait of Yakov Turgenev
Portrait of Yakov Turgenev
1694 (?)
Portrait of the Tsarevna Natalia Alexeyevna, Sister of Peter I
Portrait of the Tsarevna Natalia Alexeyevna, Sister of Peter I
Before 1716
Portrait of Tsarevna Anna Petrovna and Tsarevna Elizabeth Petrovna
Portrait of Tsarevna Anna Petrovna and Tsarevna Elizabeth Petrovna
1717
Portrait of a Field Hetman
Portrait of a Field Hetman
1720s (1726 or 1727 (?))
Portrait of  Peter I
Portrait of Peter I
Late 1717
Peter I at the Battle of Poltava
Peter I at the Battle of Poltava
1724 (1725?)
Portrait of Tsesarevna Elizabeth Petrovna
Portrait of Tsesarevna Elizabeth Petrovna
1724 (?)
Peter I on His Death Bed
Peter I on His Death Bed
Early 1725
Portrait of Baron Sergei Stroganov, Youngest Son of the Salt manufacturer Grigory Stroganov and his Wife Maria
Portrait of Baron Sergei Stroganov, Youngest Son of the Salt manufacturer Grigory Stroganov and his Wife Maria
1726
Self-Portrait with Wife
Self-Portrait with Wife
1729 (?). After 1727 (?)
Portrait of Grand Duke Peter Fyodorovich and Grand Duchess Catherine Alexeyevna
Portrait of Grand Duke Peter Fyodorovich and Grand Duchess Catherine Alexeyevna
1745 (?)
Portrait of Sarah Eleanore Fairmore
Portrait of Sarah Eleanore Fairmore
1749/1750 (?)
Portrait of Princess Ekaterina Lobanova-Rostovskaya
Portrait of Princess Ekaterina Lobanova-Rostovskaya
1754
The Summer Palace of Elizabeth Petrovna from the Summer Palace in St.Petersburg
The Summer Palace of Elizabeth Petrovna from the Summer Palace in St.Petersburg
Third quarter of XVIII century
Portrait of William George Fairmore
Portrait of William George Fairmore
Second half of the 1750
Portrait of Grand Duke Peter Feodorovich
Portrait of Grand Duke Peter Feodorovich
About 1762
Portrait of Peter III
Portrait of Peter III
1762
Portrait of Countess Anna Vorontsova, née Skavronskaya, Wife of the Chancellor Count Mikhail Vorontsov
Portrait of Countess Anna Vorontsova, née Skavronskaya, Wife of the Chancellor Count Mikhail Vorontsov
Portrait of the Actor Fyodor Volkov, Founder of the First Russian Public Theatre
Portrait of the Actor Fyodor Volkov, Founder of the First Russian Public Theatre
Portrait of Countess Maria Rumyantseva, née of Countess Matveyeva, Wife of Count Alexander Rumyantsev
Portrait of Countess Maria Rumyantseva, née of Countess Matveyeva, Wife of Count Alexander Rumyantsev
Recommended

About collection

Ever since the Russian Museum was founded in 1895, the Russian school of painting of the eighteenth and first half of the nineteenth centuries has constituted the heart of its collection.

Eighty paintings were initially transferred to the Russian Museum from the Imperial Hermitage, including such masterpieces as Karl Brullov's The Last Day of Pompeii, Fidelio Bruni's The Brazen Serpent, Hovhannes Aivazovsky's The Ninth Wave, Henryk Siemiradzki's Shrine at the Festival of Poseidon at the Eleusinia, Vladimir Borovikovsky's Portrait of Murtaza Kuli Khanand Alexander Ivanov's Christ's Appearance to St Mary Magdalene.

The collection of the Russian Museum grew with the acquisition of 122 canvases from the Imperial Academy of Arts, among them Orest Kiprensky's Portrait of Yevgraf Davidov, Pyotr Basin's Susannah and the Elders and Alexei Venetsianov's The Threshing Barn. Other works were transferred from the Imperial collections in the Winter Palace, Alexander Palace in Tsarskoe Selo and Gatchina -- Karl Brullov's Portrait of Countess Yulia Samoilova Retiring from a Ball with her Adopted Daughter Amazilia Paccini, Vasily Tropinin's Guitarist and Girl with a Doll and Pavel Fedotov's The Major Makes a Proposal.

The collection of eighteenth-century portraiture was further enlarged in 1897, thanks to the acquisition of the collection of Prince Alexei Lobanov-Rostovsky. Besides portraits of Russian statesmen and aristocrats painted by Ivan Argunov and Dmitry Levitsky, the collection included many works by foreign masters working in Russia in the eighteenth century, including Johann Gottfried Tannauer, Georg Christoph Grooth, Pietro Antonio Rotari and Jean Louis Voille.

When it was officially opened in 1898, the Russian Museum thus possessed an outstanding collection of national art. The collection was nevertheless uncoordinated and incomplete, owing to the sometimes inconsistent nature of acquiring works. Although the new museum owned many of the most important paintings in the history of Russian art, many still remained in the Imperial collection. Works were selected according to academic principles; non-academic movements were largely ignored.

Chaired by Pyotr Neradovsky and including such leading art historians and curators as Albert Benois, Pyotr Brullov and Konstantin Lemokh, the Art Council of the Russian Museum played an important role in acquiring new works and augmenting the collection. Many masterpieces found their way into the museum through the enthusiastic support of collectors and connoisseurs of art. The Russian Museum thus acquired Alexei Antropov's Portrait of Maria Rumyantseva, Ivan Vishnyakov's Portraits of Sarah and Wilhelm Fairmore, Dmitry Levitsky'sPortrait of Anna Protasova, Fyodor Rokotov's Portrait of Countess Yelizaveta Santi and Portrait of Count Lev Santi, Vladimir Borovikovsky's Portrait of Yekaterina Arsenieva and paintings and modelli by such early-nineteenth-century masters as Orest Kiprensky and Alexander Ivanov.

The Russian Museum inherited many works of art following the confiscation of private collections following the revolution. In 1917, the museum was awarded over eighty studies by Alexander Ivanov for Christ's Appearance to the People from the Mikhail Botkin collection. Prince Vladimir Argutinsky-Dolgorukov's collection was transferred to the museum in 1918. Many paintings were acquired from the former Imperial palaces.

The redistribution of confiscated art work between museums was handled by the State Museum Fund. In 1922, the Russian Museum inherited the entire collection of the Academy of Arts Museum. Many works were traded among the Russian Museum, the Tretyakov Gallery and the Hermitage in the 1930's.

Thanks to the scope and profundity of its collection, the Russian Museum now ranks among the foremost galleries of Russian national art. The main criteria in the selection of works is historical and artistic value. Besides masterpieces of the eighteenth and early- to mid-nineteenth centuries, the museum also acquires studies, sketches and canvases by lesser-known artists, offering a deeper and more detailed insight into the history of Russian art.


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