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Portrait of Peter I
- Paper, .
- The State Russian Museum
- Гр-28586
Медаль «Небываемое бывает» / За взятие двух шведских судов 6 мая 1703 г. в устье р. Невы
- 1703
- Silver.
- The State Russian Museum
- Мед.А-522
Медаль на сооружение крепости Кроншлот в 1704 г.
- 1704
- Silver.
- The State Russian Museum
- Мед.А-567
Флот на пути к Выборгу в 1710 году / Определенный порядок ... через каковым образом флот и транспорт Петербурга и Кронштата отправлен ...1710 г. в Выборг
- 1710
- etching, lathe.
- The State Russian Museum
- Гр.-31963
The Wedding of Peter I and Catherine
- 1712
- etching.
- The State Russian Museum
- Гр-42519
Ввод судов в Петербург после Гангутской победы
- etching.
- The State Russian Museum
- Гр-32299
Кроншлот
- etching, lathe.
- The State Russian Museum
- Гр.-21845
Medal Commemorating the Capture of Nyenschantz in 1703
- 1703
- Silver. D-46. Total weight: 41.93 g.
- The State Russian Museum
- Мед.А-514
The desire of Peter the Great to make Russia one of the European commonwealths initiated the birth of medallic art, which before this was unknown in the Tsardom of Moscow. The famous Nuremberg medallist Philipp Heinrich Müller was ordered to create a series of 26 medals commemorating events of the Northern War. The medals were produced in 1713‒1714 using the highest quality materials and corresponding to European medallic traditions. Beginning in 1716, these commemorative medals were produced in Moscow for presentational purposes: they were presented as gifts to foreigners and senior officers of the state. The letters highlighted in the Latin legend refer to the date, on which the event took place.
Котлин остров
- 1716 - 1717
- etching, lathe.
- The State Russian Museum
- Гр.-21846
План крепости, города и местоположение Санкт-Петербурга
- 1716
- .
- The State Russian Museum
- Гр.-38438
Portrait of Peter I
- 1718
- etching, lathe.
- The State Russian Museum
- Гр-31063
Заглавный лист книги "Устав морской" (фронтиспис)
- Paper, .
- The State Russian Museum
- Гр.-22774
Торжественный ввод в Санкт-Петербург шведских судов после победы при Гренгаме
- etching.
- The State Russian Museum
- Гр-32305
Фейверк по случаю победы при Гренгаме / Гренгамская пирамида
- 1720
- etching, lathe.
- The State Russian Museum
- Гр.-26131
Топографическое изображение новой русской столицы и порта Санкт-Петербурга
- 1721–1723
- .
- The State Russian Museum
- Гр.-38442
Проект Александро-Невской лавры
- etching.
- The State Russian Museum
- Гр-37398
View of St. Petersburg
- etching.
- The State Russian Museum
- Гр-41990
Проспект палат Великого Амирала
- 1729
- etching, lathe.
- The State Russian Museum
- Гр.-42311
Церковь святой Троицы
- 1729
- .
- The State Russian Museum
- Гр.-23735
Географическая карта Ингерманландии
- 1734
- .
- The State Russian Museum
- Гр.-38775
Портрет императрицы Елизаветы Петровны
- 1746
- etching, lathe, .
- The State Russian Museum
- Гр.-30752
Фейерверк на Новый год перед Зимним Е. И. В. Домом / Фейерверк и иллюминация 1 января 1748 года в Петербурге перед Зимним дворцом
- 1748
- etching, lathe.
- The State Russian Museum
- Гр.-7883
Иллюминация Санкт-Петербургской Академии Наук сентября 6 дня 1750 года... / Иллюминация перед зданием Академии наук в день ее торжественного собрания
- 1749
- etching, lathe.
- The State Russian Museum
- Гр.-28011
Проспект новопостроенных палат против Аничковских ворот от восточной стороны с частью Санкт-Петербурга и Невской перспективой дороги от реки Фонтанки
- 1749–1750
- etching, lathe.
- The State Russian Museum
- Гр.-3025
Проспект Адмиралтейства и около лежащих строений с частью Невской перспективой дороги с западную сторону
- 1750–1751
- etching, lathe, .
- The State Russian Museum
- Гр.-3027
Проспект Биржи и Гостиного двора вверх по малой Неве реке
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3029
Проспект Государственных Коллегий с частью Гостиного двора с восточную сторону
- 1750
- etching, lathe.
- The State Russian Museum
- Гр.-3032
Проспект Летнего Ее Императорского Величества дому с Северную сторону
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3031
Проспект Невской перспективой дороги от Адмиралтейских ворот к востоку
- 1750–1751
- etching, lathe, .
- The State Russian Museum
- Гр.-3026
Проспект по реке Фонтанке от Грота и Запасного дворца на полдень
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3030
Проспект старого Зимнего дворца с каналом, соединяющим Мойку с Невою
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3028
Зимний дворец императрицы Анны Иоанновны со стороны Луговой улицы
- 1751
- Paper, ink, nib, brush.
- The State Russian Museum
- Р-1309
Миллионная улица от Главной аптеки к Зимнему дворцу
- 1751
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-13007
Вид Биржи и Гостиного двора вверх по Малой Неве
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60085
Вид Государственных коллегий и Биржи (Гостиного двора)
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60084
Вид Невской перспективой дороги от Адмиралтейских триумфальных ворот к востоку
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60086
Вид на старый Зимний дворец и канал, соединяющий Мойку с Невою
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60083
Проспект вверх по Неве реке к востоку между Галерной верфью и 13 линией Васильевского острова
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3023
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3021
Проспект вниз по Неве реке между Зимним Ее Императорского Величества домом и Академией Наук
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3024
Проспект вниз по Неве реке от Невского моста между Исаакиевскою церковью и корпусом кадетским
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3022
Вид на Адмиралтейство / Проспект Адмиралтейства и около лежащих строений с частью Невской перспективной дороги в западную сторону
- 1753
- Paper, .
- The State Russian Museum
- Гр.-3062
Проспект Невской перспективной дороги от Адмиралтейских триумфальных ворот к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3063
Проспект вверх по Неве от Адмиралтейства и Академии наук к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3057
Проспект вниз по Неве между Зимним <...> Домом и Академией наук
- 1753
- .
- The State Russian Museum
- Гр.-3060
Проспект по реке Фонтанке от Грота и запасного дворца на полдень
- 1753
- etching, lathe.
- The State Russian Museum
- Гр.-3066
Амфитеатр для увеселения каждого на Каменном острове
- 1754
- etching, lathe.
- The State Russian Museum
- Гр.-35023
Вид Невского проспекта от Аничкова моста с домом И. И. Шувалова
- Canvas, oil.
- The State Russian Museum
- Ж-3138
Охотничий павильон в Зверинце Царского Села
- 1755
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1312
Проспект вверх по Неве-реке между Галерною верфью и 13 линией Васильевского острова
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3137
Проспект вниз по Неве-реке от Невского моста между Исаакиевской церковью и корпусом кадетским
- Canvas, oil. 116 x 202
- The State Russian Museum
- Ж-3133
Петергоф. Большой дворец со стороны залива
- 1756
- paper mounted on canvas, ink, brush, nib, , graphite pencil.
- The State Russian Museum
- Р-28996
Летний дворец Елизаветы Петровны с южной стороны
- 1750–1757
- Paper, ink, nib, brush.
- The State Russian Museum
- Р-1308
Летний дворец Елизаветы Петровны со стороны Летнего сада в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-3132
Портрет архитектора Ф.-Б. Растрелли
- Canvas, oil. 56 х 47
- The State Russian Museum
- Ж-4936
Проспект Летнего Ее Императорского Величества дому с северную сторону
- etching, lathe, .
- The State Russian Museum
- Гр.-44152
Большой дворец в Ораниенбауме
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1311
Портрет М. В. Ломоносова
- 1757-1758
- Paper, lathe, etching.
- The State Russian Museum
- Гр.-44182
Эрмитаж в саду Ее Императорского Величества дворца в Сарском Селе
- 1757–1759
- etching, lathe.
- The State Russian Museum
- Гр.-31861
Вид вверх по реке Мойке от Крюкова канала и дворца графа П. И. Шувалова
- 1759
- Paper, ink, brush, nib.
- The State Russian Museum
- P-13006
Вид вниз по Неве от Петропавловской крепости
- 1759–1760
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-28995
Дворец Ее Императорского Величества в Сарском Селе
- 1757–1761
- etching, lathe, , .
- The State Russian Museum
- Гр.-31868; Гр.-31869
Portrait of Ivan Betskoy
- The second half of the 18th century
- Canvas, oil.
- The State Russian Museum
- Ж-4542
Portrait of the Actor Fyodor Volkov, Founder of the First Russian Public Theatre
- Canvas, oil.
- The State Russian Museum
- Ж-4969
Петергофский Ее Императорского Величества дворец на берегу Финляндского залива
- 1760–1761
- etching, lathe.
- The State Russian Museum
- Гр.-3129
Портрет А. П. Сумарокова
- 1760
- Canvas, oil. 74 х 64,5
- The State Russian Museum
- Ж-4966
Грот в Летнем саду на реке Фонтанке
- 1761
- etching.
- The State Russian Museum
- Гр.-43842
Новый Ее Императорского Величества Зимний дом с реки Невы
- 1761
- etching.
- The State Russian Museum
- Гр.-43839
Санкт-Петербургская на Неве реке крепость
- 1761
- etching.
- The State Russian Museum
- Гр.-43838
Старый Зимний деревянный дом
- 1761
- etching.
- The State Russian Museum
- Гр.-43843
Зимний дворец вниз по Неве
- 1762
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1310
Портрет графа К. Г. Разумовского
- 1762
- etching, lathe, .
- The State Russian Museum
- Гр.-31155
Тезис, посвященный вступлению Екатерины II на престол, с видом Сергиевой пустыни под Петербургом
- 1762
- etching, lathe.
- The State Russian Museum
- Гр. Луб.-2176
Биржа и Гостиный двор
- Canvas, oil. 72 x 121
- The State Russian Museum
- Ж-3139
Здание Двенадцати коллегий в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-4923
Портрет С. Я. Яковлева
- 1767
- Canvas, oil. 135 х 107,5
- The State Russian Museum
- Ж-4757
Portrait of Peter the Great
- 1770
- Canvas, oil. 268 x 159
- The State Russian Museum
- Ж-25
Peter the Great is depicted in the uniform of the Preobrazhensky Guards and an Imperial mantle. He is wearing the chain and star of the Order of St Andrew. The Russian Imperial crown stands on the table. The Emperor is pointing to an open book displaying the text of the Manifesto of 1721 with which he established the Synod, a collegiate body that would administer the Church in place of the traditional Patriarchate. The portrait was painted by Alexei Antropov, who served as a painter at the Synod from 1761.
Portrait of Alexander Stroganov
- Canvas, oil. 115,5 х 87
- The State Russian Museum
- Ж-4541
Alexander Roslin (1718-1793) was a Swedish painter, who worked in St. Petersburg from 1775 until 1777. He painted many portraits of members of the imperial family and the high nobility.
Alexander Stroganov (1733–1811) was count and son of Sergei Stroganov and Sofia Kirillovna (née Naryshkina). He was a privy councilor, senator, Great Chamberlain and member of the State Council. He was also Director of the Public Library and President of the Imperial Academy of Arts, as well as a collector. He is depicted with the Orders of the White Eagle (ribbon and star) and St. Anne (cross).
Портрет Василия Григорьевича Кусова
- 1772
- Canvas, oil. 96,5 х 78,5
- The State Russian Museum
- Ж-3941
Портрет Ивана Васильевича Кусова
- 1772
- Canvas, oil. 87 х 70
- The State Russian Museum
- Ж-3940
Адмиралтейство в Петербурге
- Canvas, oil. 72 x 117
- The State Russian Museum
- Ж-3129
Вид Невского проспекта от Полицейского моста с домом графа А. С. Строганова
- Canvas, oil. 72 x 117
- The State Russian Museum
- Ж-3128
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3135
Проспект вниз по Неве реке между Зимним домом и Академиею Наук
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3136
Два изображения дворца Петра I
- 1779
- .
- The State Russian Museum
- Гр.-22972
Мазанки князя Меншикова. Палисадник
- 1779
- .
- The State Russian Museum
- Гр.-23729
Образцовые мазанки. Брюсов дом
- 1779
- .
- The State Russian Museum
- Гр.-22987
Первоначальная Санкт-Петербургская Крепость
- 1779
- .
- The State Russian Museum
- Гр.-22970
План крепости «Шведские концы»
- 1779
- .
- The State Russian Museum
- Гр.-22974
Строения на набережных Невы
- 1779
- .
- The State Russian Museum
- Гр.-22989
Торжественный зал
- 1779
- .
- The State Russian Museum
- Гр.-22973
Портрет М. Ф. Полторацкого
- Canvas, oil.
- The State Russian Museum
- Ж-4993
Фонтанка у императорского сада в Петербурге
- 1770–1790s (?)
- etching, lathe, .
- The State Russian Museum
- Гр.-34793
Portrait of the Architect and Adjunct Rector of the Academy of Arts Georg Friedrich Felten
- Canvas, oil. 60 х 47
- The State Russian Museum
- Ж-3229
View of Palace Embankment from the Peter and Paul Fortress
- 1790s
- Canvas, oil. 72 x 107
- The State Russian Museum
- Ж-3292
This is a repeat version of a painting for which Fyodor Alexeyev was elected to the Imperial Academy of Arts – View of Palace Embankment from the Peter and Paul Fortress (1794, Tret. Gal.). On the left is the Peter and Paul Fortress with the Naryshkin Bastion. The Naryshkin Bastion was renamed the Catherine Bastion after the wife of Peter the Great (1725). The Summer Garden can be seen on the opposite bank of the River Neva. Palace Embankment begins on the right with the Marble Palace and the Betskoi and Saltykov houses.
Гулянье на пасхальной неделе в Петербурге
- 1790
- Paper, watercolours, nib. 21,1 х 29.8
- The State Russian Museum
- Р-6702
Tobogganing on the Neva
- 1792
- Canvas, oil. 81 x 107
- The State Russian Museum
- Ж-4691
Tobogganing down ice slopes was a traditional Russian pastime during the carnival period. In St Petersburg the largest ice slopes were to be found on the River Neva in front of the Winter Palace and the Admiralty. Tobogganing was an accessible pastime for everyone, but the height of the slopes at times made this a very risky business. Another old carnival custom was riding around the ice slopes. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 87.
It was mostly young people who went tobogganing, with a young girl sitting on a young man's knees, or the other way around. Often they were made to kiss. During the tobogganing and throughout shrovetide in general, relations between young people were much freer than at any other time of the year. The erotic nature of the rites had the special function of demonstrating one's love. Kisses were supposed to awaken nature, contributing to its fertility and flowering. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 87.
Портрет президента Академии художеств И. И. Бецкого
- etching, lathe.
- The State Russian Museum
- Гр.-29466
Вид на Петропавловскую крепость
- Canvas, oil.
- The State Russian Museum
- Ж-3154
Прием Зюнгарского владельца
- 1796
- etching, lathe.
- The State Russian Museum
- Гр.-36945
Шенк Петр
Kalashnikov Osip
Müller/ Miller/ Myller Philipp Heinrich
Picart, Pickaerdt Pieter
Зубов Алексей Федорович
Unknown engraver
Heu Beracken
Челнаков Никита Федорович
Эллигер Оттоман
Соколов Иван Алексеевич
Unknown painter
Васильев Яков Васильевич
Виноградов Ефим Григорьевич
Внуков Еким (Аким, Яким) Терентьевич
Греков Алексей Ангилеевич (Ангильевич)
Еляков Иван Петрович
Качалов Григорий Аникиевич
Махаев Михаил Иванович
Rotari Pietro Antonio
Fessard Etienne
Wortmann Christian-Albert
Артемьев Прокофий (Прокопий) Артемьевич
Losenko Anton Pavlovich
1757, Glukhov - 1773 St PetersburgHistory painter, portraitist, draughtsman. Studied at Ivan Argunov\'\'s studio (from 1753) and under Jean-Louis de Velly and Louis-Jean-Francois Lagrenee at the Imperial Academy of Arts (1758-60). Taught at the Imperial Academy of Arts. Adjunct (1762). Fellow of the Imperial Academy of Arts in France (1760-62, 1763-65), studied under Jean Restout and Joseph-Marie Vien. Awarded silver medals for drawings by the Academic des Beaux-Arts in Paris (1763, 1764,1765). Studied in Italy (1765-69). Nominated to the Imperial Academy of Arts (1769), academician and professor (1770). Head of the history painting class, director of the Imperial Academy of Arts (1772-73
Внуков Филипп Терентьевич
Schmidt Georg-Friedrich
Колокольников Мина Лукич
Antropov Alexei Petrovich
1716, St. Petersburg - 1795, St. PetersburgPainter, portraitist, icon-painter. Studied under Louis Caravaque, Andrei Matveyev and Alexander Zakharov, took lessons from Pietro de Rotari (from 1732). Joined the painting department of the Ministry of Construction (1739), foreman (1749). Helped to decorate the interiors of palaces in and around St Petersburg and Moscow. Painted the interior decor of the Si Petersburg Opera House (1750). Created murals and icons for St Andrew’s Cathedral in Kiev (1750-55). Lived in St Petersburg (from 1758). Worked for the Holy Synod and supervised the work of painters (from 1761), Taught Dmitry Levitsky and Pyotr Drozhdin.
Roslin Alexander
Рудаков Алексей Гаврилович
Levitsky Dmitry Grigoryevich
1735, Kiev - 1822, St PetersburgLeading Russian eighteenth-century painter and portraitist. Son of Grigory Levitsky Nos, a priest and Ukrainian engraver. Moved to St Petersburg (c. 1758). Studied under Alexei Antropov. Worked in Moscow (17605). Nominated to the Academy (c. 1769). Academician (1770). Headed the portraiture class at the Imperial Academy of Arts (1771-87). Councillor (1776), member of the Academy council (1780). Retired for unknown reasons (1787). Worked as a free painter. Returned to the Academy council (1807).
SHCHUKIN, Stepan Semyonovich
1762, Moscow - 1828, St PetersburgPainter, portraitist, miniaturist, author of church paintings, teacher. Son of an army corporal Semyon Petrov and Euphemia Evlampieva. After the death of his parents, entered the Orphan House in Moscow (1765), where he received his prima
Alexeyev Fyodor Yakovlevich
1753/1754 (?). St Petersburg - 1824, St PetersburgPainter, founding father of the Russian school of urbanscape painting. Son of a guard at the Imperial Academy of Arts. Studied fruit and flower and landscape painting at the Imperial Academy of Arts (1766-73). Awarded a fellowship to Venice (1773-77). Studied under Giuseppe Moretti and Pietro Gaspari. Returned to St Petersburg and worked as a painter for the Imperial Theatres (1799). Copied paintings by Canaletto and Bernardo Bellotto for Catherine the Great. Nominated to the Academy (1794). Sketched places visited by Catherine the Great (1787) in south Russia (1795). Painted urbanscapes in Moscow (1800). Councillor of the Imperial Academy of Arts (1802), Taught perspective painting at the Imperial Academy of Arts (1803-24).
Скородумов Гаврила Иванович
Atkinson, John Augustus
1775, London — after 1831, LondonEnglish painter and engraver. Author of compositions on historical subjects, cityscapes and
genre scenes. Moved to Russia (1784) with his foster-father and teacher, the famous English engraver James Walker, who had been invited to Russia by Catherine II. Painted pictures on subjects from Russian history and portraits. Returned to England (1801), contributed annually to the Royal Academy exhibitions. Member of the English Society of Watercolour Painters.
Дюпюи Никола Габриэль
Казачинский Андрей Иванович
Mayr (de Mayr, von Mayr, Mayer, Meyer) Johann Georg
1760, Nuremberg (Germany) - 1816, St PetersburgPainter, draughtsman, landscapist, portraitist, il¬lustrator, engraver. Elder brother of the draughts-man and engraver Johann Christoph Mayr. Studied in Nuremberg. Invited to St Petersburg (1778). Worked atthe Imperial Academyof Sciences, draw¬ing inventions and texts , turning sketches into finished drawings for copper engraving, correct¬ing new engravings and teaching drawing, engrav¬ing and watercolour painting. Awarded more du¬ties and students following the appointment of Princess Ekaterina Dashkova as director of the Im¬perial Academy of Sciences (1783). Painted en¬gravings made by other artists (from 1788).
Portrait of Peter I
- Paper, .
- The State Russian Museum
- Гр-28586
The Wedding of Peter I and Catherine
- 1712
- etching.
- The State Russian Museum
- Гр-42519
Medal Commemorating the Capture of Nyenschantz in 1703
- 1703
- Silver. D-46. Total weight: 41.93 g.
- The State Russian Museum
- Мед.А-514
The desire of Peter the Great to make Russia one of the European commonwealths initiated the birth of medallic art, which before this was unknown in the Tsardom of Moscow. The famous Nuremberg medallist Philipp Heinrich Müller was ordered to create a series of 26 medals commemorating events of the Northern War. The medals were produced in 1713‒1714 using the highest quality materials and corresponding to European medallic traditions. Beginning in 1716, these commemorative medals were produced in Moscow for presentational purposes: they were presented as gifts to foreigners and senior officers of the state. The letters highlighted in the Latin legend refer to the date, on which the event took place.
План крепости, города и местоположение Санкт-Петербурга
- 1716
- .
- The State Russian Museum
- Гр.-38438
Portrait of Peter I
- 1718
- etching, lathe.
- The State Russian Museum
- Гр-31063
Топографическое изображение новой русской столицы и порта Санкт-Петербурга
- 1721–1723
- .
- The State Russian Museum
- Гр.-38442
Проект Александро-Невской лавры
- etching.
- The State Russian Museum
- Гр-37398
View of St. Petersburg
- etching.
- The State Russian Museum
- Гр-41990
Церковь святой Троицы
- 1729
- .
- The State Russian Museum
- Гр.-23735
Географическая карта Ингерманландии
- 1734
- .
- The State Russian Museum
- Гр.-38775
Вид на Адмиралтейство / Проспект Адмиралтейства и около лежащих строений с частью Невской перспективной дороги в западную сторону
- 1753
- Paper, .
- The State Russian Museum
- Гр.-3062
Проспект Невской перспективной дороги от Адмиралтейских триумфальных ворот к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3063
Проспект вверх по Неве от Адмиралтейства и Академии наук к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3057
Проспект вниз по Неве между Зимним <...> Домом и Академией наук
- 1753
- .
- The State Russian Museum
- Гр.-3060
Проспект по реке Фонтанке от Грота и запасного дворца на полдень
- 1753
- etching, lathe.
- The State Russian Museum
- Гр.-3066
Летний дворец Елизаветы Петровны с южной стороны
- 1750–1757
- Paper, ink, nib, brush.
- The State Russian Museum
- Р-1308
Летний дворец Елизаветы Петровны со стороны Летнего сада в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-3132
Здание Двенадцати коллегий в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-4923
Portrait of Peter the Great
- 1770
- Canvas, oil. 268 x 159
- The State Russian Museum
- Ж-25
Peter the Great is depicted in the uniform of the Preobrazhensky Guards and an Imperial mantle. He is wearing the chain and star of the Order of St Andrew. The Russian Imperial crown stands on the table. The Emperor is pointing to an open book displaying the text of the Manifesto of 1721 with which he established the Synod, a collegiate body that would administer the Church in place of the traditional Patriarchate. The portrait was painted by Alexei Antropov, who served as a painter at the Synod from 1761.
Вид Невского проспекта от Полицейского моста с домом графа А. С. Строганова
- Canvas, oil. 72 x 117
- The State Russian Museum
- Ж-3128
Два изображения дворца Петра I
- 1779
- .
- The State Russian Museum
- Гр.-22972
Мазанки князя Меншикова. Палисадник
- 1779
- .
- The State Russian Museum
- Гр.-23729
Образцовые мазанки. Брюсов дом
- 1779
- .
- The State Russian Museum
- Гр.-22987
Первоначальная Санкт-Петербургская Крепость
- 1779
- .
- The State Russian Museum
- Гр.-22970
План крепости «Шведские концы»
- 1779
- .
- The State Russian Museum
- Гр.-22974
Строения на набережных Невы
- 1779
- .
- The State Russian Museum
- Гр.-22989
Торжественный зал
- 1779
- .
- The State Russian Museum
- Гр.-22973
Foundationof St Petersburgin 1703
- Not earlier than 1840
- Canvas, oil. 21,5 x 16
- The State Russian Museum
- Ж-212
Petersburg of the beginning of the XVIII century
- 1906
- Paper, tempera. 58,5 x 111,5
- The State Russian Museum
- Ж-2145
Ships of the time of Peter I
- Cardboard, gouache, tempera.
- The State Russian Museum
- Р-13518
Peter I at the Work Site
- 1910-1911
- paper mounted on cardboard, tempera, watercolours. 63 x 92,7
- The State Russian Museum
- Ж-1921
Peter the Great Examining a Statue of Venus in the Summer Palace
- 1916
- Cardboard, oil. 69,5 x 102
- The State Russian Museum
- Ж-2373
Peter the Great was following the example of European monarchs when he laid out several summer residences in St Petersburg and its environs that would eventually become luxurious combinations of architecture and park land. Marble sculptures were purchased abroad to decorate the interiors of palaces and the alleyways in the parks, and one particular item that was brought to Russia during Peter’s reign was the famous statue of the Venus of Tauris (now in the Hermitage Museum). Pope Clement XI had himself placed a ban on the export of the statue from Rome, but the cunning Russian diplomat Savva Raguzinsky offered him in exchange the relics of St Bridget of Sweden that had been seized as a trophy in Reval. It would not be right for the Pope to prefer a sensual pagan goddess over a Catholic saint, so the Venus set off for St Petersburg in 1718. Vasily Kuchumov depicts the scene of the ceremonial “presentation” of the strange new acquisition to Peter the Great and the court nobility assembled in the Winter Palace. Next to the Emperor the artist has placed his African page, Abram Petrovich Hannibal (known as his “Moor”), who was the great-grandfather of Alexander Pushkin, the great Russian poet.
Basin Pyotr Vasilievich
1793, St Petersburg — 1877, St PetersburgPainter, author of religious, historical and landscape compositions, monumentalist, engraver. Born to the family of a Petersburg civil servant. Attended the drawing classes at the Imperial Academy of Arts (from 1811). Awarded minor and major silver medals (1813). Studied painting under Vasily Shebuyev (from 1816). Lived in Italy (1819–1930). Returned to St Petersburg in 1830. Academician of painting (1831). Second-class professor (1836), first-class professor (1846), professor emeritus (1856). Professor of the Academy of Arts (till 1869).
Lanceray, Yevgeny
Serov Valentin Alexandrovich
1865, St Petersburg - 1911, MoscowPainter, graphic artist, teacher, portraitist, landscapist, history painter. Son of the composer Alexander Serov. Studied under Ilya Repin in Paris and Moscow (1874-75, 1878-80) and under Pavel Chistyakov at the Imperial Academy of Arts (1880-85). Academician of painting (1898), full member of the Imperial Academy of Arts (1903-05). Member of the Abramtsevo circle (from the 18705). Contributed to exhibitions (from 1889). Contributed to the exhibitions of the Society of Travelling Art Exhibitions (1890-99; member from 1894), Munich Sezession (1896, 1898,1899; member from 1899), Exhibition of Russian and Finnish Artists (1898), World of Art (1896-1906, member from 1900; 1911-12, founding member), Berlin Sezession (1903), Exhibition of Historical Russian Portraits at the Tauride Palace in St Petersburg (1905), Union of Russian Artists (1905-10; member from 1903), Sergei Makovsky Salon (1909), Exposition Universelle in Paris (1900, grand prix), International Exhibitions in Munich (1909), Vienna (1902), Venice (1907), Brussels (1910) and Rome (1911) and the Exhibitions of Russian Art in Paris (1906, 1910), Berlin (1906) and Vienna (1908). Member of the board of the Tretyakov Gallery. Taught at the Moscow School of Painting, Sculpture and Architecture (1897-1909). Designed for theatres in Moscow and St Petersburg and Sergei Diaghilev\'\'s Saisons Russes (from 1886).
Kuchumov Vasily Nikitich
1888, Dolgopolovo, Yaroslavl Province — 1959, LeningradPainter, graphic artist, monumentalist. Studied at the Nikolai Seliverstov School of Art in Penza (circa 1909) and the Imperial Academy of Arts in St Pe ters - burg / Petrograd (1909–1916). Contributed to exhibitions (from 1913).
Медаль «Небываемое бывает» / За взятие двух шведских судов 6 мая 1703 г. в устье р. Невы
- 1703
- Silver.
- The State Russian Museum
- Мед.А-522
Медаль на сооружение крепости Кроншлот в 1704 г.
- 1704
- Silver.
- The State Russian Museum
- Мед.А-567
Флот на пути к Выборгу в 1710 году / Определенный порядок ... через каковым образом флот и транспорт Петербурга и Кронштата отправлен ...1710 г. в Выборг
- 1710
- etching, lathe.
- The State Russian Museum
- Гр.-31963
Ввод судов в Петербург после Гангутской победы
- etching.
- The State Russian Museum
- Гр-32299
Кроншлот
- etching, lathe.
- The State Russian Museum
- Гр.-21845
Котлин остров
- 1716 - 1717
- etching, lathe.
- The State Russian Museum
- Гр.-21846
Заглавный лист книги "Устав морской" (фронтиспис)
- Paper, .
- The State Russian Museum
- Гр.-22774
Торжественный ввод в Санкт-Петербург шведских судов после победы при Гренгаме
- etching.
- The State Russian Museum
- Гр-32305
Фейверк по случаю победы при Гренгаме / Гренгамская пирамида
- 1720
- etching, lathe.
- The State Russian Museum
- Гр.-26131
View of St. Petersburg
- etching.
- The State Russian Museum
- Гр-41990
Проспект палат Великого Амирала
- 1729
- etching, lathe.
- The State Russian Museum
- Гр.-42311
Проспект Биржи и Гостиного двора вверх по малой Неве реке
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3029
Проспект Летнего Ее Императорского Величества дому с Северную сторону
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3031
Проспект по реке Фонтанке от Грота и Запасного дворца на полдень
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3030
Проспект старого Зимнего дворца с каналом, соединяющим Мойку с Невою
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3028
Вид Биржи и Гостиного двора вверх по Малой Неве
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60085
Вид на старый Зимний дворец и канал, соединяющий Мойку с Невою
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60083
Проспект вверх по Неве реке к востоку между Галерной верфью и 13 линией Васильевского острова
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3023
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3021
Проспект вниз по Неве реке между Зимним Ее Императорского Величества домом и Академией Наук
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3024
Проспект вниз по Неве реке от Невского моста между Исаакиевскою церковью и корпусом кадетским
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3022
Проспект вверх по Неве от Адмиралтейства и Академии наук к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3057
Проспект вверх по Неве-реке между Галерною верфью и 13 линией Васильевского острова
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3137
Проспект вниз по Неве-реке от Невского моста между Исаакиевской церковью и корпусом кадетским
- Canvas, oil. 116 x 202
- The State Russian Museum
- Ж-3133
Проспект Летнего Ее Императорского Величества дому с северную сторону
- etching, lathe, .
- The State Russian Museum
- Гр.-44152
Вид вверх по реке Мойке от Крюкова канала и дворца графа П. И. Шувалова
- 1759
- Paper, ink, brush, nib.
- The State Russian Museum
- P-13006
Вид вниз по Неве от Петропавловской крепости
- 1759–1760
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-28995
Новый Ее Императорского Величества Зимний дом с реки Невы
- 1761
- etching.
- The State Russian Museum
- Гр.-43839
Санкт-Петербургская на Неве реке крепость
- 1761
- etching.
- The State Russian Museum
- Гр.-43838
Биржа и Гостиный двор
- Canvas, oil. 72 x 121
- The State Russian Museum
- Ж-3139
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3135
Проспект вниз по Неве реке между Зимним домом и Академиею Наук
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3136
Строения на набережных Невы
- 1779
- .
- The State Russian Museum
- Гр.-22989
Фонтанка у императорского сада в Петербурге
- 1770–1790s (?)
- etching, lathe, .
- The State Russian Museum
- Гр.-34793
Вид Невы, порта и Биржи в Санкт-Петербурге
- 1812
- Paper, .
- The State Russian Museum
- Гр.-31548
Спуск корабля у Адмиралтейства в Петербурге
- 1819
- paper mounted on cardboard, watercolours. 41 х 54,9
- The State Russian Museum
- Р-3621
Кронштадт
- .
- The State Russian Museum
- Гр.-30363
Адмиралтейская верфь
- Paper, .
- The State Russian Museum
- Гр.-28895
Вид на Адмиралтейство
- Paper, watercolours.
- The State Russian Museum
- Р-8583
Английская набережная
- 1840 - 1850
- .
- The State Russian Museum
- Гр.-20557
Дворцовая набережная
- 1840–1850
- .
- The State Russian Museum
- Гр.-42715
Вид Кронштадтского рейда
- Canvas, oil.
- The State Russian Museum
- Ж-2948
Открытие Морского канала в Петербурге
- 1885-1886
- Canvas, oil. 135 х 203
- The State Russian Museum
- Ж-2825
Дворец Бирона и барки
- Paper, , .
- The State Russian Museum
- Гр.-39334
Дамам-Демартре Мишель Франсуа
Шенрок Федор Федорович
Перро Фердинанд-Виктор
Beggrow Carl Рetrovich (Carl Joachim)
1799, Riga - 1875, St PetersburgLithographer, watercolourist, painter. Studied under Maxim Vorobyov at the Imperial Academy of Arts (1818-21). Worked as a lithographer at the Central Board of Communications (from 1825). Nominated to the Imperial Academy of Arts (1831), academician of perspective painting (1832). Worked on commissions for the Society for the Encouragement of Artists (1820s-early 1830s), contributed to the series Views of St Petersburg and Envimns.
Жакотте Жан
Lagorio, Leo
Bogolyubov Alexey Petrovich
1824, the village Pomeranye in Novgorod province – 1896, ParisArtist, draughtsman; landscape painter, marine artist. Grandson of A.N. Radishchev. In 1841 he graduated from the Naval Sea Cadet Corps. Since 1850 – auditor of the Imperial Academy of Fine Arts, studied under the tutelage of M.N.Vorobyev and B.P. Villevalde. In 1853 he graduated from the Academy of Arts with the title of class artist of the 1st degree; in the same year was appointed painter of the Naval General Staff. In 1854–1860 worked abroad. Since 1858 – academician; since 1860 – professor of marine views painting. Since 1873 – member of the Society for Travelling Art Exhibitions (also known as Peredvizhniki). After 1873 he worked abroad, had a studio in Paris. In 1885 he founded the Museum of Russian Art in Saratov and a drawing school, which was opened in 1897. Since 1893 – an actual member of the Academy of Arts.
Ostroumova-Lebedeva Anna
Проспект палат Великого Амирала
- 1729
- etching, lathe.
- The State Russian Museum
- Гр.-42311
Проспект Биржи и Гостиного двора вверх по малой Неве реке
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3029
Проспект старого Зимнего дворца с каналом, соединяющим Мойку с Невою
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3028
Вид Биржи и Гостиного двора вверх по Малой Неве
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60085
Вид на старый Зимний дворец и канал, соединяющий Мойку с Невою
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60083
Проспект вверх по Неве реке к востоку между Галерной верфью и 13 линией Васильевского острова
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3023
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3021
Проспект вниз по Неве реке между Зимним Ее Императорского Величества домом и Академией Наук
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3024
Проспект вниз по Неве реке от Невского моста между Исаакиевскою церковью и корпусом кадетским
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3022
Проспект вверх по Неве от Адмиралтейства и Академии наук к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3057
Проспект вверх по Неве-реке между Галерною верфью и 13 линией Васильевского острова
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3137
Проспект вниз по Неве-реке от Невского моста между Исаакиевской церковью и корпусом кадетским
- Canvas, oil. 116 x 202
- The State Russian Museum
- Ж-3133
Вид вниз по Неве от Петропавловской крепости
- 1759–1760
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-28995
Новый Ее Императорского Величества Зимний дом с реки Невы
- 1761
- etching.
- The State Russian Museum
- Гр.-43839
Санкт-Петербургская на Неве реке крепость
- 1761
- etching.
- The State Russian Museum
- Гр.-43838
Зимний дворец вниз по Неве
- 1762
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1310
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3135
Проспект вниз по Неве реке между Зимним домом и Академиею Наук
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3136
Строения на набережных Невы
- 1779
- .
- The State Russian Museum
- Гр.-22989
View of Palace Embankment from the Peter and Paul Fortress
- 1790s
- Canvas, oil. 72 x 107
- The State Russian Museum
- Ж-3292
This is a repeat version of a painting for which Fyodor Alexeyev was elected to the Imperial Academy of Arts – View of Palace Embankment from the Peter and Paul Fortress (1794, Tret. Gal.). On the left is the Peter and Paul Fortress with the Naryshkin Bastion. The Naryshkin Bastion was renamed the Catherine Bastion after the wife of Peter the Great (1725). The Summer Garden can be seen on the opposite bank of the River Neva. Palace Embankment begins on the right with the Marble Palace and the Betskoi and Saltykov houses.
Вид на Петропавловскую крепость
- Canvas, oil.
- The State Russian Museum
- Ж-3154
View of the Peter and Paul Fortress and Palace Embankment
- 1799
- Canvas, oil. 71,5 x 109
- The State Russian Museum
- Ж-5048
This is a repeat version of View of the Peter and Paul Fortress and Palace Embankment (1793, Archangelskoe Mus.). Nikolai Lvov’s Neva Gates and the Commander’s Landing Wharf are depicted in the foreground.
On the opposite bank of the River Neva are part of the Old Admiralty, Winter Palace, Old Hermitage and the Hermitage Theatre (from right to left). The bridge across the Winter Canal can be seen between the Old Hermitage and the theatre. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 111.
Вид на Английскую набережную с Васильевского острова
- Canvas, oil.
- The State Russian Museum
- Ж-3152
Вид на Академию художеств и Кадетский корпус
- Canvas, oil.
- The State Russian Museum
- Ж-3155
Вид на Английскую набережную с Васильевского острова
- Canvas, oil.
- The State Russian Museum
- Ж-3156
Панорама Петербурга
- 1805–1807
- Paper, aquatint with hand colouring.
- The State Russian Museum
- Гр.-31295
Панорама Петербурга
- 1805–1807
- Paper, aquatint with hand colouring.
- The State Russian Museum
- Гр.-31296
Панорама Петербурга
- 1805–1807
- Paper, aquatint with hand colouring.
- The State Russian Museum
- Гр.-31297
Панорама Петербурга
- 1805–1807
- Paper, aquatint with hand colouring.
- The State Russian Museum
- Гр.-31298
View of the Neva and Peter the Great’s Summer Palace
- Between 1807 and 1816
- Canvas, oil. 65,5 x 81
- The State Russian Museum
- Ж-3259
In 1704 a formal garden that would serve as the Tsar’s summer residence was laid down on the banks of the Neva at the orders of Peter the Great and under his personal supervision. The garden contained fountains, galleries and pavilions for entertainment, and there was also a small stone palace. Balls and assemblies took place in the Summer Garden, and people attended at the personal invitation of Peter. The garden eventually became a favourite place for city-dwellers to relax and the Summer Palace was turned into a museum.
View of the English Embankment from Vasilyevsky Island
- 1810s
- Canvas, oil. 53 х 72,5
- The State Russian Museum
- Ж-5050
Fyodor Alexeyev depicts the corner house on the embankment of Vasilyevsky Island and the English Embankment on the other side of the River Neva. This was possibly the view from the artist’s studio at the Imperial Academy of Arts. Painted at the pinnacle of Alexeyev’s professional career, this small canvas conveys the very atmosphere of the town and port of St Petersburg. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 110.
View onto the Admiralty and Palace Embankment from the First Cadet Corps
- Canvas, oil.
- The State Russian Museum
- Ж-5813
The paintings of Fyodor Yakovlevich draw the attention to themselves, not only because he recreates on canvas the views of St. Petersburg with such accuracy, but because he gives them an emotional and artistic dimension. His works became the interesting subject to study when it came to the history and architectural changes in the city’s appearance.
In the foreground, there is an upper terrace of the First Cadet Corps, which was founded in 1732 and placed in the former Palace of the Governor-General of St. Petersburg, His Serene Highness Prince Menshikov. On the opposite bank, there is the Admiralty, rebuilt by Andrei Zakharov after a fire in 1806. Behind the canal, which encircles the Admiralty, the Palace Embankment appears on the left.
Вид Невы, порта и Биржи в Санкт-Петербурге
- 1812
- Paper, .
- The State Russian Museum
- Гр.-31548
Петербург. Нева. Вид от Троицкого моста на Биржу
- 1810s
- Paper, watercolours.
- The State Russian Museum
- Р-13116
Вид Английской набережной
- 1810s
- Paper, gouache, whiting, ink.
- The State Russian Museum
- Р-5814
Вид Дворцовой набережной
- 1810
- paper mounted on canvas, gouache, whiting, ink. 63,9 х 94,5
- The State Russian Museum
- Р-5821
Вид Дворцовой набережной у Летнего сада
- paper mounted on canvas, gouache, whiting, ink. 61,7 х 91,5
- The State Russian Museum
- Р-5812
Нева у Дворцовой набережной и Летнего сада
- 1810s
- paper mounted on canvas, gouache, whiting, ink.
- The State Russian Museum
- Р-5823
Петербург. Вид на Зимний дворец и Неву
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-13120
Наводнение в Петербурге 19 ноября 1824 г.
- etching, lathe.
- The State Russian Museum
- Гр.-34824
Дворцовая набережная
- Paper, .
- The State Russian Museum
- Гр.-28832
Исаакиевский мост через Неву
- 1830s
- Paper, watercolours. 18 х 26,9
- The State Russian Museum
- Р-43024
Вид на Неву и Академию художеств
- 1840
- Canvas, oil. 45 х 76,5
- The State Russian Museum
- Ж-4623
Английская набережная
- 1840 - 1850
- .
- The State Russian Museum
- Гр.-20557
Троицкий мост
- 1840–1850
- Paper, .
- The State Russian Museum
- Гр.-43227
Вид Исаакиевской церкви и моста
- .
- The State Russian Museum
- Гр.-37031
Петербург при заходе солнца
- Canvas, oil.
- The State Russian Museum
- Ж-2838
Панорама города Санкт-Петербурга. Вид с Петропавловской крепости на Адмиралтейство и здание Биржи
- 1853
- Paper, .
- The State Russian Museum
- Гр.-12966
Панорама города Санкт-Петербурга. Вид с Петропавловской крепости на Дворцовую набережную
- 1853
- Paper, .
- The State Russian Museum
- Гр.-12962
Панорама города Санкт-Петербурга. Вид с Петропавловской крепости на Мраморный дворец и часть Летнего сада
- 1853
- Paper, .
- The State Russian Museum
- Гр.-12965
Панорама города Санкт-Петербурга. Вид с Петропавловской крепости на здание Эрмитажа и Зимний дворец
- 1853
- Paper, .
- The State Russian Museum
- Гр.-12963
Панорама города Санкт-Петербурга. Вид с Петропавловской крепости на часть Летнего сада, Французскую набережную и Смольный
- 1853
- Paper, .
- The State Russian Museum
- Гр.-12964
Набережная Невы
- Canvas, oil.
- The State Russian Museum
- Ж-2858
Вид на Неву от Зимнего дворца
- 1881
- Canvas, oil. 53 x 93
- The State Russian Museum
- Ж-2861
Вид на Неву и Адмиралтейскую набережную в лунную ночь
- Canvas, oil. 68 х 104,5
- The State Russian Museum
- Ж-2859
Набережная Невы вечером
- 1898
- Canvas, oil. 70 х 159
- The State Russian Museum
- Ж-2909
Петербург. Вид на Неву
- 1912
- Canvas, oil. 85 x 120
- The State Russian Museum
- Ж-5474
Martynov, Andrei Efimovich
1768, St Petersburg – 1826, RomePainter, draughtsman, watercolourist, engraver, lithographer. Son of a soldier of the Preobrazhensky Life Guards Regiment. Studied at the Imperial Academy of Arts (1773–1788). Fellow of the Imperial Academy of Arts in Italy (1788). Worked under Jakob Philipp Hackert in Italy. Returned to Russia (1794). Academician (1795), councillor (1802). Accompanied Count Golovkin’s embassy to China (1805–1806). Published the Painterly Journey from Moscow to the Chinese Border album of etchings. Worked for the Imperial Theatres (1808–1819). Travelled along the Baltic coastline with the suite of Empress Elizabeth Alexeyevna, painted watercolour views of Plen (1810). Produced the Views of St Petersburg and Environs series of lithographed watercolours. Painted and engraved views of Siberia, Crimea, River Volga, Mongolia and Italy. Went to Italy to recuperate from illness (1824).
Vorobyov Maxim Nikiforovich
1787, Pskov - 1855, St PetersburgPainter, draughtsman, engraver. Studied architecture under Jean-Francois Thomas de Thomons and landscape painting under Fyodor Alexeyev and possibly under Mikhail Ivanov at the Imperial Academy of Arts (1798-1809). Awarded second silver medals (1806, 1807), first silver medal (1808), first gold medal and first-class degree (1809). Reputedly joined Fyodor Alexeyev\'\'s expedition to paint views of central Russian towns (1810-12). Academician (1814). Painted views of the environs of Moscow for the Imperial Academy of Arts (1817) and studies for the court during the Russo-Turkish War (1828). Mostly painted Italian views during the last years of his life. Taught at the Imperial Academy of Arts (1815-55), professor (1823), headed the perspective painting class and landscape class (from 1826). Academy councillor for perspective painting (1827), professor emeritus (1843).
Барт Иоганн Вильгельм Готфрид
Кольман Карл Иванович
Арну-отец Жан-Батист
Бишбуа Луи Пьер Альфонс
Адам Виктор Винсент
Башелье Шарль Клодт
Beggrov, Alexander Carlovich
1841 – 1914Naval officer who became a seascape painter. Studied at the Academy of Arts (1870) and then under Léon Bonnat and Alexei Bogolyubov in Paris. Artist of the Russian Naval Ministry (from 1878 to his death). Honorary member of the Imperial Academy of Arts (1912). His talent and rich experience as a seaman allowed him to achieve success and recognition.
Dubovski, Nikolai Nikanorovich
1859, Novocherkassk — 1918, PetrogradPainter, teacher, landscapist. Studied at the Imperial Academy of Arts (1887–1881). Contributed to numerous national and international exhibitions. Academician (1898). Full member of the Imperial Academy of Arts (1900). Professor (from 1911, headed the landscape painting studio). Left by will a collection of paintings by Russian artists and a large number of paintings of his own to Novocherkassk.
Проспект палат Великого Амирала
- 1729
- etching, lathe.
- The State Russian Museum
- Гр.-42311
Проспект новопостроенных палат против Аничковских ворот от восточной стороны с частью Санкт-Петербурга и Невской перспективой дороги от реки Фонтанки
- 1749–1750
- etching, lathe.
- The State Russian Museum
- Гр.-3025
Проспект Биржи и Гостиного двора вверх по малой Неве реке
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3029
Проспект Летнего Ее Императорского Величества дому с Северную сторону
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3031
Проспект Невской перспективой дороги от Адмиралтейских ворот к востоку
- 1750–1751
- etching, lathe, .
- The State Russian Museum
- Гр.-3026
Проспект по реке Фонтанке от Грота и Запасного дворца на полдень
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3030
Проспект старого Зимнего дворца с каналом, соединяющим Мойку с Невою
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3028
Вид на старый Зимний дворец и канал, соединяющий Мойку с Невою
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60083
Проспект вверх по Неве реке к востоку между Галерной верфью и 13 линией Васильевского острова
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3023
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3021
Проспект вниз по Неве реке между Зимним Ее Императорского Величества домом и Академией Наук
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3024
Проспект вниз по Неве реке от Невского моста между Исаакиевскою церковью и корпусом кадетским
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3022
Проспект вверх по Неве от Адмиралтейства и Академии наук к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3057
Амфитеатр для увеселения каждого на Каменном острове
- 1754
- etching, lathe.
- The State Russian Museum
- Гр.-35023
Вид Невского проспекта от Аничкова моста с домом И. И. Шувалова
- Canvas, oil.
- The State Russian Museum
- Ж-3138
Проспект вверх по Неве-реке между Галерною верфью и 13 линией Васильевского острова
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3137
Проспект вниз по Неве-реке от Невского моста между Исаакиевской церковью и корпусом кадетским
- Canvas, oil. 116 x 202
- The State Russian Museum
- Ж-3133
Проспект Летнего Ее Императорского Величества дому с северную сторону
- etching, lathe, .
- The State Russian Museum
- Гр.-44152
Вид вверх по реке Мойке от Крюкова канала и дворца графа П. И. Шувалова
- 1759
- Paper, ink, brush, nib.
- The State Russian Museum
- P-13006
Новый Ее Императорского Величества Зимний дом с реки Невы
- 1761
- etching.
- The State Russian Museum
- Гр.-43839
Санкт-Петербургская на Неве реке крепость
- 1761
- etching.
- The State Russian Museum
- Гр.-43838
Зимний дворец вниз по Неве
- 1762
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1310
Биржа и Гостиный двор
- Canvas, oil. 72 x 121
- The State Russian Museum
- Ж-3139
Здание Двенадцати коллегий в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-4923
Вид Невского проспекта от Полицейского моста с домом графа А. С. Строганова
- Canvas, oil. 72 x 117
- The State Russian Museum
- Ж-3128
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3135
Проспект вниз по Неве реке между Зимним домом и Академиею Наук
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3136
Строения на набережных Невы
- 1779
- .
- The State Russian Museum
- Гр.-22989
Фонтанка у императорского сада в Петербурге
- 1770–1790s (?)
- etching, lathe, .
- The State Russian Museum
- Гр.-34793
View onto the Stroganov Dacha in St Petersburg
- Canvas, oil.
- The State Russian Museum
- Ж-5034
The artist was awarded the title of the Academician of perspective and miniature painting in 1797. The dacha was designed by Andrei Voronikhin (according to the other sources – it was designed by Fyodor Demerzov in 1793 and rebuilt by Voronikhin in 1796-1797) and was located in St. Petersburg near the place where the Chernaya River flows into the Bolshaya Nevka. The building was radically rebuilt and then pulled down in 1970s.
The painting features the facade of the dacha decorated with the colonnade, the granite stairs with sculptures of lions and centaurs lead from the estate to the river. It was there where the “Stroganov celebrations” famous among the contemporaries took place. The French artist Marie Louse Elisabeth Vigée-Lebrun described for descendants one of the celebrations: “About 3 p.m. we went upstairs to the terraсe surrounded by columns, there the day was all round us. From one side one can enjoy the view of the park, from the other – the Neva crowded with thousands of boats – one is more elegant than the other... There we had dinner. It was rich. The music played. After the dinner we went for a walk in the garden. In the evening we came to the terrace again to watch the beautiful fireworks. The lights reflected in the Neva made a wonderful effect”.
The work was created in the traditions of the Western European painting that were interpreted in Russia. The painting was produced in the manner of topographical landscapes. It depicts the real place and the estate of the Stroganovs.
План некоторых окрестностей Санкт-Петербурга
- Paper, watercolours. 28,6 х 43,8
- The State Russian Museum
- Р-3028
Дача Кушелева / Дача И. А. Безбородко в Полюстрово
- 1800
- Paper, watercolours, gouache.
- The State Russian Museum
- Р-3042
Вид с Каменного острова на Новую деревню
- 1801
- Canvas, oil. 69,5 х 105
- The State Russian Museum
- Ж-4695
Вид на Каменноостровский дворец через Большую Невку со стороны Строгановской набережной
- 1803
- Canvas, oil. 56 х 71,5
- The State Russian Museum
- Ж-3223
Вид на Большую Невку и дачу Строганова
- 1804
- Canvas, oil. 62 х 77,5
- The State Russian Museum
- Ж-5039
Вид на Каменноостровский дворец
- 1804
- Canvas, oil. 68 х 100
- The State Russian Museum
- Ж-4694
Дача Строганова и Строгановский мост с Каменного острова
- 1804
- Canvas, oil. 68 х 100
- The State Russian Museum
- Ж-4696
Каменноостровский дворец
- 1800s
- Canvas, oil. 56 х 72
- The State Russian Museum
- Ж-5040
Вид Мойки и Полицейского моста
- 1812
- etching, .
- The State Russian Museum
- Гр.-31542
Вид Невы, порта и Биржи в Санкт-Петербурге
- 1812
- Paper, .
- The State Russian Museum
- Гр.-31548
Дача М. Нарышкина на берегу Невы
- 1813
- Paper, watercolours, ink, nib. 47,1 х 67,8
- The State Russian Museum
- Р-1297
A View from Petrovsky Island in St Petersburg
- Canvas, oil.
- The State Russian Museum
- Ж-3571
Sylvester Schedrin, who was particularly known for painting Italian landscapes, depicted St. Petersburg in his early works. The character traits of the nature depicted in these landscapes are conventional colours and a classical composition with sharp layout separations. On the left of the painting there are a wooden bridge over the Zhdanovka River, the porch of the main building of the Second Cadet Corps and the Bell Tower of the Vladimirsky Cathedral. You can also observe the fortified banks crossed by the Tuchkov Bridge, and on the right there is the Former Hemp Warehouse and beyond that you can see the Old Stock Exchange Building and the Winter Palace roofs.
Вид Каменного острова / Вид набережной реки Крестовки на Каменном острове под Санкт-Петербургом
- 1810s
- Paper, gouache, whiting, ink.
- The State Russian Museum
- Р-5820
Вид островов / Вид набережной Малой Невки на Каменном острове под Санкт-Петербургом
- 1810s
- Paper, gouache, whiting, ink. 65 х 95,4
- The State Russian Museum
- Р-5818
Полицейский мост
- 1823
- Paper, .
- The State Russian Museum
- Гр.-28838
Фонтанка
- 1820s
- Paper, .
- The State Russian Museum
- Гр.-28857
На островах в С.-Петербурге
- Paper, watercolours.
- The State Russian Museum
- Р-8597
Вид на Каменноостровский мост
- 1830s
- Paper, watercolours. 16,8 х 27,3
- The State Russian Museum
- Р-43130
Каменностровский проспект / Вид на Каменноостровский проспект и церковь Иоанна Предтечи
- 1830s
- Paper, watercolours. 20 х 30,7
- The State Russian Museum
- Р-43132
Строганов мост / Вид на Строгановский мост и церковь Иоанна Предтечи
- 1830s
- Paper, watercolours. 15,5 х 22,1
- The State Russian Museum
- Р-43131
Вид на Елагином острове в Петербурге
- 1839
- Canvas, oil. 48,5 х 65,5
- The State Russian Museum
- Ж-3717
Вид на Лахте под Петербургом
- 1841
- Canvas, oil. 13 х 19
- The State Russian Museum
- Ж-3621
Английская набережная
- 1840 - 1850
- .
- The State Russian Museum
- Гр.-20557
Аничков мост
- Paper, .
- The State Russian Museum
- Гр.-20521
Вид Фонтанки в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-5308
Полицейский мост
- Paper, .
- The State Russian Museum
- Гр.-20512
Петербург. Екатерининский канал
- Paper, watercolours. 50,2 х 71,5
- The State Russian Museum
- Р-5046
Вид на Елагин остров в Петербурге
- 1860s
- Canvas, oil. 63,5 х 97
- The State Russian Museum
- Ж-8092
Вид с Лебяжьей канавки на Михайловский замок в Петербурге
- 1880s
- Wood, oil. 26,5 х 41
- The State Russian Museum
- Ж-1428
Петербург. Обводный канал
- 1902
- Paper, watercolours, graphite pencil. 22,2 х 32
- The State Russian Museum
- Р-13523
На Екатерининском канале летом
- 1905
- Canvas, oil. 84 x 67
- The State Russian Museum
- Ж-6463
Barges on the Fontanka Early Snow
- 1906
- Canvas, oil. 54 х 71,5
- The State Russian Museum
- Ж-11344
Крюков канал в белую ночь. Петербург
- 1908
- Canvas, oil. 66 х 80,5
- The State Russian Museum
- Ж-2127
Крюков канал
- Paper, .
- The State Russian Museum
- Гр.Дуб.-5639
Вид с Тучкова моста в Петербурге
- 1912
- Canvas, tempera, graphite. 86 х 129
- The State Russian Museum
- Ж-6487
Мойка
- 1914 (?)
- Canvas, oil. 76 x 95,5
- The State Russian Museum
- ЖБ-1417
Выгрузка дров у Тучковой набережной
- 1917
- Canvas, oil. 67 х 124
- The State Russian Museum
- Ж-6488
Синий мост
- 1937
- Canvas, oil. 59 х 80,5
- The State Russian Museum
- Ж-10717
Фонтанка
- 1940
- Paper, watercolours. 24,1 х 31
- The State Russian Museum
- РС-13452
Lion Bridge. Spring
- 1943
- Canvas, oil. 55,5 x 72,5
- The State Russian Museum
- Ж-6961
Час до восхода солнца
- 1977
- Canvas, oil. 70 х 90
- The State Russian Museum
- Ж-11305
Voronikhin Andrey Nikifirovich
1759 New Usolye, Perm province. - 1814, St. PetersburgСазонов
Сергеев Гаврила (Гавриил) Сергеевич
Патерсен Беньямин
Щедрин Семен Федорович
Schedrin Sylvester Feodosiyevich
1791, St Petersburg - 1830, SorrentoPainter, landscapist. Son of Feodosius Schedrin, professor of sculpture at the Imperial Academy of Arts. Studied landscape painting under Mikhail Ivanov at the Imperial Academy of Arts (from 1800). Awarded a major gold medal (1811) and first-class certificate (1812). Remained at the Imperial Academy of Arts to perfect his art. Contributed to exhibitions of the Imperial Academy of Arts (1813-15, 1820, 1824, 1827) and the Society for the Encouragement of Artists (1826-27). Fellow of the Imperial Academy of Arts in Italy (1818). Settled in Rome. Lived in Naples (1819-20), Rome, Tivoli, Subiaco and Albano (1821-25) and Naples, Sorrento, Amalfi and Capri (1825-30). Travelled across north Italy and Switzerland (1829). Died and buried in Sorrento (1830).
Khrutsky, Ivan Fomith
Ivanov Anton (Ivanov-Goluboi)
1818–1863Регаме Гильям Луи Пьер
Баганц Федор Федорович
Chernetsov Nikanor Grigoryevich
1805 – 1879Landscapist, academician of the Academy of Arts, St Petersburg, brother of Grigory Chernetsov. Worked for Prince Mikhail Vorontsov, Governor General of Novorossiysk (1833 – 1836).
Dobuzhinsky Mstislav Valerianovich
1875, Novgorod — 1957, New YorkGraphic artist, painter, theatrical designer, teacher, landscapist. Studied at St Petersburg university (1895–1899). Studied at Lev Dmitriev-Kavkazsky’s School of Painting in St Petersburg (1890s) and at the schools of Anton Ažbe and Simon Hollosy in Munich (1899–1901). Contributed to exhibitions (from 1902). Designed for theatres in St Petersburg and Moscow and Sergei Diaghilev’s Ballets Russes (from 1907). Taught at Elizaveta Zvantseva’s school of painting and drawing in St Petersburg (1906–1910) and the Petrograd State Free Art Studios/ VKHUTEIN (1918–1923). Emigrated (1924). Designed for theatres in Riga, Paris, Kaunas (1929–1935) and New York.
Grabovsky, Ivan Mikhailovich
1878, Ekaterinburg — 1922, PetrogradPainter, graphic artist. Studied at the Moscow School of Painting, Sculpture and Architecture (1894–1901) and at the Higher School of Art, Imperial Academy of Arts (1902–1909). Contributed to exhibitions (from 1896). Member and exhibitor of the Fellowship of Artists (1907–1908), "Fellowship of Independents "(1910–1912, founding member) and the Arkhip Kuindzhi Society (1917–1918).
Яремич Степан Петрович
Лапшин Николай Федорович
Pakulin Vyacheslav Vladimirovich
1900, Rybinsk – 1951, Leningrad1900, Rybinsk – 1951, Leningrad
Painter, graphic artist, theatrical designer, landscapist, portraitist; painted still lifes and genre scenes. Studiedatthe Baron Stieglitz Central School of Technical Drawing (1916–1917, 1920–1922) and under Alexei Karev and Alexei Savinov at the Higher Art and Technical Studios (1922–1925). Contributed to exhibitions (from 1922). Member and contributor to the exhibitions of the Union of New Trends in Art (1921–1922) and the Circle of Artists (1926–1932; founding member and chairman). Member of the Board of the Leningrad branch of the Union of Artists (1935). Member of the team of artists (1935) (headed by Alexander Samokhvalov) working on the panel Cotton for All-Union Agricultural Exhibition.
Крестовский Ярослав Игоревич
Церковь святой Троицы
- 1729
- .
- The State Russian Museum
- Гр.-23735
Проспект новопостроенных палат против Аничковских ворот от восточной стороны с частью Санкт-Петербурга и Невской перспективой дороги от реки Фонтанки
- 1749–1750
- etching, lathe.
- The State Russian Museum
- Гр.-3025
Проспект Летнего Ее Императорского Величества дому с Северную сторону
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3031
Проспект Невской перспективой дороги от Адмиралтейских ворот к востоку
- 1750–1751
- etching, lathe, .
- The State Russian Museum
- Гр.-3026
Проспект по реке Фонтанке от Грота и Запасного дворца на полдень
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3030
Проспект старого Зимнего дворца с каналом, соединяющим Мойку с Невою
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3028
Зимний дворец императрицы Анны Иоанновны со стороны Луговой улицы
- 1751
- Paper, ink, nib, brush.
- The State Russian Museum
- Р-1309
Вид Невской перспективой дороги от Адмиралтейских триумфальных ворот к востоку
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60086
Вид на старый Зимний дворец и канал, соединяющий Мойку с Невою
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60083
Проспект вниз по Неве реке между Зимним Ее Императорского Величества домом и Академией Наук
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3024
Вид Невского проспекта от Аничкова моста с домом И. И. Шувалова
- Canvas, oil.
- The State Russian Museum
- Ж-3138
Охотничий павильон в Зверинце Царского Села
- 1755
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1312
Петергоф. Большой дворец со стороны залива
- 1756
- paper mounted on canvas, ink, brush, nib, , graphite pencil.
- The State Russian Museum
- Р-28996
Проспект Летнего Ее Императорского Величества дому с северную сторону
- etching, lathe, .
- The State Russian Museum
- Гр.-44152
Большой дворец в Ораниенбауме
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1311
Эрмитаж в саду Ее Императорского Величества дворца в Сарском Селе
- 1757–1759
- etching, lathe.
- The State Russian Museum
- Гр.-31861
Вид вверх по реке Мойке от Крюкова канала и дворца графа П. И. Шувалова
- 1759
- Paper, ink, brush, nib.
- The State Russian Museum
- P-13006
Дворец Ее Императорского Величества в Сарском Селе
- 1757–1761
- etching, lathe, , .
- The State Russian Museum
- Гр.-31868; Гр.-31869
Петергофский Ее Императорского Величества дворец на берегу Финляндского залива
- 1760–1761
- etching, lathe.
- The State Russian Museum
- Гр.-3129
Новый Ее Императорского Величества Зимний дом с реки Невы
- 1761
- etching.
- The State Russian Museum
- Гр.-43839
Санкт-Петербургская на Неве реке крепость
- 1761
- etching.
- The State Russian Museum
- Гр.-43838
Старый Зимний деревянный дом
- 1761
- etching.
- The State Russian Museum
- Гр.-43843
Зимний дворец вниз по Неве
- 1762
- paper mounted on canvas, ink, brush, nib.
- The State Russian Museum
- Р-1310
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3135
Проспект вниз по Неве реке между Зимним домом и Академиею Наук
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3136
Два изображения дворца Петра I
- 1779
- .
- The State Russian Museum
- Гр.-22972
Фонтанка у императорского сада в Петербурге
- 1770–1790s (?)
- etching, lathe, .
- The State Russian Museum
- Гр.-34793
The Field of Mars with the Obelisk “To Rumyantsev’s Victories”
- After 1799
- Canvas, oil.
- The State Russian Museum
- Ж-3150
View onto St. Michael’s Castle and Connetable Square in Saint Petersburg
- 1800
- Canvas, oil. 156 х 185
- The State Russian Museum
- Ж-3294
From western and southern sides two artificial canals washed the island, where St. Michael’s Castle is located. The system of castle’s fortifications, surrounding the palace and the Connetable Square in front of it, included canals, demi-bastions, leaf bridges and cannons.
The square of constable Anne de Montmorency (1493–1567) in Chantilly, which Paul I visited during his trip to Europe, served as a prototype for the square in front of the St. Michael’s Castle.
In 1800 the monument to Peter the Great moulded in 1745–1747 by Bartolomeo Carlo Rastrelli was erected on the square. In fact, the square looked a little different from its image on Akeseyev’s painting (fence, level of square).
Connetable (from latin Comes stabuli, French Conte de l’Outable) was initially a court title in Western Roman Empire. In France it was a person responsible for the king’s stables, and since 12th century it stood for a commander of all armies.
In 1822 the painting was exhibited in the English Palace in Peterhof, in 1827–1831 in Warsaw, in the palace of Grand Duke Konstantin Pavlovich.
View onto St. Michael’s Castle in Saint Petersburg from the Fontanka Side
- 1800
- Canvas, oil. 156 x 185
- The State Russian Museum
- Ж-3293
The construction of the castle was implemented under the supervision of an architect with Italian origin – Vincenzo Brenna; he designed the original project of the palace and its interiors.
A singular appearance of the castle, combining contradictory architectural tendencies and stylistic means, distinguishes it from the general Russian classicism. Yet it is the castle that is often considered as a symbol of Paul’s epoch. Its image absorbed artistic tastes and distinctness of its owner and main creator – emperor Paul I. The majestic giant – the St. Michael’s Castle, as it was called in documents of the 18th century – overlooked the island, washed by waters of Moyka and Fontanka rivers from north and east. The walls of the palace are adorned with columns of pink and grey marble. Initially marble statues were installed on the roof. From the western side a palace church of Archangel Michael, the patron saint of Romanovs, is located – its spire is the most important element of the whole ensemble.
The painting was created on the order of emperor Paul I for the St. Michael’s Castle.
Генералиссимус Александр Васильевич Суворов (1730-1800)
- 1801
- Bronze, . 69 х 22 х 26
- The State Russian Museum
- СК-321
Картинная Е. С. Графа Строганова /внизу/
- etching, lathe.
- The State Russian Museum
- Гр.-33670
Вид на Казанский собор с западной стороны
- Canvas, oil. 53,5 х 76
- The State Russian Museum
- Ж-3598
Parade at the Monument to Peter the Great
- Paper, ink. 56,4 x 75,6
- The State Russian Museum
- Р-8041
Unveiling the Monument to Peter the Great
- Paper, ink. 57,3 x 75,9
- The State Russian Museum
- Р-8042
View of the Kazan Cathedral in St Petersburg
- After 1810
- Canvas, oil. 71 х 112,5
- The State Russian Museum
- Ж-5049
The Kazan Cathedral in St Petersburg is one of the most important churches in the Orthodox world. It houses one of the two most venerated duplications of the Our Lady of Kazan icon, the patroness of the imperial house and the protector of the Russian land. The cathedral, built from 1801–1811 from a design by Andrei Voronikhin, was intended to emphasise the political aspirations of the Russian Empire. The majestic colonnade of the cathedral, spreading out toward Nevsky Prospect, is reminiscent of St Peter’s Basilica in Rome. This is the influence of both the romantic interest in Catholicism and the mission of Russia in the greater Christian world. In the solemn rhythm of the forms of the orders of Classical architecture, undoubtedly, there is a kind of heroic sensibility. And it is no wonder that after Napoleon’s expulsion from Russia, Kazan Cathedral became a war memorial, where in 1813 the ashes of Field Marshal Mikhail Kutuzov were laid to rest, and trophies of the Patriotic War of 1812 were housed: flags, banners, and keys to forts and cities.
Fyodor Alexeyev depicts Andrei Voronikhin’s Kazan Cathedral and the original layout of the adjoining square. The wooden obelisk crowned with a cross stood in the centre of the square until 1826. Ivan Martos’s plaster figures of St Gabriel the Archangel and St Michael the Archangel stand at the ends of the colonnade. Pendant statues of Field Marshal Mikhail Kutuzov and Field Marshal Michael Barclay de Tolly were opened outside the Kazan Cathedral in 1837.
The landscapes of Fyodor Alexeyev are created with accurate views of the city, which capture its emotional picturesqueness. In front of the Cathedral of Our Lady Kazan there is an obelisk erected in honour of the sanctification of the building. The painter drew not only the capital’s greatness, but he also depicted its everyday life. The simple street life surrounds the edifice: kiosks and stalls, laundresses washing the clothes in the canal, boats going under the bridge, on which bystanders walk. The figures of people are clustered in an intricate genre.
Михайловский замок
- Paper, watercolours, ink, nib.
- The State Russian Museum
- Р-23000
Петергоф. Загородный императорский дворец около Петербурга
- etching, lathe, .
- The State Russian Museum
- Гр.-34834
Вид Михайловского замка в Петербурге
- 1815
- Canvas, oil. 66 x 81,5
- The State Russian Museum
- Ж-6352
Вид с Сенатской площади на набережную Васильевского острова
- 1810s
- Paper, gouache, whiting, ink. 59,5 х 89,6
- The State Russian Museum
- Р-5810
Вид арки Главного штаба
- 1822
- .
- The State Russian Museum
- Гр.-31377
Памятник Петру I
- 1824
- .
- The State Russian Museum
- Гр.-43666
Эпизод строительства Исаакиевского собора
- 1824
- Paper, watercolours, gouache. 26,5 x 44,7
- The State Russian Museum
- Р-2972
Арка здания Главного штаба со стороны Большой Морской улицы
- Canvas, oil. 147 х 147
- The State Russian Museum
- Ж-4678
Арка здания Главного штаба со стороны Дворцовой площади
- Canvas, oil. 147 × 147
- The State Russian Museum
- Ж-4677
Арка Главного штаба
- Paper, watercolours.
- The State Russian Museum
- Р-8598
Дворец Петра I в Летнем саду
- Paper, watercolours.
- The State Russian Museum
- Р-8590
Дворцовая площадь
- Paper, watercolours. 5,8 х 8,1
- The State Russian Museum
- Р-43022
Зимний дворец
- Paper, watercolours.
- The State Russian Museum
- Р-8585
Нарвские ворота
- Paper, watercolours.
- The State Russian Museum
- Р-8593
Model of Statue of Prince Mikhail Kutuzov
- Bronze.
- The State Russian Museum
- Ск-1950
Mikhail Golenishchev-Kutuzov (1745–1813) took part in the Russo-Turkish wars during the reign of Catherine the Great, and during these he was critically injured twice and lost an eye. In August 1912, he became the commander of Russian forces in the fight against Napoleon’s army. After the Battle of Borodino, he left Moscow. After subsequently driving the enemy out of Russia, Kutuzov was granted the rank of Field Marshal, the title of Prince of Smolensk, and the Order of St George, First Class, becoming its first full cavalier. In 1813, he led the unified Russo-Prussian forces. After Kutuzov’s death, the commander of the unified army was Michael Andreas Barclay de Tolly, who for his heroism in battles at Kulm and Leipzig received the Order of St George, First Class and the title of count, the rank of General Field Marshal in 1814, and a princely title in 1815.
The idea of building monuments originated in 1818, when the corresponding decree was signed by Alexander I. After his victory in the design competition (1829), Boris Orlovsky, who had returned from Italy, where he worked in Bertel Thorvaldsen’s studio, received the order to create statues of the military leaders. Following the new tastes in Western sculpture, the two field marshals were depicted in modern military uniforms, rather than imaginary garments. The realistic portrayals of people in monuments and their historical accuracy marked an important stage in the development of Russian monumental art. The ceremonial unveiling took place on 25 December 1837.
Statue for the Project for the Monument in St Petersburg Honouring Prince Michael Andreas Barclay de Tolly, a Russian Field Marshal
- 1829 ‒ 1830
- Bronze. 48,5 х 24 х 15
- The State Russian Museum
- Ск-1951
Michael Barclay de Tolly (1761–1818) was a remarkable Russian commander. He became Commander-in-Chief of the army after Kutusov’s death. He received the Order of St. George of the First Class and the title of Count for his heroism during the battles of Kulm and Leipzig, as well as the rank of General Field Marshal in 1814, and a princely title in 1815.
The idea of building monuments originated in 1818, when the corresponding decree was signed by Alexander I. After his victory in the design competition (1829), Boris Orlovsky, who had returned from Italy, where he worked in Bertel Thorvaldsen’s studio, received the order to create statues of the military leaders. Following the new tastes in Western sculpture, the two field marshals were depicted in modern military uniforms, rather than imaginary garments. The realistic portrayals of people in monuments and their historical accuracy marked an important stage in the development of Russian monumental art. The ceremonial unveiling took place on 25 December 1837.
Mikhailovsky Palace
- Paper, gouache.
- The State Russian Museum
- Р-13018
The Picture Gallery of the Stroganov Palace
- 1832
- Canvas, oil. 71 x 98
- The State Russian Museum
- Ж-5126
The painting depicts the picture gallery of the Stroganov Palace. The palace was built by Bartolomeo Rastrelli in the Nevsky Prospect in St. Petersburg. The interiors were designed by Andrei Voronikhin (from the other sources, by Fedor Demertsov). There is a malachite vase in the centre of the room, which was designed according to Voronikhin’s sketches. On the left, there is a statue of Cupid made by Etienne Maurice Falconet. On the right, there are paintings “Rest on the Flight to Egypt” by Nicolas Poussin, “Portrait of Rubens and his son Albert” by the Rubens school, “Portrait of Nicholas Rockox” by Anthony Van Dyck. The paintings from the Stroganov’s collection are essentially in the Hermitage Museum.
Кофейник с изображением Дворцовой набережной
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- Ф-9537 а,б
Подъем Александровской колонны
- 1832
- Canvas, oil. 36 × 46
- The State Russian Museum
- Ж-4872
Alexander Column During a Storm
- 1834
- Canvas, oil. 65 х 47
- The State Russian Museum
- Ж-3724
Vasily Rayev depicts the legendary storm that broke out over St Petersburg on the night of the grand opening on 30 August 1834. Vasily Zhukovsky wrote: «Night fell and the whole sky was covered with storm-clouds. Finally the storm broke. Lightning bolts struck in a thousand places, as if they stood above the town ... in the midst of these incessant, sudden flittings from darkness to light, the buildings and the massive column appeared and disappeared ... All at once the column was shining clearly out of the darkness, throwing a momentary shadow over the surrounding illuminated square, before disappearing with it ... It was like some inexplicable sign; an unwitting, frightened thought flitted back to the days of the enemy invasion, when destructive stormclouds had arisen over Russia.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 132.
Александровская колонна в Петербурге при вечернем освещении
- 1834
- Canvas, oil. 65 х 47
- The State Russian Museum
- Ж-5257
Ваза с композицией "Вид Биржи"
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- Ф-9334
Установка колонн главного купола Исаакиевского собора
- 1830s
- Cardboard, oil. 42 х 36
- The State Russian Museum
- Ж-7051
Palace Enfilade
- Before 1838
- Canvas, oil. 70 x 58
- The State Russian Museum
- Ж-3659
Постройка Исаакиевского собора
- 1837–1838
- Cardboard, oil. 29 х 36
- The State Russian Museum
- Ж-5124
In the Winter Palace Gallery
- 1842
- Canvas, oil. 71,5 х 53
- The State Russian Museum
- Ж-3686
St Isaac’s Cathedral and the Bronze Horseman
- 1844
- Canvas, oil. 102 х 131
- The State Russian Museum
- Ж-3593
Auguste Montferrand’s St Isaac’s Cathedral (1818–1858) took several decades to build and was the most important event in the life of St Petersburg. The painting is dated 1844, when construction of St Isaac’s Cathedral was well under way. Like other artists, however, Vorobyov painted the monument while it was being built as if it were complete. St Isaac’s Cathedral was consecrated in the presence of Tsar Alexander II on 30 May 1858 and became the cathedral church of the Russian capital. The ensemble of Senatskaya Square, which has survived to the present day, took shape in the 1840s, when the Admiralty Canal was interred in pipe and filled with water.
Александрийская колонна
- 1840-1850
- .
- The State Russian Museum
- Гр.-20531
Английская набережная
- 1840 - 1850
- .
- The State Russian Museum
- Гр.-20557
Кабинет М.Д.Резвого
- Canvas, oil.
- The State Russian Museum
- Ж-5858
Мраморный дворец
- 1840-1850
- .
- The State Russian Museum
- Гр.-20541
Николаевский дворец
- 1840-1850
- .
- The State Russian Museum
- Гр.-20543
Павловский дворец
- 1840-1850
- Paper, .
- The State Russian Museum
- Гр.-20539
Памятникъ Николаю I-му
- 1840-1850
- .
- The State Russian Museum
- Гр.-20533
Садовый фасад Михайловского дворца
- Paper, watercolours. 20,9 х 27,5
- The State Russian Museum
- Р-42578
Церковь с. Николая
- 1840 - 1850
- .
- The State Russian Museum
- Гр.-20560
Благовещенский собор. Парад кавалерии
- Paper, watercolours. 31,6 x 39,8
- The State Russian Museum
- Р-42575
Невский проспект. Аничков дворец
- 1848
- Paper, watercolours. 23,3 x 29,9
- The State Russian Museum
- Р-42570
Невский проспект. Пассаж
- Paper, watercolours. 20,8 x 27,5
- The State Russian Museum
- Р-42572
Вид Пассажа графини Стейнбок в Санкт-Петербурге
- Chromolithography.
- The State Russian Museum
- Гр.Дуб.-1297
Исаакиевский собор
- .
- The State Russian Museum
- Гр.-43228
Знаменская площадь. Николаевский вокзал
- Paper, watercolours. 32 х 36,5
- The State Russian Museum
- Р-42571
Михайловский дворец
- 1853
- Paper, watercolours, graphite pencil, . 30,7 х 42,1
- The State Russian Museum
- Р-41500
Петербург. Памятник Крылову в Летнем саду
- 1855
- Paper, watercolours, whiting, lacquer. 31 х 42,6
- The State Russian Museum
- Р-37553
Кабинет великого князя Михаила Павловича в Михайловском дворце
- 1856
- Canvas, oil. 53 х 71
- The State Russian Museum
- Ж-3737
Николай I
- Bronze. 48 х 51 × 20
- The State Russian Museum
- СК-667
Открытие памятника Николаю I в Петербурге
- 1859
- Paper, watercolours, whiting, lacquer.
- The State Russian Museum
- Р-3014
Особняк на берегу реки Невы
- 1860
- Paper, watercolours, whiting. 27,7 x 39,1
- The State Russian Museum
- Р-3015
View of the Bronze Horseman on Senate Square in St Petersburg
- 1870
- Canvas, oil. 52 x 71
- The State Russian Museum
- Ж-4241
Anichkov Palace Library
- 1873
- Canvas, oil. 71,5 х 56,5
- The State Russian Museum
- Ж-2668
After Alexander Alexandrovich and Marie Feodorovna’s wedding in October 1866, the young couple moved into Anichkov Palace, where Alexander was born. From then on, this palace would remain the emperor’s main residence in the capital until the end of his life. A library for the Grand Duke was designed by Ippolito Monighetti and built from 1868-1869. It is a two-story space in the Renaissance style, decorated with caved oak, leather, bronze, and marble. In Alexei Bobrov’s painting, done soon after the completion of all the decorative work, there is a stained-glass window with the coat of arms of the Russian Empire. This did not survive to the present day.
Reduced-scale copy of the Monument to Catherine the Great in St Petersburg
- 1873
- Bronze, marble, . 90 х 88 х 88
- The State Russian Museum
- Ск-1448
This is a reduced-scale copy of the monument to Catherine the Great that was put up in 1873 in front of the Alexandrinsky Theatre in St Petersburg; it was designed by Mikhail Mikeshin and was the most famous monument dedicated to the Empress’s reign. The figure of Catherine was moulded by Matvei Chizhov, and those of her associates that surround the pedestal by Alexander Opekushin. The group includes Grigory Potemkin and Alexander Bezborodko, important statesmen from Catherine’s time, the military leaders Alexander Suvorov and Pyotr Rumyantsev and the naval commanders Vasily Chichagov and Alexei Orlov, Ivan Betskoi and Ekaterina Dashkova, active in the enlightenment, and the poet Gavriil Derzhavin.
Санкт-Петербургское училище рисования Штиглица
- 1880
- Paper, watercolours, gouache. 32,5 x 48,5
- The State Russian Museum
- Рб-6988
Фасад здания Мануфактурной выставки 1870 года в Петербурге
- 1880
- Paper, watercolours, gouache. 33 x 48.7
- The State Russian Museum
- Рб-6986
Женский Павловский институт
- 1880s
- Paper, watercolours, graphite pencil, whiting. 28,6 х 39,5
- The State Russian Museum
- Р-45385
Аничков Дворец
- 1894
- Paper, watercolours. 23,3 x 32,8
- The State Russian Museum
- Р-45080
Main Drawing Room in the Mikhailovsky Palace
- Before 1896
- Canvas, oil. 64,5 х 53,5
- The State Russian Museum
- Ж- 2562
The Mikhailovsky Palace, built in 1818–1825 from a design by Carlo Rossi and occupied today by the Russian Museum, had already acquired its pan-European fame as a perfect example of the Empire Style during the architect’s lifetime. On the second floor of the palace, Rossi created a brilliant suite of ceremonial rooms with decorated mirrors, moulding, paintwork, silks, mosaic parquet, and carved gilded furniture. In the late 19th century, the decoration of the halls were seriously damaged during the process of adapting the palace to serve as an exhibition space for the Russian Museum, but in their current appearance, they are able to render the viewer speechless with their simultaneous elegant splendour and classical harmony. The Second Ceremonial Living Room occupied a special place among the rooms, which was also known as the White-Columned Hall or the White Dining Room. In this room, the lady of the palace, Grand Duchess Elena Pavlovna regularly held literary and musical evenings that were resplendent with the talents of Russian and European luminaries, among whom were Hector Berlioz, Franz Liszt, Mikhail Glinka, Anton Rubinstein, and many others.
Петербург. Сенатская площадь
- 1904
- Cardboard, watercolours, ink, nib. 14 х 34,2
- The State Russian Museum
- Р-13556
Парад при Павле I
- Cardboard, gouache, whiting.
- The State Russian Museum
- Р-13519
Колонны Биржи и крепость
- Paper, .
- The State Russian Museum
- Гр.Дуб.-5594
Нева сквозь колонны Биржи
- Paper, .
- The State Russian Museum
- Гр.Дуб.-5651
Александр III
- Bronze.
- The State Russian Museum
- Ск-554
Александр II
- 1910
- Bronze. 56 x 19 x 63
- The State Russian Museum
- Ск-944
The Bronze Horseman
- 1912
- Canvas, oil. 425 х 286
- The State Russian Museum
- Ж-5802
Kozlovsky Mikhail Ivanovich
1753, St. Petersburg - 1802, St. PetersburgSculptor, draughtsman. Studied in Imperial Academy of Arts (1764–1773) under Nicolas-François Gillet. Received multiple silver and gold medals, graduated as class painter of the first grade and right to a foreign funded trip. Mastered in Italy and France. In 1780 became appointed for work “Jupiter with Ganymede” (lost). Participated in decoration of the Marble Palace and Concert Hall in Tsarskoye Selo (beginning of 1780s), created marble statues “The Vigil of Alexander the Great” and “Catherine the Great as Minerva” (both belong now to the Russian Museum). In 1788–1790 stayed in Paris, where created a number of significant works. Academician, professor (1794). Member of Board of Academy of Arts (1795). Started professing in class of sculpture (since 1799 – senior professor); among his students were sculptors Vasily Demut-Malinovsky and Stepan Pimenov. While working in the field of indoor plastics, he created a number of portraits and a set of terracotta sketches on the plot of Homer’s “Iliad” (middle of 1790s, now exhibited in the Russian Museum). Among his most distinguished works are the monument to Alexander Suvorov in Saint Petersburg (1799–1801), group “Samson Slaying the Lion” for the Grand Cascade in Peterhof (1800–1801), grave stone of Pyotr Melissino (1800) and Sofya Stroganova (1802, both located in Alexander Nevsky Monastery).
Шелковников Андрей Михайлович
Davydov Alexei
1761– after 1815Каноппи Антонио
Orlovsky (Smirnov) Boris Ivanovich
1797, Bolshoe Stolobetshoe (Oryol Province) - 1837, St PetersburgSculptor. Studied under Carlo Antonio Campioni in Moscow (1807-17) and Alessandro Triscornia in St Petersburg (1818-22). Freed from serfdom for his marble bust of Tsar Alexander I (1822). Awarded a fellowship to Italy (1823). Studied under Bertal Thorvaldsen in Rome (1823-29). Returned to St Petersburg. Designed statues of Mikhail Kutuzov and Mikhail Barclay-de-Tolly in front of the Kazan Cathedral (1829-37). Sculpted the angel for the Alexander Column on Palace Square (1832-33) and decorated the Moscow Triumphal Gates (1835-37). Taught at the Imperial Academy of Arts. Academician (1831), second-class professor (1836).
Денисов Александр Гаврилович
Фарфоровый завод Батенина
Nikitin Nikolai Stepanovich
Rayev Vasily
Porcelain factory of Kornilov brothers
Zaryanko Sergei Konstantinovich
1818, Lyadovo, Mogilev Province — 1870, MoscowPainter, portraitist, interior artist. Son of an emancipated serf. Studied under Alexei Venetsianov and simultaneously attended the Imperial Academy of Arts. Non-class artist (1836), major silver medal (1841), academician (1843), professor at the Imperial Academy of Arts (1850). Lived in St Petersburg (mid–1820s–1843; 1846–1855) and Moscow (1843–1846; 1856–1870). Taught drawing at various educational establishments. Professor of the Moscow School of Painting, Sculpture and Architecture (1856–1870).
SLAVYANSKY, Fyodor Mikhailovich
1817, Vyshkovo (Tver Province) - 1876, St PetersburgVoloskov Alexei
1822, Rzhev Tver Province. - 1882, Rzhev Tver Province.Обрэн
Садовников Василий Семенович
Бенуа Филипп
Семечкин Павел Петрович
Шарлемань (Шарлемань-Боде) Иосиф Иванович
Premazzi, Lois, Premazzi, Luigi
Klodt von Jurgensburg Pyotr
Surikov Vasily Ivanovich
1848, Krasnoyarsk - 1916, MoscowStudied in Krasnoyarsk, at the School of Drawing, Society for the Encouragement of Artists (1869) and under Pavel Chistyakov at the Imperial Academy of Arts (1869-75). Member of the Society of Travelling Art Exhibitions (from 1881) and the Union of Russian Artists (from 1908). Full member of the Imperial Academy of Arts (1893), academician (1895). Visited Western Europe and Siberia. Lived in Moscow (from 1877).
BOBROV, Alexei Alexeyevich
1849, Tsarskoye Selo - 1899, St PetersburgPainter, engraver, genre artist. Specialised in perspective views of rooms. Studied at the Imperial Academy of Arts (from 1866). Contributed to exhibitions of the Imperial Academy of Arts (from 1867). Awarded the title of teacher of drawing in district schools (1871). Engraver (after 1875).
Mikeshin Mikhail Osipovich
1835, Maximovka, Smolensk Province — 1896, St PetersburgSculptor, draughtsman, illustrator, author of sculpture projects. Studied at the Imperial Academy of Arts (1852–1858). Awarded a major gold medal and title of first-class artist for painting Graf von Tilly at Magdeburg in 1631 (1858). Won the competition to design the Millennium of Russia monument in Novgorod (1862). Academician (1869). Honourary member of the Escola Superior de Belas Artes in Lisbon (1864). Designed statues of Catherine II in St Petersburg (1863–1873), Admiral Alexis Greig in Nikolaev (1873, not preserved), Bogdan Khmelnitsky in Kiev (1888) and Catherine the Great in Ekaterinodar (1897, not preserved). Decorated ships of the Russian Navy. Published the “Bee” artistic magazine.
Бенуа Леонтий Николаевич
Красовский Николай Павлович
Гефтлер Карл Эдуардович
Бооль Николай Константинович
Liphart Ernst Friedrich von
1847, Derpt — 1932, LeningradPainter, engraver. Son of the German art historian and collector Carl Eduard von Liphart. Lived in Derpt (until 1860), and studied under W. Kriiger there. Studied at the Accademia di Belle Arti in Florence (from 1863) and under Franz von Lenbach, with whom travelled across Spain (1866-1868). Lived and worked as a portraitist in Paris (1873-1886), where he became a renowned draughtsman after creating portraits of his famous contemporaries. Member of the Society for Russian Artists for Mutual Aid and Charity in Paris. Contributed to exhibitions (from 1885). Taught drawing at the Society for the Encouragement of Arts (1885-1896). Academician (1893), full member of the Imperial Academy of Arts (1902). Worked at the Imperial Hermitage (from 1906; from 1908 — officially).
Benois Alexander Nikolaevich
1870, St. Petersburg - 1960, Paris
Troubetzkoy Paolo (Pavel Petrovich)
1866, Intra, Italy — 1938, Villa Cabianca near Pallanza, ItalyПортрет императрицы Елизаветы Петровны
- 1746
- etching, lathe, .
- The State Russian Museum
- Гр.-30752
Проспект Летнего Ее Императорского Величества дому с Северную сторону
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3031
Прием Зюнгарского владельца
- 1796
- etching, lathe.
- The State Russian Museum
- Гр.-36945
Portrait of Emperor Paul I
- Canvas, oil. 73 x 57
- The State Russian Museum
- Ж-3170
Emperor Paul I (1754–1801) was the only son of Emperor Peter III and Empress Catherine the Great. In 1762 he was named heir to the throne and given the title of Tsesarevich. He received an excellent education and believed in the romantic ideals of enlightened absolutism, but was critical of the policies of Catherine the Great. He spent decades waiting for the power that his mother had usurped. He became emperor in 1796. His efforts were intended to be to the state’s benefit, but he often acted against common sense. At his coronation in Moscow in 1797 he promulgated the Establishment of the Imperial Family which laid down that accession to the throne should be by primogeniture in the male line. He reformed local government. He restricted the rights of the nobility and allowed corporal punishment to be used on them. Military reforms affected not only uniforms and equipment, but also training and the tactics of officers and soldiers, with an emphasis on the Prussian military school. In an effort to protect Russia from revolutionary ideas, he banned the import of books from France and tightened censorship. In 1798, he took on the title of Grand Master of the Knights of St John of Jerusalem, of Rhodes and of Malta (Hospitaller), and took it under his patronage. He was killed by conspirators in St Michael’s Castle during the night of 11–12 March 1801, but according to the official version he died of an apoplectic fit (a stroke).
Портрет Александра I (1777-1825)
- 1800s
- Canvas, oil. 54 х 36
- The State Russian Museum
- Ж-4652
Вид печальной процессии 6 марта 1826 года в Санкт-Петербурге
- 1826
- Lithography.
- The State Russian Museum
- Гр.-28908
Costume Ball in the Winter Palace under Nicholas I
- Early 1830s
- Canvas, oil. 56.5 x 78.2
- The State Russian Museum
- Ж-3804
One of the most important aspects of the life of the Russian nobility was balls. The main element of the ball was dancing. In the eighteenth century, balls traditionally began with a minuet. At the start of the nineteenth century, however, the opening dance was the polonaise, followed by the waltz. The waltz was a fashionable dance for young people, only permitted at balls as a tribute to the changing times. The centre and culmination of the ball was the mazurka. One of the concluding dances was the cotillion. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 128.
Balls and festivities in the Winter Palace were major events in St Petersburg high society. In the centre of the hall there is a fancy - dress procession with many participants dressed in oriental costumes. This period, the age of Romanticism, was characterised by an interest in oriental culture. At one such festivity in 1821, the future Emperor Nicholas I was dressed as a Bokhara prince, and his wife, Charlotte of Prussia, as an Indian princess. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 129.
Бал у княгини М. Ф. Барятинской
- Paper, watercolours. 16 х 18,4
- The State Russian Museum
- Р-633
Yelagin Island Guardhouse with a Sentry of the Horse Guards Regiment
- 1840
- Canvas, oil. 68,5 x 97
- The State Russian Museum
- Ж-4625
Торжественный въезд принцессы Александры Саксен-Альтенбургской в Санкт-Петербург
- 1847
- Paper, watercolours, whiting, bronze. 45,4 х 56,3
- The State Russian Museum
- Р-3012
Известие из Крыма 1854 года. Кабинет императора Николая I в Зимнем дворце в Петербурге
- 1850s
- Paper, .
- The State Russian Museum
- Гр-31746
Nicholas I in a Sledge
- Canvas, oil.
- The State Russian Museum
- Ж-2696
Nikolai Sverchkov, the son of a court coachman and groom, dedicated his entire artistic career to equine painting and the Imperial Court, which frequently commissioned work from him. Regardless of the subject, his canvases almost always featured horses. The portraits Sverchkov painted were no exception. The artist’s models, as a rule, either were riding in horse-drawn carriages or were sitting on horses. This half-portrait/half-genre painting by Sverchkov is devoid of the usual pomp of works that depict the emperor – this case, Nicholas I – and shows him outside of an official situation, causing us to see him less as an autocrat, and more as a private person.
Emperor Nicholas I (1796–1855) was the third son of Emperor Paul I and Empress Marie Feodorovna. He ascended to the throne in 1825. The reign of Nicholas I is characterised by the centralisation of government and regulation in all areas of activity. In 1826, he created the Third Section of His Imperial Majesty’s Own Chancellery, which was tasked with monitoring the political reliability of subjects, and in 1827, he published a new censorship decree, which was called “cast iron” by his contemporaries. The foundation of his domestic policies was the principle of “autocracy, orthodoxy and nationality”. The sanctity of the autocracy also formed the basis for his foreign policy. In 1833, an agreement was reached between Russia, Austria and Prussia on reciprocal support in the case of a political crisis. This agreement is what led Nicholas I to send troops to help suppress the Hungarian Uprising (1848–1849). His assumption of the role of protector of Christian peoples under Muslim rule determined the direction of his Eastern foreign policy. The Russo-Turkish War (1828–1829) contributed to Greece gaining its independence (1830). The last years of Nicholas I’s reign were overshadowed by setbacks in the Crimean War (1853–1856). The character and activities of the Emperor caused contradictory assessments among his contemporaries, from enthusiastic veneration (“The Knight of Autocracy”) to definitive opposition (“The Gendarme of Europe”).
Известие из Крыма
- 1854
- Lithography.
- The State Russian Museum
- Гр.-35659
Бал в Зимнем дворце
- 1858
- Paper, watercolours, . 23 х 23
- The State Russian Museum
- Рб-5557
Детская мельница в Александрии
- 1858
- Paper, watercolours, . 28,1 × 20,7
- The State Russian Museum
- Рб-5572
Детский домик Цесаревны
- 1858
- Paper, watercolours. 28.3 x 20,2
- The State Russian Museum
- Рб-5571
Николай I на работах в Петергофе
- 1858
- Paper, watercolours. 28,7 х 19,5
- The State Russian Museum
- Рб-5570
Серебряный темляк за науки
- 1858
- Paper, watercolours, . 23 х 23
- The State Russian Museum
- Рб-5556
The Ice House
- 1878
- Canvas, oil. 133,5 х 216
- The State Russian Museum
- Ж–2945
Fancy dress balls were very popular among the Russian nobility of the eighteenth century. Although by that time their external appearance was already entirely European, they were not always marked by the same European refinement. The wedding of the court jester of Prince Golitsyn and the jester of Buzheninova, held by Empress Anna Ioannovna on 6 February 1740 in an ice house on the Neva, was one of the most original, but also absurd and crude, ventures of her ten - year reign.
The banquet is over and the newly - weds have set off, accompanied by their numerous and brightly coloured procession, in their previous order, to the ice house. Here, to the sound of trumpets, kettle drums and oboes and choir of goats, bulls, dogs and donkeys, they have been let out of their iron cage and led with fitting honour to the bedroom, where they have been locked in. The convoy has dispersed. Sentries have been placed outside the house so that the loving couple make their cannot escape. Such is the altar to Hymen... Everything you sit on or touch is ice - the walls, the wedding bed, the gob lets. Everything blazes with the cold; closer, tighter, finally smothering and freezing them.
[I. Lazhechnikov, The Ice House] Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 152.
Valery Jacoby painted a whole series of pictures with subjects taken from the time of Empress Anna Ioannovna. The painting The Ice House occupies a special place among them, and depicts one of the strangest episodes in the life of the imperial court.
The Ice House was built on the square between the Admiralty and the Winter Palace during Shrovetide in 1739. The outside walls and the inner décor were entirely made of ice. The Ice House was the site of the marriage of the Empress’s jester Prince Mikhail Golitsyn to her female jester Eudoxia Buzheninova (probably a deliberate nickname, as buzhenina was the Empress’s favourite dish, cold baked pork). Besides the Empress and her courtiers, the wedding festivities were attended by a total of 150 representatives of the various nationalities inhabiting the Russian Empire, including Ukrainians, White Russians, Finns, Tatars, Komi-Zyrians and Kamchadals (Itelmens). The guests donned their national attire and engaged in traditional folk dancing. When the feast was over, the newly-weds were taken back to the Ice House and locked in for the night.
The story of the jester’s wedding led Ivan Lazhechnikov to write a critical novel entitled The Ice House. Although Valery Jacoby appears to have read the book, his painting concentrates more on the external facets of the episode. The artist depicts the bright and motley crowd dancing before the Empress and her courtiers.
Николай I с цесаревичем Александром Николаевичем в мастерской художника в 1854 году
- Canvas, oil.
- The State Russian Museum
- Ж-2923
Бал в Зимнем дворце 14 января 1888 года
- 1888
- Cardboard, watercolours, gouache. 31,5 x 24
- The State Russian Museum
- Рб-14553
Бал в Зимнем дворце. 14 января 1888 г.
- 1888
- Cardboard, watercolours, gouache. 31,5 x 24
- The State Russian Museum
- Рб-14552
Wedding of Tsar Nicholas II and Grand Duchess Alexandra Fyodorovna
- 1894
- Canvas, oil. 98,5 х 125,5
- The State Russian Museum
- Ж-2773
Ilya Repin depicts the marriage of Tsar Nicholas II (1868–1918) and Princess AlixVictoria Helena Luise Beatrice of Hessen (1872–1918). Alix converted to Russian Orthodoxy as Grand Duchess Alexandra Fyodorovna (1894). She and Nicholas were married at the Winter Palace chapel on 14 November 1894. The chapel is filled with members of the Imperial family, foreign diplomats and members of the Holy Synod and the State Council.The young man stand-ing next to Alexandra Fyodorovna is the Tsar s youngest brother Grand Duke Mikhail Alexandrovich (1878–1918), in favour of whom he later renounced. To the right of the tsar is his mother Dowager Empress Marie Fyodorovna (1847–1928). This ceremony occurred soon of the passing of Emperor Alexander III, who was against his son s choice for a wife and gave the young couple his blessing shortly before his death.
Бал в Дворянском собрании в Петербурге
- 1911 (?)
- Canvas, oil. 129 х 228
- The State Russian Museum
- Ж-10067
Borovikovsky Vladimir Lukich
1757, Mirgorod - 1825, St PetersburgPainter, draughtsman, miniaturist, icon painter, portraitist. Born into a family of low rank Cossacks. Studied painting under his father, the icon painter Luke Borovik, in Mirgorod. Listed "above the specified number" in the Mirgorod regiment where his father and relatives served (1774). Awarded the rank of "comrade of the colours" (1783), resigned with the rank of lieutenant. Moved to St Petersburg (1788) and studied under Dmitry Levitsky and Johann Baptiste I Lampi. Nominated to the Imperial Academy of Arts (1794), academician of portrait painting (1795). Councillor of the Imperial Academy of Arts (1802). Contributed to the iconostasis of the Kazan Cathedralin St Petersburg (1804). Mason and member of Ekaterina Tatarinova\'\'s mystical sect.
Кюгельген Герхард-Франц фон
WILLEWALDE, Gottfried (Bogdan)
1818 (1819?), ? - 1903, DresdenPainter, battle painter, genre artist, portraitist, landscapist. Studied under Karl Brullov and Alexander Sauerweid at the Imperial Academy of Arts (1843-1844). Taught at the School of Drawing, Society for the Encouragement of Artists, St Petersburg (1840-1842). Contributed to exhibitions (from 1842). Foreign fellow of the Imperial Academy of Arts (1843-1844). Summoned to St Petersburg by order of Nicholas I to complete works commissioned from deceased Alexander Sauerweid (1864). Appointed teacher of drawing for Grand Dukes Nicholas Nikolayevich and Michael Nikolayevich. Taught at the school of the Society of St Petersburg Artists (1840-1842). Taught at the Imperial Academy of Arts (1848-1894). Academician of painting (from 1845), professor of battle-painting (from 1848), member of the Academy Council (from 1859), first-class professor (с 1872). Professor emeritus (1888).
Gagarin Grigory Grigorievich
1810 – 1893LADURNER, Adolphe Ignatyevich
1799/1800?, Paris? - 1855, St PetersburgFrench battle painter, lithographer, portraitist. Son of the German pianist and composer Ignaz Ladurner (1766-1839). Studied art under Oras Vernet in Paris. Exhibited at the Salon in 1824 (The Battle of Matarу) and in 1827 (Headquarters of King’s Lancers). Worked in Warsaw and Dresden; in Russia from 1831. Author of numerous battle scenes, parades and regimental ceremonies. Was under the protection of Nicholas I. Academician of the Imperial Academy of Arts (1837), third-class professor (from 1840). Awarded the Order of St Stanislaus 3rd Class for drawings of uniforms of the Russian Army (1844). Served as an artist at the Editorial Office of the Russian Military Chronicles. Commissioned by Emperor Nicholas I to create a series of paintings (more than 40) of a single format (68 х 97) depicting guard regiments for the Russian Guards collection, which then were lithographed and printed on porcelain vases and plates. Active participant in annual academic exhibitions.
Козлов Александр Алексеевич
Sverchkov Nikolai Yegorovich
1817 St. Petersburg - 1898, Tsarskoye SeloPainter, draughtsman, lithographer, genre artist, portraitist, animal artist. Born into a family of a cabman. Did not receive professional artistic education. Worked for the Ministry of the Interior (until 1842). Awarded the title of free portraitist at the Imperial Academy of Arts for Rider, Self-Portrait, etc. (1839). undertook painting commissions from Khrenov and Çesme stud farms (from 1840s). Academician for Landowner’s Troika (1852), professor (1855). Awarded the Légion d’honneur at the World Exhibition in Paris (1863) for Return from the Bear Hunt, Fair in Voronezh, Postal Station.
Ziche, Michaly
Jacobi Valery Ivanovich
1834, d. Kondrakova Laishevsky County Kazan province - 1902, NicePainter, genre artist, history painter. Studied at the Kazan Grammar School and Kazan University. Left the University to join the Simbirsk Home Guard during the Crimean War (1854-1855). Studied at the Imperial Academy of Arts (1856-1861). Contributed to exhibitions (from 1858). First-class artist (1861), fellow of the Imperial Academy of Arts in Germany, Switzerland, France and Italy (1862-1868). Academician (1868), professor (1871). Founding member of the Society of Travelling Art Exhibitions (1870). Taught at the Imperial Academy of Arts (1878-1889), headed the history painting class (from 1883).
Repin Ilya Efimovich
1844, Chuguyev (Kharkiv Province) - 1930, Kuokkala (Finland)Painter, draughtsman, watercolour painter, portraitist, history painter. Studied under local artists at the School of Military Topography in Chuguyev (1854-57), under Ivan Kramskoi at the School of Drawing, Society for the Encouragement of Artists (1863) and at the Imperial Academy of Arts (1864-71). Fellow of the Imperial Academy of Arts in Italy and France, lived mostly in Paris (1873-76). Academician (1876). Professor, full member of the Imperial Academy of Arts (1893). Member of the Society of Travelling Art Exhibitions (1878, exhibited from 1874). Headed a studio at the Higher School of Art, Imperial Academy of Arts (1894-1907) and taught at Princess Maria Tenisheva\'\'s school of art (1895-98). Lived in St Petersburg and Moscow, settled in Kuokkala (1900).
Поярков Владимир Александрович
Развод караула на Дворцовой площади
- Canvas, oil.
- The State Russian Museum
- Ж-3149
Молебствие и парад по случаю окончания военных действий в Царстве Польском 6 октября 1831 года на Царицыном лугу в Санкт-Петербурге
- 1831
- Canvas, oil. 48 х 71
- The State Russian Museum
- Ж-3604
Parade Celebrating the End of Millitary Action in the Kingdom of Poland on Tsaritsa Meadow in St Petersburg on 6 October 1831
- 1837
- Canvas, oil. 212 х 345
- The State Russian Museum
- Ж-6350
The parade took place one month after the capture of Warsaw. The painting depicts the panorama of Tsaritsa Meadow (today the Fields of Mars): the Summer Garden, the Engineers Castle, the Mikhailovsky Garden and the Rossi Pavilion, the Michailovsky Palace and the Barracks of the Pavlovsky Regiment. Alongside the barracks, two regiments are formed: a regiment of cavalry along the Palace and a regiment of artillery along the Summer Garden. Nikolai I, followed by his suite, rides to the Empress carriage from the place of moleben. Among the crowd of spectators, one can find Alexander Pushkin, Vasily Zhukovsky, Ivan Krylov, Karl Brullov and Alexei Olenin alongside with other musicians, diplomats, scientists and merchants. The artist supplemented the painting by an outline drawing of 223 figures and the list of depicted characters.
Парад на Дворцовой площади
- Canvas, oil.
- The State Russian Museum
- Ж-6344
Ceremonial Consecration of the Alexander Column on Palace Square in St Petersburg on 30 August 1834
- 1840
- Canvas, oil. 301 х 485
- The State Russian Museum
- Ж-5765
Бивуак лейб-гвардии Павловского полка - отдых на походе
- 1842–1843
- paper mounted on cardboard, watercolours, lacquer. 30 х 34.3
- The State Russian Museum
- Р-7746
Парад на Дворцовой площади
- 1845
- Paper, watercolours, graphite pencil. 32 x 43,6
- The State Russian Museum
- Р-6666
Chernetsov Grigory Grigoryevich
1802 Luh village of Kostroma - 1865 St. PetersburgOutstanding Russian artist, master of landscapes. Auditor at the Imperial Academy of Arts under Stepan Galaktionov (from 1821) and later in Maxim Vorobyov’s “views and landscapes class”, where Aivazovsky would later study.
Fedotov Pavel Andreyevich
1815, Moscow - 1852, St PetersburgPainter, draughtsman, poet, genre artist, portraitist, battle painter. Born in the family of a minor civil servant. Studied at the First Moscow Military Academy (1826-33) and served as an officer in the Finland Life Guards Regiment in St Petersburg (1826-33). Attended drawing classes at the Imperial Academy of Arts (1834-44) and studied battle painting under Alexander Sauerweid. Resigned from the army in order to devote himself to painting (1840). Enrolled at the Imperial Academy of Arts (1844). Took up oil painting (1846). Academician for The Major Makes a Proposal (1848).
Проспект новопостроенных палат против Аничковских ворот от восточной стороны с частью Санкт-Петербурга и Невской перспективой дороги от реки Фонтанки
- 1749–1750
- etching, lathe.
- The State Russian Museum
- Гр.-3025
Проспект Адмиралтейства и около лежащих строений с частью Невской перспективой дороги с западную сторону
- 1750–1751
- etching, lathe, .
- The State Russian Museum
- Гр.-3027
Проспект Биржи и Гостиного двора вверх по малой Неве реке
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3029
Проспект Государственных Коллегий с частью Гостиного двора с восточную сторону
- 1750
- etching, lathe.
- The State Russian Museum
- Гр.-3032
Проспект Летнего Ее Императорского Величества дому с Северную сторону
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3031
Проспект Невской перспективой дороги от Адмиралтейских ворот к востоку
- 1750–1751
- etching, lathe, .
- The State Russian Museum
- Гр.-3026
Проспект по реке Фонтанке от Грота и Запасного дворца на полдень
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3030
Проспект старого Зимнего дворца с каналом, соединяющим Мойку с Невою
- 1750–1751
- etching, lathe.
- The State Russian Museum
- Гр.-3028
Зимний дворец императрицы Анны Иоанновны со стороны Луговой улицы
- 1751
- Paper, ink, nib, brush.
- The State Russian Museum
- Р-1309
Миллионная улица от Главной аптеки к Зимнему дворцу
- 1751
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-13007
Вид Государственных коллегий и Биржи (Гостиного двора)
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60084
Вид Невской перспективой дороги от Адмиралтейских триумфальных ворот к востоку
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60086
Проспект вверх по Неве реке к востоку между Галерной верфью и 13 линией Васильевского острова
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3023
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3021
Проспект вниз по Неве реке между Зимним Ее Императорского Величества домом и Академией Наук
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3024
Проспект вниз по Неве реке от Невского моста между Исаакиевскою церковью и корпусом кадетским
- 1751–1753
- etching, lathe, .
- The State Russian Museum
- Гр.-3022
Проспект вверх по Неве от Адмиралтейства и Академии наук к востоку
- 1753
- .
- The State Russian Museum
- Гр.-3057
Вид Невского проспекта от Аничкова моста с домом И. И. Шувалова
- Canvas, oil.
- The State Russian Museum
- Ж-3138
Проспект вверх по Неве-реке между Галерною верфью и 13 линией Васильевского острова
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3137
Проспект вниз по Неве-реке от Невского моста между Исаакиевской церковью и корпусом кадетским
- Canvas, oil. 116 x 202
- The State Russian Museum
- Ж-3133
Адмиралтейство в Петербурге
- Canvas, oil. 72 x 117
- The State Russian Museum
- Ж-3129
Вид Невского проспекта от Полицейского моста с домом графа А. С. Строганова
- Canvas, oil. 72 x 117
- The State Russian Museum
- Ж-3128
Проспект вверх по Неве реке от Адмиралтейства и Академии Наук к востоку
- Canvas, oil. 116 x 201
- The State Russian Museum
- Ж-3135
Перспектива Невского проспекта
- Paper, , .
- The State Russian Museum
- Гр.-31524
Садовая улица. Дом Саввы Яковлева
- Paper, watercolours.
- The State Russian Museum
- Р-8589
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 01
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 02
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 03
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 04
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 05
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 06
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 07
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 08
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 09
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 10
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 11
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 12
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Правая, теневая сторона Невского проспекта. Фрагмент 13
- 1830
- .
- The State Russian Museum
- Гр.-1930
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 01
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 02
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 03
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 04
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 05
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 06
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 07
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 08
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 09
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 10
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 11
- 1835
- .
- The State Russian Museum
- gr.-1929_11
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 12
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 13
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 14
- 1835
- .
- The State Russian Museum
- Гр.-1929
Панорама Невского проспекта. Левая, солнечная сторона Невского проспекта. Фрагмент 15
- 1835
- .
- The State Russian Museum
- Гр.-1929
Вид из окна на Невский проспект в С.-Петербурге
- 1847
- Paper, watercolours, gouache. 40 х 55
- The State Russian Museum
- Р-60382
Невский проспект
- .
- The State Russian Museum
- Гр.-20510
Петербург. Угол Кирочной и Потемкинской
- 1862
- Paper, watercolours, whiting, graphite pencil. 34,3 х 40
- The State Russian Museum
- Р-438
Nevsky Prospect
- 1887
- Paper, italian pencil, . 29,8 х 41
- The State Russian Museum
- Р-7898
Из окон университета. Двор
- 1893
- Paper, watercolours. 27,8 х 31,8
- The State Russian Museum
- Рб-10662
В ротах. Зима в городе
- 1904
- Paper, watercolours, graphite pencil, whiting. 20,8 х 17,9
- The State Russian Museum
- Р-2641
St. Petersburg
- 1914
- Canvas, oil. 75,5 x 59,2
- The State Russian Museum
- Ж-2139
One of the few landscapes painted in oil by Dobuzhinsky, this is still a typical work by the melancholy poet of St. Petersburg. The view from above intensifies the expressive volumes and outlines of the conglomeration of absurd constructions filling the courtyard at the foot of the gigantic tenement block, and the fragile, bare branches of the trees in the wretched garden, hemmed in by the blank walls of the buildings.
Город
- Paper, graphite pencil.
- The State Russian Museum
- Р-5515
Большой проспект Васильевского острова
- 1917
- Canvas, oil. 75 х 78,5
- The State Russian Museum
- Ж-2125
Петроград. Двор Дома искусств
- 1920
- Paper, graphite pencil. 51 х 38,7
- The State Russian Museum
- Р-5517
Летняя ночь за Нарвской заставой (Автопортрет)
- 1923
- Canvas, oil. 102 х 105
- The State Russian Museum
- Ж-9295
Winter Landscape in Gavan
- 1924
- Canvas, oil. 110,5 x 127
- The State Russian Museum
- Ж-8747
In the 1920s and 1930s, the artist created a cycle of city views depicting the outskirts of Leningrad. The revolution rendered the city and its citizens unrecognisable, and the landscapes untouched by revolutionary transformations reflected a nostalgia for patriarchal life and a touch of irony.
Вид на Адмиралтейство
- 1927
- Paper, . 48,7 х 36,3
- The State Russian Museum
- РС-10998
Московский вокзал. Площадь Восстания
- 1928
- Paper, ink, drybrush. 48 x 52
- The State Russian Museum
- РС-6045
Окраина Ленинграда. Музыканты
- 1928
- Canvas, oil. 66 х 88
- The State Russian Museum
- ЖС-623
Okhta
- 1930s
- Canvas, oil. 63 x 51
- The State Russian Museum
- ЖС-831
The subject of the city outskirts was taken up by many artists in Leningrad in the 1920s and 1930s. The urban women also appear in Anushina’s painting dedicated to the past of the Petersburg outskirts.
Улица в Володарском районе
- 1935
- Canvas mounted on cardboard, oil. 51 x 71
- The State Russian Museum
- Ж-11503
Улица в Володарском районе
- 1935
- Canvas mounted on cardboard, oil. 34,5 х 39
- The State Russian Museum
- Ж-11504
Ленинград. Улица Герцена
- 1939
- Paper, watercolours. 42,3 х 33
- The State Russian Museum
- РС-4136
Чернышова площадь
- 1946
- Paper, watercolours. 31,7 х 44,5
- The State Russian Museum
- РС-9194
Строится проспект Космонавтов
- 1964
- Paper, ink, brush, . 30,8 х 42,3
- The State Russian Museum
- РС-16946
Иванов Петр С.
Вестерлинг Эрих
Виллие Михаил Яковлевич
Vereisky Georgy Semyonovich
1886, Proskurov, Podolsk Gubernia — 1962, LeningradGraphic artist, painter, teacher. Studied at Egor Schreider’s studio in Kharkov (1895–1904); Faculty of Law, Kharkov university; Faculty of Law, St Petersburg university (graduated in 1912) and under Mstislav Dobuzhinsky, Boris Kustodiev and Evgeny Lanceray at the New Art Studio in St Petersburg (1913–1916). Taught at the Higher Art and Technical Studios/Institute (1921–1923). Curator of engraving at the State Hermitage (1918–1930). Full member of the Academy of Arts of the uSSR (1949). People’s Artist of the RSFSR (1962). Winner of the Stalin Prize (1946).
PAVLOV Semyon Andreyevich
1893, St Petersburg — 1941, LeningradPainter, graphic artist. Studied at the School of Drawing of the Society for the Encouragement of the Arts (1912–1917); Higher School of Art at the Academy of Arts / Petrograd State Free Art Studios / VKhUTEMAS. Contributed to exhibitions (from 1918). Taught at the Leningrad Institute of Communal Construction Engineers (1930–1932); Ilya Repin Institute of Painting, Sculpture and Architecture (from 1932).
Dormidontov Nikolai Ivanovich
1898, St Petersburg — 1962, LeningradPainter, graphic artist. Studied at School of Drawing of the Society for the Encouragement of the Arts (1915–1918); Petrograd State Free Art Studios / VKhUTEMAS (1918–1922). Contributed to exhibitions (from 1922). Member of the Union of Artists (1932).
Anushina, Antonina Ivanovna
1904, St Petersburg — 1973, LeningradTheatrical designer, graphic artist, genre painter. Studied at the Petrograd Technical College of Art and Industry (1923–1925) and VKhuTEIN in Leningrad (1925–1930).
Ermolayev Boris Nikolayevich
1903, St Petersburg — 1982, LeningradGraphic artist, illustrator of books and magazines, lithographer. Studied at the Art Restoration Studios / Leningrad College of Art and Industry (1921–1925). Contributed to exhibitions (from 1928). Member of the Union of Artists (1941). Contributed to newspapers Leninskiye Iskry, Bytovaya Gazeta, and magazines Krasnaya Panorama, Yuny Proletary, Rezets, illustrated children’s books (1927–1934). Worked at the lithographic shop of the Leningrad Union of Artists (from 1940).
Vedernikov, Alexander
Айрапетянц Левон Ервандович
Вид Государственных коллегий и Биржи (Гостиного двора)
- Paper, ink, brush, nib.
- The State Russian Museum
- Р-60084
Рыбная слобода (Рыбацкое)
- Paper, watercolours. 15,7 х 27,5
- The State Russian Museum
- Р-2350
Вид нового Арсенала
- 1820s
- .
- The State Russian Museum
- Гр.Дуб.-4592
Family Portrait
- 1830
- Canvas, oil. 89 x 117
- The State Russian Museum
- Ж-5125
В комнате (семья художника)
- 1834
- Paper, watercolours. 17,5 х 27,9
- The State Russian Museum
- Р-6945
Neva Embankment at the Imperial Academy of Arts View of the Landing Wharf with Egyptian Sphinxes by Day
- 1835
- Canvas, oil. 75 x 111
- The State Russian Museum
- Ж-5122
Much of Maxim Vorobyov’s oeuvre addresses the solemnity and majesty of St Petersburg. This particular work depicts the descent to the River Neva next to the Imperial Academy of Arts — Konstantin Ton’s New Academy Landing Wharf (1832–34). The mooring point is adorned with two sculptures of Egyptian sphinxes allegedly portraying the head of Pharaoh Amenhotep III (13th century BC). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 116.
Зарисовки военных и бытовых групп
- 1830s
- Paper, watercolours, ink, nib, graphite pencil.
- The State Russian Museum
- Р-36406
На барке. Обед грузчиков
- 1830s
- Paper, watercolours. 15,6 х 19,9
- The State Russian Museum
- Р-2971
Торговцы рыбой и яйцами на набережной в Петербурге
- 1830s
- Paper, watercolours. 23,1 х 33,5
- The State Russian Museum
- Р-5783
Зал Училища правоведения с группой учителей и воспитанников
- 1840
- Canvas, oil. 86 x 126
- The State Russian Museum
- Ж-5196
Улица в дождь
- 1840
- Paper, watercolours. 16 х 24
- The State Russian Museum
- Р-1098
Наем извозчика
- 1842
- Paper, watercolours. 17,2 х 22,9
- The State Russian Museum
- Р-1099
Развозка льда
- 1842
- Paper, watercolours. 17,2 х 24,6
- The State Russian Museum
- Р-12703
Пожарные в Петербурге днем
- 1844
- .
- The State Russian Museum
- Гр.-27849
Весна в городе
- 1840s
- Paper, watercolours. 25,4 х 35,7
- The State Russian Museum
- Р-3407
Ярмарка в городе
- 1840s
- Paper, watercolours. 13,9 х 19,1
- The State Russian Museum
- Р-12709
Игра в карты
- Cardboard, ink, whiting, graphite pencil. 23,2 х 32
- The State Russian Museum
- Р-49250
Зимний день. 20-я линия Васильевского острова
- Canvas, oil. 19 x 24
- The State Russian Museum
- Ж-4540
На Аничковом мосту
- 1851
- Graphite pencil, whiting. 18,8 х 27
- The State Russian Museum
- Р-1895
У окна магазина
- 1851
- Graphite pencil, whiting. 18,6 х 20,1
- The State Russian Museum
- Р-1894
Eldery Stonemason on the Neva Embankment
- Canvas, oil.
- The State Russian Museum
- Ж-4668
The Austrian artist Hans Gustav von Dittenberger came to Russia by the invitation to take part in creating murals for the palace of Grand Duchess Maria Nikolaevna (The Mariinsky Palace). A year later he produced the painting “Eldery Stonemason on the Neva Embankment”. Regarding the depiction of the Peter and Paul Fortress in the background, the artist presented the stonemasons on the Palace Embankment, the oldest stone embankment of St. Petersburg.
To the middle of the 18th century the biggest and most beautiful buildings of the capital were being built along the Neva embankment but the embankments themselves remained to be wooden. That’s why Catherine II who came to the Russian throne in 1762 established the Commission for the St. Petersburg and Moscow Stone Construction by one of her first decrees. The Commission started with the developing of the project of facing the Neva embankments with the stone. The special decree was issued and it told that “Here in St. Petersburg the banks should be faced with stone in front of all our palaces, gardens and state buildings”. The Winter Palace was completed in 1762 and it was in front of it where the first stone embankment was constructed. The banks of the Neva had become the building site for almost 20 years. The work was not easy and took a lot of efforts as it was quite difficult to strengthen the river’s banks because of their unsteadiness. First the piles were hammered in and then the space between them was filled with eath and cobblestone. Having strengthened the bank one started facing it with blocks of pink Finnish granite or Piterlite (named after the bay of Peterlahti of Piterlaks). The walls, parapets and pavements of the first stone embankments of St. Petersburg – The Palace embankment, Galernaya, the embankments of the Winter Canal and the Ekaterinhof Canal (from a galley – a kind of ship with rows) were built from the blocks of this stone. The blocks of the granite were quarried on islands in Finland to the south of the towns Hamina and Kotka. The embankment were constructed high enough keeping in mind the danger of floods. During the works the quays on the Neva were built. The Palace Embankment was completed in November 1767.`
Winter. St. Petersburg View
- 1859
- Canvas, oil. 80,5 х 129,5
- The State Russian Museum
- Ж-7768
Abutkov depicts the view across the River Neva onto the Admiralty and Palace Bridge. A combination of landscape and genre painting, the work conveys the mood of a grey day in winter.
Пожар 28 и 29 мая 1826 года в С-Петербурге
- .
- The State Russian Museum
- Гр.-34826
Пожар 28 и 29 мая 1826 года в С-Петербурге
- .
- The State Russian Museum
- Гр.-34825
Точильщик и разносчик
- 1862
- Canvas, oil. 27 x 22
- The State Russian Museum
- Ж-2454
Studying for an Exam
- 1864
- Canvas, oil. 36 х 44,8
- The State Russian Museum
- Ж-4016
Created in the traditions of the Russian school of genre painting of the 1840s and 1850s, this candid and humorous work betrays the excellent professional training, attention to details and realistic aspirations of the twenty-year-old artist. Studying for an Exam also reflects the influence of Repin’s first teachers — the slightly naïve and poetic reproduction of life by the painters of Chuguyev in Kharkiv Province. Alternatively titled Aerial Kiss, the painting depicts the two brothers of the artist’s future wife — Alexander Shevtsov (student of architecture at the Imperial Academy of Arts) and Alexei Shevtsov (grammar-school student). Repin was at that time living with the family on the Fifteenth Line of Vasilyevsky Island. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 204.
Петербург. Вид на Неву и Николаевский мост
- 1876
- Paper, watercolours, graphite pencil, whiting. 17,2 х 24,5
- The State Russian Museum
- Р-6444
Старое и молодое
- 1881
- Canvas, oil. 90 x 100
- The State Russian Museum
- Ж-4158
At Dominique’s
- 1887
- Paper, italian pencil, . 29,8 х 41
- The State Russian Museum
- Р-7896
Café Dominique on 24 Nevsky Prospect was opened by Domenique Ritz à Porta in 1841.
Даровая столовая
- 1888
- Canvas, oil. 81 х 114
- The State Russian Museum
- Ж-4393
У водопоя на Неве зимой
- 1895
- Paper, watercolours, graphite pencil. 48,8 х 76,8
- The State Russian Museum
- Р-5149
Школьники зимой
- 1926
- Paper, ink, whiting. 25,8 х 36,7
- The State Russian Museum
- РС-6570
Female Workers on a Sponsored Ship of the Baltic Fleet
- 1934
- Canvas, oil. 201,5 x 300
- The State Russian Museum
- ЖБ-925
This painting was completed a year prior to the First Exhibition of Leningrad Artists, and was possibly painted specifically for it. The exhibition intended to demonstrate the successes of new Soviet art “on the road to mastering Soviet reality” (from the preface to the catalogue for the exhibition, which took place in the Russian Museum, Leningrad). The idea of sponsorship arose in Soviet ideology as one way of bringing “culture to the masses”, cultivating new individuals, and fostering healthy interaction between various societal groups. The romantic mood of this large canvas is reflected in the colour scheme: the shades of the red, blue, white, and ochre tones and that of the slightly agitated sea under the ship resonate with one another joyously, like the smiles on the faces of the people. The theme of the painting, necessitated by the demands of the historical era, is executed with the brush of a good painter, thus becoming a genre painting that reflects not only a real situation, but also the nature of Soviet art in the 1930s.
Двор
- Canvas, oil. 99 х 74,5
- The State Russian Museum
- ЖС-1416
В Александровском саду у Адмиралтейства
- 1930s
- Paper, ink, nib. 14,8 х 19,3
- The State Russian Museum
- РС-10966
В сквере у Казанского собора
- 1930s
- Paper, ink, nib. 14,5 х 19,5
- The State Russian Museum
- РС-10969
На набережной
- 1930s
- Paper, ink, nib. 14,4 х 19,5
- The State Russian Museum
- РС-10959
Хлебная машина
- 1936
- Canvas mounted on cardboard, oil. 24,5 х 36,5
- The State Russian Museum
- Ж-10770
Молодежь Ленинграда
- 1939
- . 158 x 96 x 50
- The State Russian Museum
- СО-111
Продавец мороженого
- 1940s
- Paper, watercolours, , . 15,2 х 10
- The State Russian Museum
- РС-17730
Чистильщица обуви
- 1940s
- Paper, watercolours, . 14,7 х 10,4
- The State Russian Museum
- РС-17727
Зимний день в новом районе
- 1977
- Canvas, oil. 145 х 200
- The State Russian Museum
- Ж-9713
Галактионов Степан Филиппович
Tolstoy Fyodor Petrovich
1783, St. Petersburg - 1873, St. PetersburgCHARLEMAGNE, Adolf (Charlemagne-Baudet)
1826, St Petersburg - 1901, St PetersburgPainter, draughtsman, history painter, battle-painter, genre artist. Studied under his father architect Joseph Charlemagne at the Imperial Academy of Arts (1848-1855). Fellow of the Imperial Academy of Arts in Munich, Paris, Stuttgart (1855-1861). Academician (1859), professor (1867).
Ульянов Николай Дмитриевич
Чернышев Алексей Филиппович
Попов Андрей Андреевич
Dittenbergger Hans Gustav von
1794, Baden, Austria - 1879, MoscowAbutkov, Nikolai Grigorievich
1833–1859Painter. Studied at the Imperial Academy of Arts. Contributed to exhibitions of the Imperial Academy of Arts (1858–1859). Awarded a minor silver medal for perspective painting for "Winter. St. Petersburg View(1859)".
Яковлев Василий Арсеньевич
Jaroshenko Nikolai Alexandrovich
1846, Poltava -1898, KislovodskPainter, draughtsman, portraitist, genre artist. Studied at the Poltava Military Academy (18505), under Ivan Kramskoi at the School of Drawing, Society for the Encouragement of Artists (from 1864) and at the Imperial Academy of Arts (1868-74). Studied military engineering at the Michael Aca¬demy of Artillery in St Petersburg (1870). Member of the Society of Travelling Art Exhibitions (1876), headed the society after Ivan Kramskoi\'\'\'\'s death (1887). Contributed to exhibitions (from 1875), Retired with the rank of major general (1892). Lived in St Petersburg. Moved to Kislovodsk (late 1880s)
Навозов Василий Иванович
Закликовская Софья Людвиговна
TIKHOV Vitaly Gavrilovich
1876, Kiev Province — 1939, LeningradPainter, landscapist, genre artist. Studied in St Petersburg at Alexander Makovsky’s private art studio (1901–1904), Higher School of Art at the Imperial Academy of Arts (1904–1912). Contributed to exhibitions (from 1916).
Могилевский Наум (Нохим-Лейб) Семенович (Шнеерович)
Клементьева Ксения Александровна
Аршакуни Завен Петросович
Портрет императрицы Елизаветы Петровны
- 1746
- etching, lathe, .
- The State Russian Museum
- Гр.-30752
Portrait of Ivan Betskoy
- The second half of the 18th century
- Canvas, oil.
- The State Russian Museum
- Ж-4542
Портрет графа К. Г. Разумовского
- 1762
- etching, lathe, .
- The State Russian Museum
- Гр.-31155
Портрет С. Я. Яковлева
- 1767
- Canvas, oil. 135 х 107,5
- The State Russian Museum
- Ж-4757
Portrait of Alexander Stroganov
- Canvas, oil. 115,5 х 87
- The State Russian Museum
- Ж-4541
Alexander Roslin (1718-1793) was a Swedish painter, who worked in St. Petersburg from 1775 until 1777. He painted many portraits of members of the imperial family and the high nobility.
Alexander Stroganov (1733–1811) was count and son of Sergei Stroganov and Sofia Kirillovna (née Naryshkina). He was a privy councilor, senator, Great Chamberlain and member of the State Council. He was also Director of the Public Library and President of the Imperial Academy of Arts, as well as a collector. He is depicted with the Orders of the White Eagle (ribbon and star) and St. Anne (cross).
Портрет Василия Григорьевича Кусова
- 1772
- Canvas, oil. 96,5 х 78,5
- The State Russian Museum
- Ж-3941
Портрет Ивана Васильевича Кусова
- 1772
- Canvas, oil. 87 х 70
- The State Russian Museum
- Ж-3940
Портрет главного директора водных коммуникаций графа Якова Ефимовича Сиверса (1731-1808)
- Canvas, oil. 99,5 x 80
- The State Russian Museum
- Ж-4649
Портрет сенатора Федора Михайловича Колокольцова (1732-1818)
- 1797-1799
- Canvas, oil. 85 х 70
- The State Russian Museum
- Ж-6212
Portrait of Alexei Tomilov
- 1808
- Canvas, oil. 68 х 55,5
- The State Russian Museum
- Ж-5131
Alexei Romanovich Tomilov (1779-1848) was an artillery officer by education and a commander during the building of a fortress in Kronstadt (1799). He left the service in 1808. Alexei Romanovich was a collector and an art amateur, one of the founders and a committee member of the Artists Support Society (since 1820) and a honored free member of the Imperial Academy of Sciences (1833).
На Сенном рынке
- Italian pencil.
- The State Russian Museum
- Р-13160
Vincenzo Brioschi. Portrait of the St Petersburg Postal Director Konstantin Bulgakov
- 1830
- Canvas, oil. 85 х 72
- The State Russian Museum
- Ж-3473
Konstantin Yakovlevich Bulgakov (1782–1835) was the younger son of the diplomat Yakov Bulgakov, and in 1797 he was appointed to the College of Foreign Affairs. Under Alexander I he was attached as a supernumerary to the mission to Vienna, and was then put at the disposal of the Commander-in-Chief of the Transdanubian Army, Nikolai Kamensky. He became an actual state councillor in 1814, postal director for Moscow in 1816, and was transferred to the same position in St Petersburg in 1819.
Under his direction communications by stage-coach were set up, as well as a permanent urban postal system in St Petersburg. In 1822 he concluded a postal convention with Prussia and Austria that speeded up the delivery of letters from abroad. He was appointed privy councillor in 1826 and director of the Department of Posts in 1831. He was well known for his generous philanthropic work, his love of literature and art and for organising numerous charitable evenings; he was friends with many figures in the arts and with contemporaries who were collectors (in particular Alexei Tomilov). He was the author of a correspondence that has become a chronicle of Russian life at the start of the 19th century.
Портрет князя В. П. Кочубея в его кабинете
- Canvas, oil. 144 х 106
- The State Russian Museum
- Ж-5169
Портрет придворного скорохода
- 1841
- Canvas, oil. 62,5 х 53
- The State Russian Museum
- Ж-3709
"Fish Seller"
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- Ф-5922
The porcelain sculptures occupied a significant place in the production of the Kornilov brothers’ porcelain factory. Following the Imperial Porcelain Factory in the mid-1840s, the factory's products were replenished with images of genre scenes from the lives of city merchants and artisans.
The enterprise began to produce typical figurines of street vendors and pedlars, craftsmen, famous actors. Popular at that time lithographs of famous artists were the source for the genre miniatures and statuettes. In 1851, the Cabinet of His Imperial Majesty purchased seven "porcelain dolls" for His Highness Prince Saxe-Weimar in the factory shop. Among them was a fish seller. The figure was sculpted after the lithograph by the same name, made by K. Kolman.
Karl Kolman (1786-1847) is a watercolour painter, a native of Augsburg, who received an initial art education at the Munich Academy of Arts, and then at the Imperial Academy of Arts in Russia. The artist, possessing the gift of observation, studied the life of Russian people with interest, embodying it in his watercolours and lithographs.
Portrait of Bishop Macarius
- 1853
- Canvas, oil. 140 x 103
- The State Russian Museum
- Ж-6623
Archbishop Mikhail (Mathew Desnitsky; 1761–1821) was a spiritual leader, a famous homilist, and a Mason. He graduated from Philological Seminary affiliated with the Friendly Society of Nikolai Novikov. In 1785, he was named the priest of the St John the Warrior Church in Moscow. From December 1796, he was a court priest at Gatchina and a catechist of the 1st Cadet Corps. In 1799, he was made an archimandrite of the Yuriev monastery outside of Novgorod. In 1802, he was named vicar of Novgorod. In 1803, he was made a bishop, and in 1806, the archbishop of Chernigov and Nezhin. In 1813, he was made an attendant member of the Synod. He became a metropolitan of St Petersburg on 26 March 1818, and of Novgorod on 25 July 1818. He is depicted in a black hood and black robe, with an icon of the Virgin Mary on his neck and the Orders of St Anne of the 1st class (ribbon and cross on the neck) and St John of Jerusalem (Maltese cross on the neck, embroidered cross on the robe).
Портрет действительного тайного советника Александра Сергеевича Танеева (1785-1866)
- 1853
- Canvas, oil. 73 х 56 (овал)
- The State Russian Museum
- Ж-3654
Портрет общественной деятельницы Поликсены Степановны Стасовой, рожд. Кузнецовой (1839-1918), жены Д. В. Стасова
- 1879
- Canvas, oil. 74,5 х 66
- The State Russian Museum
- Ж-4044
Girl Student
- Canvas, oil.
- The State Russian Museum
- Ж-4159
Nikolai Jaroshenko often portrayed female students. Vladimir Stasov wrote: “He was primarily a portraitist of the young generation, whose life and character he deeply felt, understood and conveyed.’ Jaroshenko’s wife had recently finished the Bestuzhev Courses for Women in St Petersburg (1878) and sat on the board of the grants society.The artist depicts a bashful teenage girl, conveying her spirituality and spontaneity. When Girl Student was shown at the eighth Travelling Art Exhibition, one of the reviewers wrote: ”No one could resist smiling at her confused face".
Портрет С. П. Боткина
- 1880
- Canvas, oil. 108,6 х 90,5
- The State Russian Museum
- Ж-10996
Portrait of Vladimir Stasov
- 1883
- Canvas, oil. 74 x 60
- The State Russian Museum
- Ж-4043
Stasov, Vladimir Vasilyevich (1824–1906): Art and music critic, art historian.
Portrait of Princess Zinaida Yussupova
- Canvas, oil.
- The State Russian Museum
- Ж-4307
Zinaida Nikolaevna Yussupova (1861-1939): Daughter of Prince Nikolai Yussupov and Princess Tatyana Yussupova. Married Count Felix Sumarokov-Elston.
One of the leading Russian fin-de-siècle portraitists was Valentin Serov, who painted many society portraits from the 1890s onwards. This particular work is part of a series of portraits of the Yussupov family painted by Serov at the start of the twentieth century. Princess Zinaida Yussupova was the last member of this old aristocratic family. She is depicted at her country house in Archangelskoe near Moscow, a magnificent mansion famed for its great luxury and beauty. Serov was charmed by Zinaida’s quick mind and natural manner. The sitter’s nobility is highlighted by the clear composition, the enamel-like texture of the painting, and the refined gold-pink tones sharpened by patches of dark-green and black. Deprived of “chic” and serious in concept, Valentin Serov’s masterly and elegant picture was a major step forwards in the development of the official Russian portraiture of the eighteenth and nineteenth centuries.
Ceremonial Sitting of the State Council on 7 May 1901 Marking the Centenary of its Foundation
- 1903
- Canvas, oil. 400 x 877
- The State Russian Museum
- Ж-4088
Founded by Tsar Alexander I (1801–25), the State Council celebrated its centenary with a ceremonial sitting in the Round Room of the Mariinsky Palace in St Petersburg on 7 May 1901. All the members of the State Council and the State Chancellery attended in full-dress uniform. Tsar Nicholas II (1894–1917) and senior members of the Imperial family are flanked by their ministers. Repin painted the scene from behind the chairs on the right (next to the columns). He rapidly sketched the original modello on a canvas on which the perspective of the hall had already been marked out, working from a previously selected point. The artist later turned this study into a large picture with the help of two students of the Imperial Academy of Arts — Boris Kustodiev and Ivan Kulikov. Every member of the State Council is depicted in natural and diverse poses, with strong physical resemblances. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 211.
Portrait of Count Felix Sumarokov-Elston (Later Prince Yusupov)
- 1903
- Canvas, oil.
- The State Russian Museum
- Ж-4303
Portrait of Alexander Zinoviev
- 1904
- Canvas, oil. 142 х 106,5
- The State Russian Museum
- Ж-4080
Alexander Zinoviev (1854-1932) graduated from the law faculty of St. Petersburg University. He was an officer of the Horse Guard Regiment, the St. Petersburg Marshal of Nobility (after 1895). He was very popular at the post of the St. Petersburg Governor in 1903-1907.In 1909 Zinoviev was appointed a member of the State Council. The portrait was commissioned by the St. Petersburg Delegate Assembly of Nobility and was located there until 1917. The portrait was created soon after completing “The Ceremonial Sitting of the State Council” and is distinguished by the same free and broad brushwork.
Портрет А. Н. Турчанинова
- 1906
- Canvas, oil. 87,5 х 97,5
- The State Russian Museum
- Ж-4306
Портрет ударника (Краснознаменец Жарновский)
- 1932
- Canvas, oil. 64 х 55
- The State Russian Museum
- Ж-9402
Portrait of Sergei Kirov
- 1937–1938
- Canvas, oil. 118 х 98
- The State Russian Museum
- Ж-4451
Sergei Mironovich Kirov (Kostrikov) (1886–1934): Communist Party functionary. Member of the Tomsk Committee of the Russian Social Democratic Workers Party (1905–1907). Fought in Astrakhan during the Civil War (1919). First secretary of the Leningrad branch of the Communist Party (1926–1934). After Kirov’s death many Soviet artists turned to subjects connected with him. This political figure had enjoyed great authority in Leningrad during his lifetime, and after his mysterious death he acquired the traits of a mythological hero. Zverev painted state-commissioned portraits of Kirov numerous times. In this one the artist shows the wellknown statesman and Leningrad party leader as a charismatic yet down-to-earth human being, which contradicted the requirements of Socialist Realism.
Портрет плавильщика завода «Красный выборжец» Ф. Д. Безуглова
- 1960
- Canvas, oil. 126 х 100
- The State Russian Museum
- Ж-7882
Kiprensky Orest Adamovich
1772, Nezhinskaya (St Petersburg Province) - 1836, RomePortraitist, history painter, draughtsman.
Illegitimate son of a serf woman, Anna Gavrilova, who gave him the name Kipreisky, later changed to Kiprensky. Grew up in the family of his foster father Adam Schwalde. Emancipated from serfdom and enrolled in the Imperial Academy of Arts (1788). Studied history painting under Grigory Ugryumov and Gabriele-Francois Doyen. Fellow of the Imperial Academy of Arts (1803-09). Worked in St Petersburg, Moscow and Tver. Academician of portrait painting (1812), councillor of the Imperial Academy of Arts (1815). Contributed to the exhibitions of the Imperial Academy of Arts. Lived in Italy (1816-23, 1828-36). Contributed to the Paris Salon (1822). Donated Self-Portrait (1820) to the Galleria degli Uffizi in Florence (1825). Appointed second-class professor of history and portrait painting with automatic member¬ship of the nobility (1831). Councillor of the Accademia di Belle Arti in Naples (1831). Buried at Sant\'\' Andrea delle Fratte in Rome.
Venetsianov Alexei Gavrilovich
1780, Moscow - 1847, Poddubie (Tver Province)Founding father of Russian peasant genre painting. Painter, portraitist, etcher, lithographer. Son of a Moscow merchant, educated at private boarding school, worked as a draughtsman. Moved to St Petersburg (1802) and worked as a land surveyor for the crown properties and forestry departments. Studied painting independently, copied works in the Imperial Hermitage and drew pastel portraits. Academician (1811). Resigned from the civil service, moved to the country and painted genre scenes from life (early 1820s). Exhibited at the Imperial Academy of Arts and the Society for the Encouragement of Artists. Had many students, who formed the Venetsianov school in Russian art. Killed in a road accident at the Milyukov estate.
Brioschi Vicentio
1786, Florence - 1843 St. PetersburgPainter, lithographer, history painter, portraitist. Studied under P. Benvenuti at the Accademia di Belle Arti in Florence. Worked in St Petersburg (from 1811). Appointed painter (1812), academician of the Imperial Academy of Arts for Cain Cursed by the Lord for Fratricide and Running from the Wrath of God (1813). Custodian and restorer of painting in the Imperial Hermitage (1817–1843).
Бурдин Николай Алексеевич
Igorev (Igirev) Lev Stepanovich
1822, Komarovka, Saratov province — 1893/1894, SaratovPainter, draughtsman; icon-painter. Studied at the St Petersburg Academy of Theology (from 1845) and the Imperial Academy of Arts (1848–1850). Academician (1854). Taught icon-painting at the St Petersburg Academy of Theology (1855–1857). Accompanied the Russian Orthodox mission to Peking (1857–1864). Stripped of all awards and titles (1869). Worked as a craftsman in St Petersburg (1870).
Kramskoi Ivan Nikolaevich
1837, Ostrogozhsk (Voronezh Province) - 1887 St. PetersburgPainter, draughtsman, engraver, portraitist, history painter. Worked as a retoucher with a travelling photographer (1853-57). Studied at the Imperial Academy of Arts (1857-63). Initiator of the rebellion of the fourteen (1863). Headed the St Petersburg Artel of Artists (1863-70). One of the founders and the ideological head of the Society of Travelling Art Exhibitions (1870-87). Academician (1869). Contributed to the exhibitions of the Imperial Academy of Arts, World Exhibition in Paris (1878) and the All-Russian Exhibition in Moscow (1882). Taught at the School of Drawing, Society for the Encouragement of Artists (1863- 69, with interval). Member of the Society for the Encouragement of Artists (1863-69, with intervals).
Malevich Kazimir Severinovich
1878, Kiev - 1935, LeningradPainter, graphic artist, writer on art, portraitist, landscapist, abstractionist. Studied at the Kiev School of Art (1895-1896) and Fyodor Roehrberg\'s studio in Moscow (1906-1910). Contributed to exhibitions (from 1905). Contributed to the exhibitions of the Moscow Fellowship of Artists (from 1907), Donkey\'s Tail (1912), Target (1913), Der Blaue Reiter (1912), Salon des Independants (1914), Tramcar V. First Futurist Exhibition (1915) and 0,10. Last Futurist Exhibition (1915-1916). Designed the sets and costumes for the Futurist opera "Victory Over the Sun" (1913). Member of the Union of Youth (1910) and Jack of Diamonds (1910, 1916). Founded the AFFIRMES OF THE NEW ARTgroup (1920). Worked for Department of An People\'s Commissariat of Education (1918-1919). Director of the Museum/Institute of Artistic Culture in Petrograd/Leningrad (1923-1926).
Zverev Vasili Aleksandrovich
SEREBRYANY Joseph Alexandrovich
1907, Horodnia, Chernihiv Province — 1979, LeningradPainter, poster designer. Studied at the Poltava Studio of Art (1922–1923), the Leningrad College of Art and Industry (1924–1927) and VKhUTEIN / Institute of Proletarian Fine Arts (1927–1931) in the theatrical design department, and simultaneously at Vasily Savinsky’s private studio. Contributed to exhibitions (from 1925). Worked as a designer (1931–1937). Contributed to the design of the film Counterplan (1941) at Lenfilm Studios. Lived in besieged Leningrad (1941–1945); worked as a poster designer. Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (1948–1979). Professor (1946). Chairman of the Leningrad Union of Artists (1948–1952; 1954–1958). Corresponding member of the USSR Academy of Arts (1947). People’s Artist of the USSR (1965).
Торговля свиньями и сеном
- 1820
- Lithography.
- The State Russian Museum
- Гр.-19268
У Гостиного двора
- Graphite pencil. 18,1 х 26,2
- The State Russian Museum
- Р-13159
Портрет председателя Санкт-Петербургского биржевого комитета В. М. Зверкова
- 1841
- Bone.
- The State Russian Museum
- СК-1857
Гостиный двор
- 1843
- Lithography.
- The State Russian Museum
- Гр.-9853
Толкучий
- 1843
- Lithography.
- The State Russian Museum
- Гр.-9852
Коробейник с лотком
- Paper, graphite pencil.
- The State Russian Museum
- Р-24373
Лотошник
- Paper, graphite pencil.
- The State Russian Museum
- Р-24375
Молочница с Охты
- Paper, graphite pencil.
- The State Russian Museum
- Р-24369
Продавец калачей
- Paper, graphite pencil.
- The State Russian Museum
- Р-24382
Продавец рукавиц и перчаток
- Paper, graphite pencil.
- The State Russian Museum
- Р-24383
Продавец щеток
- Paper, graphite pencil.
- The State Russian Museum
- Р-24376
Торговки яйцами
- Paper, graphite pencil.
- The State Russian Museum
- Р-24372
Привратник
- 1845
- Paper, graphite pencil.
- The State Russian Museum
- Р-24370
Неизвестный в цилиндре с тростью
- 1849
- Bone. 25,5 х 10 х 8,5
- The State Russian Museum
- СК-74
Вид Пассажа графини Стейнбок в Санкт-Петербурге
- Chromolithography.
- The State Russian Museum
- Гр.Дуб.-1297
Orlovsky, Alexander Osipovich
1777, Warsaw å 1832, St PetersburgDraughtsman, lithographer, painter, genre artist, portraitist, landscapist, battle-painter, animalist. Studied in Jean Pierre Norblin de la Gourdaine s studio in Warsaw. Lived in St Petersburg (from 1802) where he was in the staff of Grand Duke Konstantin Pavlovich. Academician for Cossack Bivouac (1809). Created Horsemen (1816), the first dated lithograph in Russia. At the end of the 1810s through the 1820s, he created several series of
lithographs of scenes from Russian folk life that were very successful. A rare example of the artist s work in book graphic art is his illustrations to the fables of Ivan Krylov (1824). Intended for publica¬tion in 1825, they were printed by the Circle of Lovers of Fine Publications only in 1907.
Серяков Яков Памфилович
Жуковский Рудольф Казимирович
Лабастид
Портрет М. В. Ломоносова
- 1757-1758
- Paper, lathe, etching.
- The State Russian Museum
- Гр.-44182
Портрет П. И. Пирогова
- 1881
- Canvas, oil. 64,7 х 53,7
- The State Russian Museum
- Ж-4065
Portrait of the Historian Nikolai Kostomarov
- 1883
- Canvas, oil. 87.5 x 72.5
- The State Russian Museum
- Ж-2479
Nikolai Ivanovich Kostomarov (1817–1885) was a Ukrainian and Russian historian, ethnographer, writer and critic. A graduate of Kharkov University (1837), he was a professor in the History Department of Kiev University (1846). He was an organiser (together with Taras Shevchenko and others) of the secret Society of Cyril and Methodius and one of the authors of its rule and programme. After the destruction of the society (1847) and a year’s imprisonment he was exiled to Saratov under police supervision. He worked in the provincial government and continued to study history and ethnography. He published the book “Songs of Great Russia” in 1854, and had a large influence over the region’s cultural life. He was freed from police supervision in 1857, and was elected to the position of professor extraordinarius at St Petersburg University in 1859. He studied the history of mass popular movements, such as “The Time of Troubles in the State of Muscovy”, “The Rebellion of Stenka Razin” and “Bogdan Khmelnitsky” and others; he was the author of literary works, including “Savva Chaly” (1838) and “Kudeyar” (1875).
Portrait of Vladimir Solovyov
- 1885
- Canvas, oil. 113 x 94
- The State Russian Museum
- Ж-2984
Vladimir Sergeyevich Solovyov (1853–1900), the son of the leading historian Sergei Mikhailovich Solovyov, was a philosopher, poet, publicist and literary critic. His teaching on the universe as an “all-encompassing unity” that united the Christian tradition with the West European idealism of the 19th century gave an impulse to the appearance and development of a whole school of philosophy (Lev Karsavin, Evgeny Trubetskoy, Semyon Frank and others), and his poetry and critical essays helped the development of literary Symbolism. He taught in the St Petersburg University as well as in other educational institutes in the capital.
Portrait of the Astronomer Wilhelm Von Struve
- Canvas, oil. 135,5 х 102
- The State Russian Museum
- Ж-2991
Ivan Kramskoi was a portraitist, author of thematic paintings, art critic and thought leader of an entire generation of Russian artists. He was the head of the Peredvizhniki Society (The Wanderers, the society of Russian Realist artists). He saw the mission of the artist in the civic consciousness, in the service of the people’s interest. He is the author of many portraits of Russian scientists and cultural figures.
Otto Wilhelm von Struve (1819-1905) was a Russian astronomer and academician. He was the head of the Pulkovo Observatory for more than 25 years. He is depicted in the attic story of the Pulkovo Observatory tower and is concentrated on himself.
Портрет П. А. Костычева
- 1892
- Canvas, oil. 89,5 х 67,5
- The State Russian Museum
- Ж-4153
Portrait of Vladimir Bekhterev
- 1913
- Canvas, oil. 107 x 78
- The State Russian Museum
- Ж-6545
Bekhterev, Vladimir Mikhailovich (1857–1927): Psychiatrist, neuropathologist, physiologist, psychologist, academician.
Makovsky Konstantin Yegorovich
1839, Moscow — 1915, PetrogradPainter, draughtsman, watercolourist; portraitist, genre artist, author of painting on historical themes. Studied under Mikhail Scotti, Sergei Zaryanko at the Moscow School of Painting, Sculpture and Architecture (1851–1858), under Alexei Markov at the Imperial Academy of Arts(1858–1863). Minor gold medal (1862) for Agents of the False Dmitry Kill the Son of Boris Godunov. Contributed to exhibitions (from 1860). One of “the rebellious fourteen” (1863). Academician (1867), professor (1869). Member of the St Petersburg Artel of Artists (1863). Founding member of the Society of Travelling Art Exhibitions (1870) and the St Petersburg Society of Artists (1898).
Ge Nikolai Nikolaevich
1831, Voronezh - 1894, Ivanovskoe (Chernihiv Province)Painter, draughtsman, history and religious painter, portraitist, landscapist. Studied mathematics at Kiev University (1847-48) and St Petersburg University (1848- 50). Studied under Pyotr Basin at the Imperial Academy of Arts (1850-57) and influenced by Karl Brullov and Alexander Ivanov. Fellow of the Imperial Academy of Arts in Rome and Florence (1857-63). Lived in Florence (until 1869). Professor (1863; resigned 1869). Founding member of the Society of Travelling Art Exhibitions (1871). Influenced by Leo Tolstoy (i88os). Lived in Kiev and St Petersburg, moved to Ivanovskoe in Chernihiv Province (1876). Contributed to the exhibitions of the Imperial Academy of Arts (from 1857), Society of Travelling Art Exhibitions (1871-94), Exposition Universelle in Paris (1867) and the International Exhibitions in Munich (1869) and London (1873). One-man show at the Imperial Academy of Arts (1870).
Portrait of Empress Elizabeth Alexeyevna
- Early 19th century
- Wool, silk, weaving. 86 x 69
- The State Russian Museum
- ТК-1045
This three-quarter portrait of Empress Elizabeth Alexeyevna is unique in its artistic value and was created at the St Petersburg Tapestry Manufactory in the early 19th century, when the art of tapestry in Russia was flourishing. At this time, the rare portrait genre occupied a special place among works by the manufactory. Artists created woven images of royal personages, members of their family, and individuals closely linked to the court milieu. The use of expensive kinds of wool and improved methods of dyeing allowed for the high quality of the work that made it possible for the weavers to achieve subtle modelling of light and shadow in faces and thus of expressions.
Бокал с портретом графа П. Х. Витгенштейна
- 1814–1815
- Painting, gilding. 18,9 х 8
- The State Russian Museum
- СТ-471
Ваза амфорная с изображением Горного института в Петербурге
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- Ф-9274
Clock Peter the Great
- Design by Mikhail Shchurupov; wax model by Nikolai Ramazanov and Ivan Reimers; made by the Schreiber Company
- 1839
- Bronze, gilding, casting, chasing. 103 х 55
- The State Russian Museum
- ОПИ/М-153
Ваза в виде амфоры золоченая с миниатюрой "Дворцовая набережная"
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- Ф-9480
Рабочий
- 1922
- . 56 х 47,3 х 48
- The State Russian Museum
- СО-2222
Поднос
- 1925
- Wood, oil, . 57,5 х 57,5
- The State Russian Museum
- СР-58
Котельный цех Ленинградского металлического завода
- 1927
- Paper, ink. 68,2 х 50,5
- The State Russian Museum
- РС-383
Electrosila Factory Turbine Building
- 1931–1932
- Canvas, oil. 118 x 91
- The State Russian Museum
- Ж-9434
Like many of his colleagues, Vyacheslav Pakulin addressed the industrial theme in the early 1930s. The artist was interested in his human heroes and the possibility of a painterly interpretation of an industrial subject. Pakulin "revolves" the space of the shop floor, filling it with the rhythmic movements of the workers. The unceasing motion evokes the sensation of the constancy and stability of the efforts of labour. The artist s soft silhouettes and light, subtly degraded painting add a poetic touch. On the reverse side of the canvas, the artist noted the exact dates of work on the painting: December 1931 - February 1932.
Shock Workers at the Red Dawn Factory
- 1931
- paper mounted on plywood, oil. 66,5 х 91,5
- The State Russian Museum
- Ж-9568
Tractor shop at Putilovsky Plant
- 1931–1932
- Canvas, oil. 73 х 99
- The State Russian Museum
- Ж-9608
Монтаж парового котла на заводе им. И. В. Сталина
- 1932
- Paper, watercolours, ink. 48,2 х 38,8
- The State Russian Museum
- РС-488
Строительство Володарского моста
- 1934
- Canvas, oil. 115 х 202
- The State Russian Museum
- ЖБ-1837
Ленинградский порт. Барочный бассейн
- 1935
- Canvas, oil. 199 х 149
- The State Russian Museum
- Ж-5880
Ленинградский порт. Лесоэкспортная механизированная гавань
- 1935
- Canvas, oil. 200 х 297
- The State Russian Museum
- Ж-4486
11-й хлебозавод
- 1937
- Paper, , .
- The State Russian Museum
- С.Гр.-12246
В литейной мастерской. Ленинградский металлический завод
- 1937
- Paper, ink, . 26 х 32,3
- The State Russian Museum
- РС-11301
Подготовка новых быков для моста лейтенанта Шмидта в Ленинграде
- 1937
- Canvas, oil. 74,5 х 119,5
- The State Russian Museum
- Ж-4440
Вечерний город
- 1969
- Paper, .
- The State Russian Museum
- С.Гр.-11860
Кировский завод
- 1970
- .
- The State Russian Museum
- С.Гр.-13198
Пионерское лето
- 1972
- Paper, .
- The State Russian Museum
- С.Гр.-17045
Строительство моста
- 1974
- Paper, .
- The State Russian Museum
- С.Гр.-16719
Реконструкция
- 1975
- Paper, .
- The State Russian Museum
- С.Гр.-13183
Сборщики
- 1975
- Canvas, oil. 120 х 120
- The State Russian Museum
- Ж-10680
Смена идет
- 1975
- Paper, .
- The State Russian Museum
- С.Гр.-17057
Турбостроительный цех
- 1975
- Canvas, oil. 122 х 188
- The State Russian Museum
- Ж-10681
У заводской проходной на Выборгской стороне
- 1975
- .
- The State Russian Museum
- С.Гр.-13182
Imperial Tapestry Manufactory
Императорский стеклянный завод
Шадр Иван Дмитриевич
Filonov Pavel Nikolaevich
1882/83, Moscow - 1941, LeningradPainter, graphic artist, theatrical designer, poet. Studied at painting studios in St Petersburg (1897-1901), Lev Dmitriyev-Kavkazsky\'\'s studio (1913-08), School of Drawing, Society for the Encouragement of Artists (1893-1901) and under Vasily Savinsky and Jan Ciaglinskj at the Higher School of Art, Imperial Academy of Arts (1908-10). Contributed to exhibitions (from 1910). Founding member of the Union of Youth (1910). Founded the Made Pictures studio of painters and draughtsmen and published its manifesto (1914; second version published in 1923). Helped to design the sets and costumes for a production of Vladimir Mayakovsky: A Tragedy (1913). Wrote the poem Chant of Universal Flowering (1914-15). Headed the Department of General Ideology at the Museum of Artistic Culture (1923). Helped to write the statute of the Institute of Artistic Culture. Formed the Masters of Analytical Art (1923).
Дроздов Иван Георгиевич
Ионин Николай Александрович
Кругликова Елизавета Сергеевна
Вильнер Виктор Семенович
Ушин Андрей Алексеевич
Айзенштадт Лиза Хайкелевна (Елизавета Ефимовна)
Портрет А. П. Сумарокова
- 1760
- Canvas, oil. 74 х 64,5
- The State Russian Museum
- Ж-4966
Портрет К. Н. Батюшкова
- Lithography.
- The State Russian Museum
- Гр.-27985
Портрет П. А. Вяземского
- Lithography.
- The State Russian Museum
- Гр.-28642
Портрет И. А. Крылова
- 1825
- .
- The State Russian Museum
- Гр.-28397
Портрет А. А. Бестужева-Марлинского
- 1828
- .
- The State Russian Museum
- Гр.-22385
Портрет А. С. Грибоедова
- 1829
- .
- The State Russian Museum
- Гр.-20733
Портрет Е. А. Баратынского
- Lithography.
- The State Russian Museum
- Гр-28571
Обед у книгоиздателя А. Ф. Смирдина
- 1833
- .
- The State Russian Museum
- Гр.-21414
Портрет Ивана Андреевича Крылова (1768—1844)
- Canvas, paper.
- The State Russian Museum
- Ж-5250
Портрет Николая Васильевича Гоголя
- 1834
- Lithography.
- The State Russian Museum
- Гр.-25288
Портрет А. С. Пушкина
- 1838
- Paper, etching, .
- The State Russian Museum
- Гр.-15856
Портрет Н. В. Гоголя
- Canvas, oil.
- The State Russian Museum
- Ж-3476
Портрет В. А. Жуковского
- 1841
- Lithography.
- The State Russian Museum
- Гр.-28042
Портрет В. Г. Белинского
- 1840s
- Lithography.
- The State Russian Museum
- Гр.-32781
Портрет Г. Р. Державина
- .
- The State Russian Museum
- Гр-16339
Portrait of Nikolai Nekrasov
- 1872
- Canvas, oil. 104.5 x 80
- The State Russian Museum
- Ж-4144
Nikolai Alexeyevich Nekrasov (1821–1877/1878), a poet, prose writer and publicist, was born into the landed gentry. At the age of seventeen he went to St Petersburg to enter university, despite the wishes of his father who wanted his son to follow a military career. Because of this wilfulness his father deprived him of any material support, and so as not to die of hunger Nekrasov undertook coaching and wrote poetry and stories to commissions from the capital’s booksellers, for which he received a pittance. During this period he got to know Vissarion Belinsky, who had a great influence over him, moral, literary and ideological. In 1847 Nekrasov, together with the writer Ivan Panayev, bought the “Sovremennik”, which had been set up by Pushkin. The government stopped the journal from being published for eight months in 1862, and banned it completely in 1866. A year-and-a-half later Nekrasov rented “Otechestvennye zapiski” and was the journal’s editor, along with Saltykov-Shchedrin, from 1868 until his death. The depiction of the harsh life of the peasantry and the urban poor and his sympathy for the difficult lot of women were distinctive features of his work. He said of himself: “I have dedicated my lyre to my people” and he called his muse “the muse of vengeance and sorrow”.
Портрет И. С. Тургенева
- 1875
- Canvas, oil. 144 х 108
- The State Russian Museum
- Ж-4397
Portrait of Alexei Suvorin
- Canvas, oil. 108,5 x 88
- The State Russian Museum
- Ж-2994
Alexei Sergeyevich Suvorin (1834–1912), a publisher, publicist, theatre critic and writer. From 1858 worked in provincial publications and was printed in the “Sovremennik”. He collaborated in “Sankt-Peterburgskye vedomosti” (St Petersburg News) and other St Petersburg newspapers from 1863. In the city he published the newspaper “Novoye vremya” (New Times) (from 1876), the journal “Istorichesky vestnik” (Historical Bulletin) (from 1880) and scientific literature. The mass publication of works by Russian and foreign writers in the Cheap Library series played an important educative role. He paid particular attention to the availability of books and opened his first shop on Nevsky Prospekt in St Petersburg in 1878; after this shops appeared in many large towns.
Портрет Ф. М. Достоевского
- 1883
- Paper, etching.
- The State Russian Museum
- Гр.-17560
Юбилейный лист «Собеседник любителей российского слова»
- 1883
- etching.
- The State Russian Museum
- Гр.-44214
Портрет Н. В. Гоголя
- 1886
- etching.
- The State Russian Museum
- Гр.-17603
Portrait of Elena Likhacheva
- Canvas, oil.
- The State Russian Museum
- Ж-4147
The compositional solution of the portrait of the writer and social activist Elena Likhacheva (1836-1904) is not typical of Ge’s portrait work. Likhacheva is shown in the study at a table. Her small figure in a black dress seems to be lost, surrounded by various objects. Likhacheva's eyes gaze intently at the viewer, showing intellect and spiritual depth.
Even in his younger years, Ge was convinced that "the artist must convey the image of his dear compatriots", doing that not for himself, but "for society." He felt like this while painting the portraits of Alexander Herzen, Nikolai Nekrasov, Mikhail Saltykov-Shchedrin, and later Leo Tolstoy. The civic-mindedness was a typical feature of the Peredvizhniki’s portraits.
А. С. Суворин среди членов редакции «Санкт-Петербургских ведомостей»
- 1893
- .
- The State Russian Museum
- Гр.-19838
Портрет А. И. Герцена
- 1903
- etching.
- The State Russian Museum
- Гр.-19425
Портрет писателя Л. Н. Андреева
- 1908
- .
- The State Russian Museum
- Гр.-44088
Портрет М. А. Кузмина
- 1909
- Lithography.
- The State Russian Museum
- Гр.-25376
Портрет Н. С. Гумилева
- 1909
- Lithography.
- The State Russian Museum
- Гр.-25372
Завтрак. Портрет П. Е. Щеголева
- 1911
- Cardboard, pastel, gouache, graphite. 50 х 35
- The State Russian Museum
- Ж-2444
Portrait of Anna Akhmatova
- 1922
- Canvas, oil. 54,5 х 43,5
- The State Russian Museum
- Ж-2407
Федор Достоевский
- 1973
- Bronze. 104 x 33 x 25
- The State Russian Museum
- СО-1624
Геллмут
Смирнов П. С.
Фридриц Иван Павлович
Матюшин И. И.
Уткин Николай Иванович
Шевалье Франсуа Фредерик
Эггинк Иван Егорович (Иоганн Леберехт)
Моллер Отто Фридрих Теодор, фон (Федор Антонович)
Sokolov Pyotr Fyodorovich
1797, Moscow - 1848, Stary Merchik (Orlov-Denisov estate), near KharkivPainter, watercolour painter. Portraitist and author of compositions on historical themes. Studied at the Imperial Academy of Arts (1800s-10s). Awarded a minor gold medal (1809), made an academician of watercolour portrait painting (1839). Travelled across France and Germany (1842-43), lived in Moscow (1846-48). Associated with the golden age of watercolour portraiture in Russian art in the second quarter of the nineteenth century. His works were extremely popular and his customers included members of the Imperial family and the upper classes.
Тимм Василий Федорович (Георг Вильгельм)
Харламов Алексей Алексеевич
Бобров Виктор Алексеевич
Матэ Василий Васильевич
Войтинская-Левидова Надежда Савельевна
Киселева (Черная) Елена Андреевна
Petrov-Vodkin Kuzma Sergeyevich
1878, Khvalynsk (Saratov Province) - 1939, LeningradPainter, graphic artist, writer on art, history painter, portraitist. Studied at the Baron Stieglitz Central School of Technical Drawing (1895-97), under Abram Arkhipov and Valentin Serov at the Moscow School of Painting, Sculpture and Architecture (1897-1904), at Anton Aube\'\'s school in Munich (1901) and private academies in Paris. Contributed to exhibitions (from 1898). Contributed to the Salon d\'\'Automne (1906-07, 1908), Sergei Makovsky Salon (1909), Union of Russian Artists (1909, 1910), Golden Fleece (1909), Union of Youth (1910), World of Art (191124), Second Post-Impressionist Exhibition (1912), First Free Exhibition of Works of Art (1919), Association of Artists of Revolutionary Russia (1923, 1928), Four Arts (1925-29), World Exhibition in Brussels (1910) and the International Exhibitions in Rome (1911), Malmo (1914) and Venice (1924, 1928). Taught at the Elizaveta Zvantseva School of Painting and Drawing in St Petersburg (1910-15) and the Free Art Studios/Academy of Arts (1918-38). Honoured Artist of Russia (1930).
BARANOV Leonid
BORN 1943Portrait of the Actor Fyodor Volkov, Founder of the First Russian Public Theatre
- Canvas, oil.
- The State Russian Museum
- Ж-4969
Портрет М. Ф. Полторацкого
- Canvas, oil.
- The State Russian Museum
- Ж-4993
Портрет Е. И. Колосовой
- Canvas, oil.
- The State Russian Museum
- Ж-5231
Большой театр в Петербурге
- Canvas, oil.
- The State Russian Museum
- Ж-3151
Большой императорский театр в Петербурге
- Paper, etching with hand colouring.
- The State Russian Museum
- Гр.-30338
Портрет Е. С. Семеновой
- lathe.
- The State Russian Museum
- Гр-24250
Зал Большого каменного театра (Каменный театр)
- Paper, .
- The State Russian Museum
- Гр.-21324
Граф М. Ю. Виельгоргский
- Paper, .
- The State Russian Museum
- Гр.-27493
Каменноостровский театр (вид с Елагина острова)
- Paper, lithography.
- The State Russian Museum
- Гр.-26242
Квартет у М. Ю. Виельгорского
- Paper, .
- The State Russian Museum
- Гр.-33327
Портрет Д. С. Бортнянского
- Paper, lithography.
- The State Russian Museum
- Гр.-28692
Портрет А. Ф. Львова
- Paper, lithography.
- The State Russian Museum
- Гр.-33319
Портрет оперной певицы А. Я. Петровой, жены певца О. А. Петрова
- Canvas, oil.
- The State Russian Museum
- Ж-5092
Разъезд из Александрийского театра
- Lithography.
- The State Russian Museum
- Гр.-35827
Виардо, Рубини, Тамбурини, поющие на сцене Большого театра в Петербурге
- Paper, lithography.
- The State Russian Museum
- Гр.-29385
Портрет актера Василия Васильевича Самойлова
- Canvas, oil.
- The State Russian Museum
- Ж-4583
Портрет М. П. Мусоргского и Н. Гр. Рубинштейна
- Paper, lithography.
- The State Russian Museum
- Гр.-26994
Portrait of Alexander Glazunov
- 1887
- Canvas, oil. 119 x 90,5
- The State Russian Museum
- Ж-4014
Ilya Repin particularly enjoyed painting portraits of musicians. A leading Russian composer, conductor and professor of the St Petersburg Conservatoire, Alexander Glazunov (1865–1936) continued the traditions of the Russian Five and Peter Tchaikovsky in the late nineteenth and early twentieth centuries. When the artist painted this portrait, the composer had already written two symphonies and the symphonic poem Stenka Razin. Glazunov repaid the debt in 1889 by dedicating an ode to Repin — Oriental Rhapsody for Large Orchestra. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 182.
Concert at the Assembly of the Nobility
- 1888
- Paper, ink. 26,5 х 37
- The State Russian Museum
- Р-7880
Among those present are: Stasov, Vladimir Vasilyevich (1824–1906): Art and music critic, art historian and Solovyov,Vladimir Sergeyevich (1853–1900): Religious thinker, mystic, poet, columnist and literary critic.
Portrait of Alexander Borodin
- 1888
- Canvas, oil. 209 x 138,5
- The State Russian Museum
- Ж-4011
Borodin, Alexander Porfiryevich (1833–1887): Composer, scholar, chemist.
Portrait of Nikolai Rimsky-Korsakov
- 1893
- Canvas, oil. 125 x 89,5
- The State Russian Museum
- Ж-4013
Rimsky-Korsakov, Nikolai Andreyevich (1844–1908): Composer
Портрет М. И. Глинки
- Paper, etching.
- The State Russian Museum
- Гр.-19427
Столовая у Дон-Жуана
- 1910
- Canvas, tempera. 80 x 119
- The State Russian Museum
- Ж-1934
Portrait of Fyodor Chaliapin in the Role of Boris Godunov
- 1912
- Canvas, , colour-wash, gouache, pastel, silver foil. 211,5 x 39,5
- The State Russian Museum
- Ж-4345
Alexander Golovin created a series of portraits of Fyodor Chaliapin, conveying both the famous opera singer’s outer appearance and his stage images. Golovin’s theatrical portraits brightly express the theatrical action, conjuring up the musical phrase sounding on stage at that particular moment in time. Portrait of Fyodor Chaliapin in the Role of Boris Godunov is majestic and monumental; a pageant unfolding against a theatrical curtain. The subject’s sumptuous robe, embroidered with precious stones and golden threads, occupies a large part of the painting without distracting attention from the singer’s expressive face, which rounds off the composition. This tense image of Boris Godunov is psychologically rich and full of drama. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 251.
Портрет композитора М. А. Балакирева
- Paper, etching.
- The State Russian Museum
- Гр.-19400
Портрет А. С. Лурье
- 1915
- Canvas, oil. 138,5 х 127
- The State Russian Museum
- ЖБ-1721
Portrait of Vsyevolod Meyerhold
- 1916
- Canvas, oil. 247 x 168
- The State Russian Museum
- Ж-5823
Grigoriev's enigmatic portrait combines classical and expressionistic techniques, to which this master was drawn in equal measure. Through the plastic quality of the painting he attempts to con vey the creative process of the great director and the complexity and contradictions of his philosophical and aesthetical quests. Detached from the present, Meyerhold's intense and strange creativity comes, as it were, from a higher inspiration. Grigoriev's portrait is a specific phenomenon of the St Petersburg culture of the 1910s, characteristically theatre-centred and abounding in ideas about life as theatre and the mystical nature of the performance. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 158.
Boris Grigoriev’s portrait of Vsyevolod Meyerhold has an unusual construction. The famous theatrical director is stands with his arms raised in a weird and warped pose, as if caught in the middle of an eccentric mise-en-scène. The allegorical figure of a hunter in oriental dress stands behind him, holding a bow. Vsyevolod Voinov called Grigoriev’s painting a «double portrait of Vsyevolod Meyerhold». He believed that it «reflected the grimaces and break-up of the modern spirit, when the nightmares of the fairground clown were preferable to the nightmares of Russian reality.»
Vsyevolod Emilievich Meyerhold (1874–1940): Theatrical director, actor. Headed experimental work under the pseudonym of Doctor Dapertutto at a studio on Borodino Street in Moscow (from 1914). Published the L’amore delle tre melarance magazine (1914–16). Directed and performed the role of Lord Henry in The Portrait of Dorian Gray, a film based on the novel by Oscar Wilde (1915). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg,
Commander’s Grave
- 1917
- plywood, tempera. 79 х 115
- The State Russian Museum
- Ж-1940
Molière’s Dom Juan was the first collaboration between Alexander Golovin and Vsevolod Meyerhold (1874–1940) for the Imperial Theatres. The designer and director recreated the atmosphere of splendour and festivity in the “scented and gilded kingdom of Versailles”. Dom Juan was resolved in the spirit
of a theatre at the court of King Louis XIV. There was no curtain, the prompters were located in full view of the audience, and the auditorium was lit. Golovin was well acquainted with the artists of the Alexandrinsky Theatre and designed the costumes with specific performers in mind. His outstanding creations helped the artists to fit lightly and naturally into the scenic images.
Set design for Scene I
- 1917
- Paper, watercolours, gouache, ink, nib, graphite pencil. 30,2 х 49,4
- The State Russian Museum
- Р-9375
Petrouchka was created jointly by Alexander Benois, the composer Igor Stravinsky and the choreographer Michel Fokine for Sergei Diaghilev’s third Saison Russe in Paris in 1911. In 1920, Petrouchka was staged at the Mariinsky Theatre, based on revived designs of 1917–1918. The stage sets consisted of a portal and four interchanging tableaux inbetween. The first and final tableaux depict the merry shrovetide festivities on a snow-covered square in St Petersburg of the 1830s–1840s. As Benois wrote, “I was ... tempted by the idea of depicting the Butter Week Fair ...the dear balagani [fairground booths] which were the delight of my childhood.” When working on the costumes for Petrouchka, Benois closely studied historical and genre material — folk toys, Russian popular prints, lithographed albums and fashion journals of the 19th century. The plot of the ballet is the rivalry of Pétrouchka, “a grotesque, half-human being”, and Blackamoor for the attention of the Ballerina. Benois lends the hero of his design the movement, gesture and mimics of the future performer, Vaslav Nijinsky, who succeeded, in Benois’ words, in “expressing Pétrouchka’s pitiful oppression and hopeless efforts to achieve personal dignity, without ever ceasing to be a puppet.”
Экзерсис
- Paper, gouache, whiting, tempera.
- The State Russian Museum
- РС-12920
Портрет Е. А. Мравинского
- Paper, .
- The State Russian Museum
- С.Гр.-1046
Портрет балерины А. Я. Шелест
- 1947‒1949
- Canvas, oil. 145 x 100
- The State Russian Museum
- Ж-5583
Портрет композитора А. П. Петрова
- Canvas, oil.
- The State Russian Museum
- Ж-8798
Филармония
- Canvas, oil.
- The State Russian Museum
- ЖС-63
Warnek Alexander Grigoryevich
1782, St Petersburg - 1843, St PetersburgPainter, draughtsman, portraitist. Son of Georg Dietrich Warnek, a mahogany furniture maker. Studied at the Imperial Academy of Arts (1795-1803). Fourteenth-class artist. Awarded a fellowship to Italy (1804-09). Academician of portraiture for Portrait of the Writer, Historian, Ethnographer, Geographer, Archaeologist and Honorary Member of the Imperial Academy of Arts Ivan Pototsky (1810). Painted icons for the iconostasis of the Kazan Cathedral (1810). Taught portraiture at the Imperial Academy of Arts (from 1810) and miniature painting (from 1815). Councillor (1814), second-class professor (1831), first-class professor (1832), professor emeritus (1834). Curator of drawings and prints at the Imperial Hermitage (from 1824). Contributed to the work of the Society for the Encouragement of Arts. Contributed to the exhibitions of the Imperial Academy of Arts (1814-24).
Райт Томас
Афанасьев Константин Яковлевич
Brullov (Bruleau) Karl Pavlovich
1799, St Petersburg -1852, Manziana (near Rome)Painter, watercolourist, draughtsman, history painter, portraitist, genre painter, mural painter. Born into an artistic family. Studied under Anton Ivanov, Alexei Yegorov and Vasily Shebuyev at the Imperial Academy of Arts (1809-22), graduated with a first-class gold medal. Sent to Italy by the Society for the Encouragement of Arts (1822-35). Worked in Milan, Naples and Rome. Won fame in Europe as a portraitist and history painter for such works as The Last Day of Pompeii (1827-33, Russian Museum. St Petersburg)- Returned to Russia and lived in St Petersburg. Honorary freeman (1834), second-degree professor (1835) and first-degree professor (1846) of the Imperial Academy of Arts, where he taught history painting, enjoying the love and respect of his many students. Professor of the Accademia di Belle Arti in Florence. Contributed to exhibitions in Rome, Milan, Paris and St Petersburg. Went abroad on the advice of doctors (1849), settled in Italy (1850).
Гюо Евгений
Steuben Carl (Steuben, Charles Auguste de)
1788, Bauerbach, the Grand Duchy of Baden – 1856, ParisЛебедев Александр Игнатьевич
Golovin Alexander Yakovlevich
1863, Moscow - 1930, Detskoe Selo (Leningrad Region)Theatrical designer, painter, graphic artist. Studied under Illarion Pryanishnikov and Vasily Polcnov at the Moscow School of Painting, Sculpture and Architecture (1881-89) and at the Academic de Filippo Colarossi (1889) and Academie Witti (1897) in Paris. Academician (1912). Member of the World of Art (1902) and the Union of Russian Artists (1903). Contributed to the exhibitions of the Society of Travelling Art Exhibitions (1893, 1895), Moscow Fellowship of Artists (1894, 1901-02), World of Art (1899-1903, 1906, 1911-12, 1924), Union of Russian Artists (1903-09, 1916), New Society of Artists (1907, 1908), Expositions Universelles in Paris (1900; gold and silver medals) and Brussels (1910), Esposizione Internazionale in Venice (1907) and Rome (1911) and the Exhibitions of Russian Art in Paris (1906) and Berlin (1906). Designed for the Bolshoi Theatre and Moscow Arts Theatre in Moscow, Mariinsky and Alexandrinsky Theatres in Si Petersburg and Sergei Diaghilev\'\'s Saisons Russes (1908,1910).
Бруни Лев Александрович
Grigoriev Boris Dmitriyevich
1886, Moscow - 1939, Cannessur-Mere (France)Painter, draughtsman. Studied under Dmitry Scherbinovsky at the Stroganov Central School of Art and Industry (1903-07) and under Alexander Kiselev and Nikolai Dubovskoi at the Imperial Academy of Arts (1907-12). Contributed to the exhibitions of the Impressionists (1909), Fellowship of Independents (1912-13) and the World of Art (1913, 1915-18, member from 1918). Emigrated (1919) and lived in Finland, Germany and France.
Бруни Татьяна Георгиевна
ORESHNIKOV Viktor Mikhailovich
1904, Perm — 1987, LeningradPainter, painted genre and history scenes, portraits, still lifes and landscapes. Studied under I. I. Turansky in Perm (1918); at the Perm Free Art Studios (1919–1924) and VKhUTEIN in Petrograd / Leningrad (1924–1927). Post-graduate student at the Institute of Proletarian Fine Art (1933–1936). Contributed to exhibitions (from 1933). Member of the Union of Artists (1932). Candidate of Art Studies (1949). Doctor of Art Studies (1948). Professor (1949). Corresponding (1948) and full (1954) member of the USSR Academy of Arts. People’s Artist of the RSFSR (1956), People’s Artist of the USSR (1969), State Prize winner (1948, 1950).
UGAROV BORIS
1922 – 1991Егошин Герман Павлович
Манифестация
- 1906
- Paper, . 33,9 х 27,2
- The State Russian Museum
- Р-5008
Burning Eagles
- Canvas, oil.
- The State Russian Museum
- ЖБ-1985
Демонстрация на Невском проспекте (Манифестация)
- 1917
- Paper, graphite pencil, watercolours. 17,2 х 25
- The State Russian Museum
- Р-58696
Из жизни Петрограда в 1920 году
- Cardboard, gouache, graphite pencil.
- The State Russian Museum
- Р-45518
«С хлебом»
- 1920
- Paper, gouache, watercolours. 28 х 29,7
- The State Russian Museum
- РС-9389
Из жизни Петрограда в 1920 году
- 1920
- Paper, сharcoal , gouache, watercolours, . 49,5 х 33,5
- The State Russian Museum
- Рс-487
Охрана дров у Адмиралтейства
- 1920
- Paper, watercolours. 22,8 х 29,2
- The State Russian Museum
- РС-9387
Трамвайные „висельники"
- 1920
- Paper, gouache. 23,8 х 29,8
- The State Russian Museum
- РС-9388
Академики за пайком
- 1922
- Paper, watercolours. 21,6 х 28
- The State Russian Museum
- РС-4800
Толкучка
- Paper, watercolours. 23,3 х 33,4
- The State Russian Museum
- РС-4799
Kustodiev Boris Mikhailovich
1818, Astrakhan - 1927, LeningradPainter. Studied under Vasily Savinsky and Ilya Repin at the Higher School of Art, Imperial Academy of Arts (1896-1903). Fellow of the Imperial Academy of Arts in France and Spain (1903-1904). Academician of painting (1909). Founding member of the New Society of Artists (1904) and member of the Union of Russian Artists (1907), World of Art (1910) and the Association of Artists of Revolutionary Russia (1923). Contributed to exhibitions (from 1900). Contributed to the periodical exhibitions of the Moscow Society of Lovers of the Arts (1900-1901), Spring Exhibitions of the Imperial Academy of Arts (1900-1903) and the exhibitions of the New Society of Artists (1904-1908), Union of Russian Artists (1907-1910), World of Art (1910-1924), Association of Artists of Revolutionary Russia (1923, 1925) and the International Exhibitions in Munich (1901, gold medal; 1909) and Malmo (1914, gold medal). Designed for theatres in Moscow and St Petersburg (from 1911).
Vakhrameyev Alexander
Портрет архитектора Ф.-Б. Растрелли
- Canvas, oil. 56 х 47
- The State Russian Museum
- Ж-4936
Portrait of Alexander Stroganov
- Canvas, oil. 115,5 х 87
- The State Russian Museum
- Ж-4541
Alexander Roslin (1718-1793) was a Swedish painter, who worked in St. Petersburg from 1775 until 1777. He painted many portraits of members of the imperial family and the high nobility.
Alexander Stroganov (1733–1811) was count and son of Sergei Stroganov and Sofia Kirillovna (née Naryshkina). He was a privy councilor, senator, Great Chamberlain and member of the State Council. He was also Director of the Public Library and President of the Imperial Academy of Arts, as well as a collector. He is depicted with the Orders of the White Eagle (ribbon and star) and St. Anne (cross).
Portrait of the Architect and Adjunct Rector of the Academy of Arts Georg Friedrich Felten
- Canvas, oil. 60 х 47
- The State Russian Museum
- Ж-3229
Портрет президента Академии художеств И. И. Бецкого
- etching, lathe.
- The State Russian Museum
- Гр.-29466
Portrait of the Member of the State Council and Collector Count Alexander Stroganov
- 1814
- Canvas, oil. 251 х 184
- The State Russian Museum
- Ж-5497
Alexander Stroganov (1733–1811) was a Count and the son of Sergei Stroganov and Sofia Stroganova (née Naryshkina). From 1752 through 1757, he studied abroad. In 1761, he was created Count of the Holy Roman Empire. In 1762 he was made Chamberlain and in 1770, privy councillor; he was a senator and was made Great Chamberlain in 1796, and in 1798 Count of the Russian Empire, and he was Director of the Public Library. He was made President of the Imperial Academy of Arts in 1800. From 1784 until 1811, he was the Province Marshal of the Nobility for St Petersburg, and was made a member of the State Council in 1801. He was a collector. He personally compiled and published a small portion of his collection under the title “Catalogue raisonné des tableaux, que composent la collection du comte A. de Stroganoff”. He was married twice. His first wife was Anna Vorontsova, and his second was Princess Yekaterina Trubetskaya.
Self-Portrait
- 1810s
- Canvas, oil. 52,5 x 42,5
- The State Russian Museum
- Ж-3408
Portrait of the Artist and Art Teacher Kirill Golovachevsky with Three Pupils of the Imperial Academy of Arts
- Canvas, oil. 143,5 х 111
- The State Russian Museum
- Ж-5152.
Alexei Venetsianov is a master of the everyday life genre and created an independent art movement (“Venetsianov school”). He worked for the postal and then for the forestry departments. Venetsianov learned painting by himself: he followed lessons of Vladimir Boroviskovsky and copied paintings from the Hermitage. The portrait of Kirill Golovachevsky with pupils granted Venetsianov the title of academician in 1811.
Kirill Golovachevsky (1735–1823) was a history painter, a portraitist and headmaster of the Imperial Academy of Arts.
Портрет художника Д. Г. Левицкого (1735-1822)
- 1812
- Canvas, oil. 132 х 107
- The State Russian Museum
- Ж-3275
Фасад Академии художеств
- 1813
- Paper, watercolours.
- The State Russian Museum
- Р-23649
Portrait of the Artist’s Elder Brother, the Architect and Painter Alexander Brullov
- Canvas, oil.
- The State Russian Museum
- Ж-5080
Портрет В. И. Григоровича
- Canvas, oil.
- The State Russian Museum
- Ж-5233
Портрет архитектора B. П. Стасова
- 1820s
- Canvas, oil. 74,5 х 58
- The State Russian Museum
- Ж-5234
Studio of Artist Alexey Venetsianov in Saint-Petersburg
- Canvas, oil.
- The State Russian Museum
- Ж-5212
Большие парадные сени в главном здании Академии художеств
- etching.
- The State Russian Museum
- Гр.-34829
Self-Portrait
- 1833
- Canvas, oil. 56,5 x 43
- The State Russian Museum
- Ж-5077
Мастерская художника П. В. Басина
- 1833
- Canvas, oil. 66,5 х 88,5
- The State Russian Museum
- Ж-5404
Портрет архитектора А. А. Монферрана
- Canvas, oil. 71,5 х 57
- The State Russian Museum
- Ж-4617
Вторая античная галерея в Академии художеств
- 1836
- Canvas, oil. 138 х 170,5
- The State Russian Museum
- Ж-6260
Групповой портрет: К. П. Брюллов, Я. Ф. Яненко, М. И. Глинка, Н. В. Кукольник и И. П. (?) Поливанов
- Paper, watercolours.
- The State Russian Museum
- Р-2903
Catherine II Approving the Plan of the Imperial Academy of Arts
- Not earlier than 1840
- Canvas, oil. 26,5 х 37; 21,5 х 16
- The State Russian Museum
- Ж-213
Карикатура на модного художника. Карикатура на преподавание в Академии художеств
- Paper, ink, nib. 42 х 33,3
- The State Russian Museum
- Р-46023
Карикатура на молодого художника
- Paper, ink, nib. 42,1 х 33,4
- The State Russian Museum
- Р-46022
Мастерская художника Ладюрнера
- Canvas, oil.
- The State Russian Museum
- Ж-4863
Портрет князя Н. И. Дондукова-Корсакова
- 1841
- Canvas, oil. 136 х 105
- The State Russian Museum
- Ж-3706
Портрет графа Ф. П. Толстого
- Canvas, oil.
- The State Russian Museum
- Ж-5195
Портрет профессора Академии художеств архитектора К. А. Тона
- 1851
- Canvas, oil. 75 х 63,5
- The State Russian Museum
- Ж-4590
Портрет В. К. Шебуева
- 1852
- Canvas, oil. 129,5 х 100
- The State Russian Museum
- Ж-6038
Портрет профессора Академии художеств П. В. Басина
- 1853
- Canvas, oil. 130 х 101
- The State Russian Museum
- Ж-6044
Внутренний вид женского отделения Петербургской рисовальной школы для вольноприходящих
- 1855
- Canvas, oil. 73 х 89
- The State Russian Museum
- Ж-2799
Мастерская князя Василия Николаевича Максутова
- 1858
- Canvas, oil. 46 х 55
- The State Russian Museum
- Ж-3782
Портрет А.С. Пушкина
- Paper, lithography.
- The State Russian Museum
- Гр.-5572
Внутренний вид класса Петербургской рисовальной школы в помещении таможенного здания
- 1860s
- Canvas, oil. 143 х 101,5
- The State Russian Museum
- Ж-2800
Portrait of Ivan Kramskoi
- 1876
- Canvas, oil. 89,5 x 69,5
- The State Russian Museum
- Ж-2503
Ivan Nikolayevich Kramskoi (1837–1887), painter, draughtsman, engraver, theoretician of realist art and art critic. He worked as a retoucher for an itinerant photographer (1853–1857) and studied at the Imperial Academy of Arts (1857–1863). He was the initiator of the “Revolt of Fourteen” (1863) and one of the organisers and head of the St Petersburg Artel of Artists (1863–1870). He was also a founding member of the Society of Travelling Art Exhibitions (1870–1887), a member of the Society for the Encouragement of Artists (from 1861) and of the Moscow Society of Amateur Artists (from 1871) and a founding member of the Society of Russian Aquafortists (1871–1874). He was an Academician from 1869, took part in exhibitions from 1860 and taught at the drawing school at the Society for the Encouragement of Artists (1863–1869 with breaks).
Портрет А. Н. Оленина
- 1876
- .
- The State Russian Museum
- Гр.-27577
Portrait of Arkhip Kuindzhi
- 1877
- Canvas, oil. 141,1 х 104,8
- The State Russian Museum
- Ж-4076
Kuindzhi, Arkhip Ivanovich (1842?–1910): Artist.
Self-Portrait
- 1878
- Canvas, oil. 60,5 x 49,6
- The State Russian Museum
- Ж-4063
Дмитрий Александрович Ровинский
- 1879
- .
- The State Russian Museum
- Гр.-29664
Portrait of Ivan Shishkin
- Canvas, oil. 115,5 x 83,5
- The State Russian Museum
- Ж-2992
Ivan Kramskoi conveys Ivan Shishkin’s talented nature by the intent gaze of his twinkling eyes, his calm and confident pose and the natural gesture of his hands. Contrasting the neutral light-grey background and dark figure, the artist concentrates on the sitter’s open and contemplative face, surrounded by a thick mane of unruly hair. The distinct and austere composition, the play of light and shade and the expressive silhouette increase the psychological elements, creating the sensation of an integral nature and spiritual power.
Экзамен в Рисовальной школе Императорского Общества поощрения художеств
- 1886
- Paper, watercolours, graphite pencil, whiting. 23,7 х 34
- The State Russian Museum
- Р-2739
Портрет Н. Н. Ге
- Canvas, oil.
- The State Russian Museum
- Ж-4156
Среда сезона 1891—1892
- 1892
- Paper, ink, whiting, graphite pencil. 19,5 х 29,1
- The State Russian Museum
- Р-54670
Портрет историка искусства и музейного деятеля Андрея Ивановича Сомова (1830-1909), отца художника
- 1897
- Canvas, oil.
- The State Russian Museum
- Ж-4386
Портрет вице-президента Академии художеств графа И. И. Толстого
- 1899
- Canvas, oil. 120 х 87
- The State Russian Museum
- Ж-4042
Интерьер
- 1900s
- paper mounted on cardboard, tempera.
- The State Russian Museum
- Ж-2134
Portrait of Vasily Mahté
- Canvas, oil. 125 х 151
- The State Russian Museum
- Ж-4360
Boris Kustodiev painted a vast portrait gallery of his contemporaries. He was the first to describe himself as a portraitist, as he considered this genre to be his calling. Kustodiev, who was taught by Repin at the Imperial Academy of Arts from 1896 until 1903 and who was close to him in many ways, took a step further in the evolution of the portrait painting. He painted with a free dynamic touch, which preserved the vigour of his first impressions.
Vasily Vasilyevitch Mahté (1856-1917) was an engraver, an art head teacher and an academician (1899). Kustodiev was his student in etching. In this painting, it is Mahté ’s wife, Ida Mahté , who is sitting at the table.
Автопортрет
- 1900s
- Canvas, oil. 102 х 67
- The State Russian Museum
- Ж-8735
Афиша Историко-художественной выставки русских портретов
- 1905
- . 45,5 х 65,5
- The State Russian Museum
- Гр. луб.-2588
Portrait of Sergei Diaghilev and his Nanny
- 1906
- Canvas, oil. 161 x 116
- The State Russian Museum
- Ж-2117
One of Léon Bakst’s most outstanding works of portraiture, Portrait of Sergei Diaghilev and his Nanny is, perhaps, the most famous image of the legendary Russian impresario, who was a close friend of the artist. Diaghilev’s slightly fastidious pose, raised eyebrows and appraising glance betray a self-confident and authoritative personality. The figure of the old nanny sitting in the corner was a typical feature of the way of life of the old Russian nobility. Contrasting the figure of Diaghilev, she offers a clearer insight into the personality of the sitter — a former provincial whose energy and talent helped him to not only conquer the Russian capital, but the whole of Europe as well.
Sergei Pavlovich Diaghilev (1872–1929) was one of the central figures of fin-de-siècle cultural life in St Petersburg. Before launching the Saisons Russes in Paris, he founded and published the World of Art (Mir iskusstva) magazine (1898–1904), curated a series of important art shows and wrote articles on art and the theatre. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 254.
Афиша «Мир искусства. Выставка картин...»
- 1913
- Lithography.
- The State Russian Museum
- Гр.Луб.-2629
Портрет барона Николая Николаевича Врангеля
- 1916
- .
- The State Russian Museum
- Гр.-38313
Portrait of Miron Sherling
- 1918
- Canvas, oil. 71,5 x 57,7
- The State Russian Museum
- Жб-1226
Miron (?) Abramovich Sherling: Photo¬grapher and artist from Petrograd. Held an exhibition of Lichtbildkunst at the Nadezhda Dobychina Bureau d’Art at 63 Moika with photographs of Nikolai Yevreinov, Vsyevolod Meyerhold, Fyodor Chaliapin, Alexander Golovin, Nicholas Roerich, Alexander Yakovlev and others. Boris Grigoriev painted Portrait of the Photographer and Artist Miron Sherling (oil on canvas, 99.3 ı 80.5; private collection).
Group Portrait of the Members of the World of Art. 1916–20. Modello for an unpainted picture
- Canvas, oil.
- The State Russian Museum
- Ж-1864
Depicts (from left to right): Igor Grabar (1871–1960), Nicholas Roerich (1874–1947), Yevgeny Lanceray (1875–1946), Ivan Bilibin (1876– 1942), Alexander Benois (1870–1960), Georgy Narbut (1886–1920), Nikolai Milioti (1874– 1962), Konstantin Somov (1869–1939), Mstislav Dobuzhinsky (1875–1957), Kuzma Petrov-Vodkin (1878–1939), Anna Ostroumova-Lebedeva (1871–1955) and Boris Kustodiev (1878–1927).
In 1910, on behalf of the Tretyakov Gallery, Igor Grabar invited Boris Kustodiev to paint a group portrait of the members of the World of Art. Himself a frequent contributor to the World of Art exhibitions, Kustodiev willingly agreed and began work at the first opportunity. Between 1913 and 1916, he painted a series of personal portraits from life in mixed media. Almost all the artist’s compositional versions were later employed in this modello of the intended large group portrait, which was in fact never painted. Kustodiev depicts the artists sitting round a table laid for tea in Mstislav Dobuzhinsky’s drawing room. Engaged in friendly discussion, the figures are portrayed in a series of diverse movements, gestures and poses. The intended genre interpretation was both unusual for a group portrait and compositionally daunting. The artist’s study evoked all sorts of surmises and conjectures regarding the relationships between the sitters and the state of the World of Art at that time.
Портрет Н. Е. Добычиной
- 1920
- Canvas, tempera. 97,4 х 99,5
- The State Russian Museum
- Ж-1952
Автопортрет («За работой»)
- 1920s
- Porcelain, painting over glaze. 15,6 х 9,7 х 7,5
- The State Russian Museum
- СФ-951
Портрет Н. Н. Пунина
- 1933
- Canvas, oil. 69 х 57
- The State Russian Museum
- ЖБ-1517
Portrait of Isaac Brodsky
- 1938
- Canvas, oil.
- The State Russian Museum
- Ж-5685
Портрет Е. С. Кругликовой
- 1939
- Paper, . 14,3 х 9,3
- The State Russian Museum
- РС-17722
Портрет художника Д. И. Митрохина
- 1939
- Paper, . 14,3 х 9,5
- The State Russian Museum
- РС-17714
Портрет художника Е. А. Кибрика
- 1939
- Paper, graphite pencil, . 12,9 х 9,9
- The State Russian Museum
- РС-17718
Портрет художника И. Я. Билибина
- 1939
- Paper, . 14,2 х 9,3
- The State Russian Museum
- РС-17721
Портрет художника К. И. Рудакова
- 1939
- Paper, graphite pencil. 10,6 х 8,7
- The State Russian Museum
- РС-17723
Портрет художника Л. А. Юдина
- 1939
- Paper, graphite pencil, сharcoal . 14,6 х 9,3
- The State Russian Museum
- РС-17715
Портрет художника-графика Г. С. Верейского
- 1939
- Paper, graphite pencil. 6,8 х 11,6
- The State Russian Museum
- РС-17724
Портрет художницы А. И. Порет
- 1939
- Paper, . 14 х 10,1
- The State Russian Museum
- РС-17717
Фигура «За чтением». Портрет художницы Елены Яковлевны Данько
- 1939
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-950
Портрет художника В. А. Власова
- 1940
- Paper, . 17,4 х 12,5
- The State Russian Museum
- РС-17719
Портрет художницы В. В. Зенькович
- 1940
- Paper, . 17 х 13,3
- The State Russian Museum
- РС-17716
Bruni Fidelio (Fyodor Antonovich)
1801, Milan -1875, St PetersburgPainter, engraver, author of religious and history compositions, portraitist. Son of the painter and sculptor Antonio Baroffi-Bruni. Moved to Russia with his father (1807). Studied under Alexei Yegorov, Andrei Ivanov and Vasily Shebuyev at the Imperial Academy of Arts (from 1809). Graduated with a first-class degree (1818). Moved to Rome to con¬tinue his art education (1819). Returned to Russia and painted portraits and icons for churches and cathedrals in St Petersburg and environs (1835-38). Lived and worked in Rome (1838-43, 1843-45). Honorary member of the Academies of Art of Bologna and Milan, professor of the Florentine Academy of Arts and St Luke\'\'s Academy in Rome. Taught at the Imperial Academy of Arts (1836-38, 1846-71). Second-class professor (1836), first-class professor (1846), rector of painting and sculpture (1855-71). Curator of the Imperial Hermitage picture gallery (1849-64), headed the mosaic studio at the Imperial Academy of Arts (from 1866
Яковлев Иван Еремеевич
Alekseyev A. A.
Ivanov Ivan
Зеленцов Капитон Алексеевич
Плюшар Евгений Александрович
Михайлов Григорий Карпович
Каратыгин Петр Андреевич
Нотбек Александр (Иоганн-Вильгельм фон) Васильевич
Будкин Филипп Осипович
Гронкель Виталь-Жан де
Тютрюмов Никанор Леонтьевич
Хилкова Екатерина Николаевна
Максутов Василий Николаевич
Borel Petr
Литографская мастерская А. Э. Мюнстера
Пожалостин Иван Петрович
Йордан Федор Иванович
Загорский Николай Петрович
Somov Konstantin Andreyevich
1869, St Petersburg - 1939, ParisPainter, graphic artist. Studied at Ilya Repin\'s studio (from 1894) at the Imperial Academy of Arts (1888-1897) and the Academic de Filippo Colarossi in Paris (1898). Academician (1914). Member of the Munich and Berlin Sezessions (1898), World of Art (1899), Union of Russian Artists (1903) and the Salon d\'Automne (1906). Contributed to the exhibitions of the Society of Russian Water-colourists (1894-1895), Exhibition of Russian and Finnish Artists (1898) and Sezession in Munich (1898, 1899) and Berlin (1898). Lived in Paris (from 1925).
Bakst Leon (Lev Samoilovich)
1866, Hrodno - 1924, ParisPainter, graphic artist, theatrical designer. Studied at the Imperial Academy of Arts (1883-87) and the Atelier dc Jean Louis Gerome and Academic de Rodolphe Julian in Paris (1893-96). Taught at the Elizaveta Zwantseva School of Drawing and Painting in St Petersburg (1906-09). Member of the Society of Russian Waterecolourists (1891-1907), World of Art (1899-1903, 1906, 1913) and the Union of Russian Artists (1903-1910). Life member of the Salon d\'\'\'\'Automne (from 1906). Academician (1914). Contributed to many exhibitions of theatrical design and one-man shows. Designed sets and costumes for the Mariinsky Theatre and Alexandrinsky Theatre in St Petersburg, Paris Opera and theatres in London and New York. Leading designers of Sergei Diaghilev\'\'\'\'s Ballets Russes (from 1909) and the ballet companies of Anna Pavlova and Ida Rubinstein. Emigrated to Paris (1909).
Шиллинговский Павел Александрович
Annenkoff, Georges (Annenkov, Yury Pavlovich)
1889, Petropavlovsk (Kazakhstan) — 1974, ParisGraphic artist, painter, theatrical and film designer, fiction writer. Studied at the St Petersburg University, in the studios of S. Seidenberg (1908 — 1909) and Jan Ciaglińskj (1909 — 1910) and at the Baron Stieglitz Central School of Technical Drawing (1909 — 1910). Attended the studios of Maurice Denis and Félix Vallotton in Paris (1911 — 1912). Member of the Professional Union of Artist-Decorators (1917), World of Art (1922) and the Society of Easel Artists (1925). Taught at the Free Art Studios (from 1918). Member of the International Bureau, IZO Narkompros (from 1922). Emigrated to Paris (1924).
Danko Natalia
State Porcelain Factory
Laktionov Alexander Ivanovich
Данько (Данько-Олексеенко) Елена Яковлевна
Leningrad Porcelain Factory / State Porcelain Factory named after M.V. Lomonosov
Балтийцы
- Paper, lithography.
- The State Russian Museum
- Гр.пл.-2406
Баррикада. Ленинград
- Cardboard, watercolours, gouache.
- The State Russian Museum
- РС-14207
Дорога под семью мостами
- Paper, ink, graphite pencil.
- The State Russian Museum
- Рс-14063
За водой. Улица Рубинштейна. Зима
- 1941-1942
- Paper, , graphite pencil. 31,5 x 44
- The State Russian Museum
- РС-14211
Кузнечный рынок
- 1941-1942
- Paper, ink, graphite pencil. 14,3 х 20,5
- The State Russian Museum
- РС-14514
На улице
- 1941-1942
- Paper, graphite pencil. 14,3 х 20,5
- The State Russian Museum
- РС-14513
Наброски
- 1941-1942
- Paper, ink. 14,5 х 20,6
- The State Russian Museum
- РС-14510
Наброски (Батон)
- 1941-1942
- Paper, ink, . 14,5 x 20,5
- The State Russian Museum
- РС-14511
Набросок людей, стоящих за водой
- 1941-1942
- Paper, ink. 14,4 x 20,1
- The State Russian Museum
- РС-14509
Трамвай
- 1941-1942
- Paper, graphite pencil. 14,4 х 20
- The State Russian Museum
- РС-14512
Тревога
- Paper, lithography.
- The State Russian Museum
- Гр.Пл.-2413
У Медного всадника зимой. На Неву за водой
- Paper, gouache, whiting, watercolours.
- The State Russian Museum
- РС-14206
У входа в бомбоубежище
- 1941-1942
- Paper, ink, graphite pencil. 14,3 х 20,1
- The State Russian Museum
- РС-14515
At the Field of Mars
- 1942
- Canvas, oil. 76 х 109,5
- The State Russian Museum
- Жб-1867
Getting Water
- 1942
- Canvas, oil. 58 х 141,5
- The State Russian Museum
- Жб-1868
Portrait of Maria Petrova
- 1942
- Canvas, oil.
- The State Russian Museum
- Ж-10941
Maria Grigorievna Petrova (1906–1992): Leningrad radio artist. People’s Artist of the RSFSR (1978). Wife of the artist.
Maria Petrova worked as a political instructor at the House of Radio in Leningrad during the war. A member of the civil defence team of the Leningrad Radio Committee, she helped to save people from under the rubble of destroyed houses. From 1942 onwards, she performed at the Maxim Gorky Theatre of Drama, recreated during the war and known as the legendary Blockade Theatre. Petrova’s voice inspired the citizens of Leningrad both during the siege and after the war. She worked on the radio for a total of fifty-six years.
Once, during the Siege of Leningrad, Maria Petrova exchanged her bread ration for a collection of poems by Alexander Pushkin. Thirty years later, she presented the book to the poet Sergei Davydov, who dedicated the poem A Gift to her:
Slim volume of poetry, so few like you:
Exchanging her last dry slices of bread
For a collection of Pushkin’s verses
In the hungry winter of ’41...
Maria Petrova was a regular wartime visitor to the Union of Artists, where she read out the stories of Vladimir Korolenko. Her future husband, Yaroslav Nikolaev, made sketches of her while she was reading. The image in the portrait is both touching and inspired. The harmony of the light-pink and white tones of the clothes and the softly painted background is natural and beautiful. The notes of lyricism in the sitter’s outer appearance and the painterly resolution are particularly distinctive in comparison with such other works by the artist as Self-Portrait and Portrait of Vasily Vikulov.
Urgent Order for the Front
- 1942
- Canvas, oil. 66 x 86
- The State Russian Museum
- Ж-11099
Nikolai Dormidontov spent the entire Siege of Leningrad in his native city. His many paintings and drawings tell the story of the epic struggle of the people of Leningrad. The besieged citizens not only fought against the cold and hunger; they also spent entire days and nights in the factories, making ammunitions for the front. The tense tones and dynamic composition reflect the heroism of the citizens, manufacturing a new tank at the Kirov Factory.
Автопортрет
- Canvas, oil.
- The State Russian Museum
- Ж-4415
В булочной
- 22.02.1942
- Paper, watercolours, . 19,9 x 13,3
- The State Russian Museum
- РС-13363
Дежурные. Весна 1942 года
- 1942
- Paper, watercolours, . 14,1 x 15,3
- The State Russian Museum
- РС-13353
За водой
- Canvas, oil.
- The State Russian Museum
- Жб-1765
За водой на Неву
- Paper, watercolours, whiting.
- The State Russian Museum
- Рс-15416
Ленинград
- Paper, gouache.
- The State Russian Museum
- Рс-19908
Ленинград. На набережной Фонтанки в августе 1942
- Paper, drybrush, graphite and coloured pencils.
- The State Russian Museum
- Рс-491
Моховая улица. Глазная лечебница. 11 января 1942 года
- 1942
- Paper, watercolours, . 14,1 x 18,7
- The State Russian Museum
- РС-13348
На Фонтанке. Январь 1942 года
- 1942
- Paper, watercolours, . 14,7 x 26,4
- The State Russian Museum
- РС-13327
Набережная Невы у Зимнего дворца
- Canvas, oil.
- The State Russian Museum
- Жб-1277
Патруль
- Paper, gouache.
- The State Russian Museum
- Рс-19910
Суда
- Paper, gouache.
- The State Russian Museum
- Рс-19909
У газетного киоска. Весна 1942 года
- 1942
- Paper, , watercolours. 20,2 x 24,3
- The State Russian Museum
- РС-13328
Портрет товарища Литаврина / Портрет Героя Советского Союза, летчика-истребителя капитана С.Г. Литаврина
- Canvas, oil.
- The State Russian Museum
- Ж-5593
Портрет товарища Шишканя / Портрет Героя Советского Союза, летчика-истребителя старшего лейтенанта И.М.Шишканя
- Canvas, oil.
- The State Russian Museum
- Ж-4434
Прорыв блокады
- 1943
- Canvas, oil. 299 х 464
- The State Russian Museum
- Ж-5563
Салют
- Canvas, oil.
- The State Russian Museum
- Ж-6542
Салют 27 января 1944 года
- Paper, lithography.
- The State Russian Museum
- С.Гр.-12034
Nevsky Prospekt on 9 July 1945
- 1945
- Canvas, oil. 75,5 х 101
- The State Russian Museum
- Ж-9200
Награжденный медалью
- Canvas, oil.
- The State Russian Museum
- Жб-1984
На улицах Ленинграда зимой 1941-1942
- .
- The State Russian Museum
- СГр-6562
Бучкин Дмитрий Петрович
Buchkin Pyotr Dmitrievich
1886, Sofronovo, Tver Province — 1965, LeningradPainter, graphic artist, teacher, history painter, genre artist, portraitist, landscapist. Studied at the Baron Stieglitz Central School of Technical Drawing (1899–1904) and the Higher School of Art, Imperial Academy of Arts in St Petersburg (1904–1912). Contributed to exhibitions (from 1907). Member of the Union of Artists (1932). Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (1936–1940) and the Vera Mukhina School of Art and Industry (1947–1965). Professor (1953).
Быльев-Протопопов Николай Михайлович
Курдов Валентин Иванович
Рончевская Людмила Алексеевна
Тырса Николай Андреевич
Кондратьев Павел Михайлович
Nikolayev Yaroslav Sergeyevich
1899, Shavli, Kovno Province — 1978, LeningradPainter. Studied at Kazimir Zelenevsky’s studio in Tomsk (1917); Tomsk University, law department (1917–1918); Irkutsk University, history and philosophy department (1919–1920); State Free Art Studios in Irkutsk (1925–1928). Contributed to exhibitions (from 1927). Member of the Leningrad Union of Artists (1932), chairman of its board (1948–1951). Lived in Leningrad during the Siege; created a number of paintings dedicated to the heroic defence of the city (1941–1945). Honoured Artist of the RSFSR (1956), People’s Artist of the RSFSR (1975).
RUTKOVSKY Nikolai Christophorovich
1892, Schoenberg, Courland Province — 1968, LeningradPainter, graphic artist, theatrical designer, monumentalist; master of genre paintings, portraits, landscapes and still lifes. Studied at the School of Drawing, Society for the Encouragement of the Arts (1911–1913) and the Academy of Arts (1913–1915, 1921–1922). Contributed to exhibitions (from 1923). Taught monumental painting at the Institute of Painting, Sculpture and Architecture (1936–1942), headed the monumental painting studio.
Фитингоф Георгий Петрович
SEROV Vladimir Alexandrovich
1910, Emmaus, Tver Province — 1968, MoscowPainter, graphic artist, book and poster designer. Studied at the VKhUTEIN / Institute of Proletarian Fine Art / Ilya Repin Institute of Painting, Sculpture and Architecture (1927–1933) in Leningrad. Member of the Union of Artists (1932). Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (1933–1942). Designed posters for the Fighting Pencil group of artists (1941–1942). People’s Artist of the RSFSR (1956), People’s Artist of the USSR (1958). Corresponding member and academic secretary (1947), full member (1954), Vice President (from 1958), President (1962–1968) of the USSR Academy of Arts, corresponding member of the East German Academy of Arts (1963). Member of the Awarding Committee for the Lenin and State prizes (from 1960). Winner of the Stalin Prize (1948,1951). Awarded medals “For the Defence of Leningrad”, “For Valiant Labour in the Great Patriotic War 1941–1945”, “For the Victory Over Germany in the Great Patriotic War 1941–1945” (1944–1945), Order of Lenin (1957), gold medal from the USSR Ministry of Culture (1958), silver medal at the World Exhibition in Brussels (1958), Order of the Red Banner of Labour.
Казанцев Анатолий Алексеевич
Pakhomov Alexei Fyorovich
1900, Varlamovo, Vologda Province — 1973, LeningradPainter, graphic artist, monumentalist, book artist, sculptor, painter of portraits, genre scenes and watercolours, illustrated children’s books and journals, designed posters. Studied at the Baron Stieglitz Central School of Technical Drawing (1915–1917) in Petrograd / Leningrad; Petrograd State Free Art Studios / VKhUTEMAS / VKhUTEIN (1922–1925); Academy of Arts, graphic department (1926). Contributed to exhibitions (from 1921). Worked for the Okna ROSTA political poster studio (1921) and various publishing houses (1923–1925); produced monumental interior paintings for public buildings in Leningrad (1920s — 1930s). Taught. Professor (1949). Author of the book About My Work (1968–1969). Member of the arts council at the “Children’s Literature” and “Artist” publishing houses. Honoured Artist of the RSFSR (1945), People’s Artist of the RSFSR (1963), People’s Artist of the USSR (1971), corresponding (1958) and full (1964) member of the USSR Academy of Arts. Winner of the Stalin Prize (1946) and State Prize (1973). Awarded a major gold medal at the International Exhibition in Paris (1937) for the Children of the Soviet Land panel made for the Soviet pavilion.
Раевская-Рутковская Варвара Аркадьевна
Юдовин Соломон Борисович
Фейерверк на Новый год перед Зимним Е. И. В. Домом / Фейерверк и иллюминация 1 января 1748 года в Петербурге перед Зимним дворцом
- 1748
- etching, lathe.
- The State Russian Museum
- Гр.-7883
Иллюминация Санкт-Петербургской Академии Наук сентября 6 дня 1750 года... / Иллюминация перед зданием Академии наук в день ее торжественного собрания
- 1749
- etching, lathe.
- The State Russian Museum
- Гр.-28011
Гулянье на пасхальной неделе в Петербурге
- 1790
- Paper, watercolours, nib. 21,1 х 29.8
- The State Russian Museum
- Р-6702
Tobogganing on the Neva
- 1792
- Canvas, oil. 81 x 107
- The State Russian Museum
- Ж-4691
Tobogganing down ice slopes was a traditional Russian pastime during the carnival period. In St Petersburg the largest ice slopes were to be found on the River Neva in front of the Winter Palace and the Admiralty. Tobogganing was an accessible pastime for everyone, but the height of the slopes at times made this a very risky business. Another old carnival custom was riding around the ice slopes. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 87.
It was mostly young people who went tobogganing, with a young girl sitting on a young man's knees, or the other way around. Often they were made to kiss. During the tobogganing and throughout shrovetide in general, relations between young people were much freer than at any other time of the year. The erotic nature of the rites had the special function of demonstrating one's love. Kisses were supposed to awaken nature, contributing to its fertility and flowering. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 87.
Горы на льду Невы / Ледяные горы на Неве
- 1813
- etching, .
- The State Russian Museum
- Гр.-31525
Бега на Неве
- 1814
- Paper, watercolours. 40,8 х 57,8
- The State Russian Museum
- Р-8281
Вид набережной Невы в день Преполовения
- 1815
- etching with hand colouring.
- The State Russian Museum
- Гр.-36367
Горы на Царицыном лугу
- 1821‒1826
- Paper, .
- The State Russian Museum
- Гр.-28863
Екатерингофское гулянье
- 1824—1825
- etching, aquatint with hand colouring.
- The State Russian Museum
- Гр.-40038
Горы и балаганы на Марсовом поле
- 1820s
- Paper, watercolours. 15,6 х 19,6
- The State Russian Museum
- Р-43029
Ледяные горы на масленице / Ледяные горы на балаганах
- 1820s
- Paper, watercolours, whiting. 14,6 х 19,2
- The State Russian Museum
- Р-12712
Гулянье на Елагином острове
- Paper, watercolours.
- The State Russian Museum
- Р-8591
St Petersburg, Fair Booths on Admiralty Square
- 1849
- Paper, watercolours. 31,1 х 42,7
- The State Russian Museum
- Р-49564
The most important Orthodox holiday is Easter, which also signalled the opening of the season of spring and summer outdoor fêtes. The names of the fêtes reflected the times of the year in which they were helds. There were accompanied by simple and circular swings. Various entertainments were organized beneath the swings and these were a prominent feature in the life of the Russian urban population. Also popular from the end of the seventeenth century onwards were such forms of entertainment as fairgrounds, puppet shows, traditional Russian Punch-and-Judy shows (Petrushka), camera obscuras (raree shows or raiki), farces and carousels. A unique and original colouring was lent to the festivities by the various forms of advertisement - the pressing invitations of the traders, the raree showmen, the bright signboards and placards. The fête therefore represented a bright and colourful chaos. The writer Vsyevolod Ivanov affirmed that one felt "confused and delighted "every visited a fête at the height of the festivities and overcome by the sheer volume of noise. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 96.
Fairs and slopes for sliding down used to be set up on Admiralty Square at shrovetide and Easter. Noisy crowds of people would stream here from all over St Petersburg. Sadovnikov's watercolour gives a vivid impression of what these cheerful festivities must have been like. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 97.
Вид Зимнего дворца во время Крещения на Неве 6 января
- 1840‒1850s
- .
- The State Russian Museum
- Гр.-20525
Fête during Shrovetide on Admiralty Square in St Petersburg
- 1869
- Canvas, oil. 215 x 321
- The State Russian Museum
- Ж-4396
The merriest of all the traditional Russian festivals was without a doubt shrovetide. This is the Russian version of Mardi Gras, during which rites were performed to banish winter and welcome spring. The name of the holiday (Maslenitsa or Butter Week) only appeared later and springs from the lavish use of butter in the festive days, with particular respect to pancakes. The pancake was in fact the main symbol of shrovetide. Every day of Butter Week had its own special name. Monday was "meeting", Tuesday was "frolic", Wednesday was "delicacy and revelry", Thursday was "wide", Friday was "evening amusements", Saturday was "meetings of sisters-in-law" and Sunday was "forgive ness". The entire week was spent in merry and exuberant entertainment and hospitality.
The revelry reached its climax at the end of the week, reflected in the popular Russian belief that "not enjoying yourself during shrovetide brings woes and a bad end". An important feature of shrovetide in Russia was the lavish and even excessive consumption of food and drink. The basis of this gorging lay in the pagan belief that overeating would aid fertility. The theme of fertility was also reflected in the tradition of sliding down ice slopes. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 86.
Makovsky's work is marked by a sense of celebration and colourfulness. This sense of rejoicing in life came to the fore in this early composition which was known by the shorter title Shrovetide in St Petersburg. This picture was painted when the shrovetide celebrations reached their peak in terms of scale and intensity. The painting is not only of artistic value, but also of historical and ethnographical value as a record of the fairs that existed on Admiralty Square until the early 1870s, when a fire destroyed them and they were moved elsewhere in the city. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 90.
Масленица в окрестностях Санкт-Петербурга
- 1907
- Paper, sepia, whiting, graphite pencil. 22,8 х 33,5
- The State Russian Museum
- Р-58282
Мотив украшения двора Инженерного замка. Эскиз оформления к 7 ноября 1918 года в Петрограде
- 1918
- Paper, ink, watercolours, whiting, nib. 31,2 х 26,5
- The State Russian Museum
- РСБ-885
Оформление улицы живописным панно
- 1918
- Paper, gouache, ink. 36,5 х 54
- The State Russian Museum
- РСБ-979
Проект украшения зданий Петроградского районного Совета рабочих и красноармейских депутатов
- 1918
- Paper, ink, watercolours. 33,6 х 32,1
- The State Russian Museum
- РСБ-787
Эскиз декоративной арки «Отдых»
- 1918
- Paper, watercolours, ink, nib.
- The State Russian Museum
- РСБ-849
Эскиз оформления Литейного проспекта
- 1918
- Paper, watercolours, ink, whiting. 62 х 47,4
- The State Russian Museum
- РСБ-906
Эскиз праздничного оформления Владимирской площади
- 1918
- Paper, gouache, ink. 26,2 х 54
- The State Russian Museum
- РСБ-980
Эскиз праздничного оформления Петрограда. Охта
- 1918
- Paper, ink, watercolours.
- The State Russian Museum
- РСБ-903
Эскиз праздничного оформления площади Урицкого (Дворцовой) между зданием штаба Гвардейского корпуса и зданием Главного штаба
- 1918
- Paper, ink, watercolours, . 30,6 х 82,7
- The State Russian Museum
- РСБ-715
Эскиз оформления конца Большого проспекта на Васильевском острове (Арка в Гавани)
- 1918‒1920
- Paper, watercolours. 33,4 х 50,4
- The State Russian Museum
- РСБ-676
Festivities in Honour of the Second Comintern Congress on 19 July 1920. Demonstration on Uritsky Square (now Palace Square)
- Canvas, oil.
- The State Russian Museum
- Ж-6148
The Comintern or the Communist International was the international organisation founded to advocate the world communist movement. The Second Congress of the Comintern started working in St. Petersburg on 19 July 1920. The delegated from 25 countries took part in the Congress. Isaac Brodsky engaged Boris Kustodiev, one of the greatest artists of the World of Art union, to produce a painting devoted to one of the important events of post-revolutionary time.
Using peculiar to him decorative manner and carefulness in depiction of people’s types the artist represented the atmosphere of the celebration of the representatives of different nations who had come to the Congress. Being disabled because of the illness the artist had to travel by car of the PetroSovet round the city exploring the signs of the new city life that were unusual for him, made sketches and immersed in the atmosphere of the celebration. All these observations resulted in a free composition in which red colour different in tones dominated. The different tones of red along with depiction of the crowd in general and individual figures expressed the idea of celebration. “You should have waited for such street”, - the artist recollected. He was sure that “the painting must be the document of our descendants”.
Design for the Decoration of Uritsky Square in Petrograd on the First Anniversary of the October Revolution
- plywood, oil.
- The State Russian Museum
- ЖС-576
Nathan Altman was commissioned to design the festive decorations for Uritsky (Palace) Square. The artist set himself the task of altering the entire outward appearance of the square, contrasting the beauty of the victorious people to the beauty of Imperial Russia. According to the principle of contrast, the angular, uneasy and brightly painted planes of the building the artist covered in red constructions, which served as a background for all of Petrograd s holiday decorations.
Поднос "Дворцовая площадь"
- 1925
- Wood, oil, .
- The State Russian Museum
- СР-61
Поднос "Демонстрация"
- 1925
- iron, oil. 71 х 57,5
- The State Russian Museum
- СР-66
Поднос Демонстрация 1-го мая
- 1925
- iron, oil. 68 х 51,5
- The State Russian Museum
- СР-67
Октябрьская демонстрация на площади Урицкого в день десятилетия Октябрьской революции
- 1927
- Paper, ink. 40 х 51,5
- The State Russian Museum
- РС-379
Открытие памятника В. И. Ленину у Финляндского вокзала
- 1927
- Paper, watercolours. 39,3 х 32,8
- The State Russian Museum
- РС-1784
Parade
- 1930
- Canvas, oil. 88 х 61
- The State Russian Museum
- Ж-4378
In the 1920s and 1930s, historical and revolutionary themes became decisive in Isaac Brodsky oeuvre. He painted portraits of the leaders of the Soviet state, pictures depicting events of the Bolshevik Revolution and Civil War, and scenes of festivities in a strictly academic manner, attempting to achieve the greatest visual authenticity.
Maxim Gorky ANT-20
- Canvas, oil.
- The State Russian Museum
- ЖБ-1057
The painting “ANT-20 Maxim Gorky” by Vasily Kuptsov is the most significant work among the few ones that have been preserved. On a surge of general interest to the aviation, parachuting, aircraft modelling in 1920s-30s the artist suggested that the theme of aviation was one of the most important in art and dealt with the flight theme repeatedly. The work was painted in 1934 when the plane ANT-20 Maxim Gorky, the biggest one of that time, was constructed. The plane was supposed to to serve for agitation and propaganda. Under the wings of the gigantic plane escorted by the squadron of fighters and multicoloured parachutes one can see St.Peter and Paul Fortress and the Neva, the Spit of Vasilyevsky island and the Admiralty, the Winter Palace and Palace Square (called at that time Uritsky Square). Kuptsov was a spiritual disciple of Pavel Filonov and an keen propagandist of his analytical art. In a peculiar way the painting represents the Filonov’s conception of growing of the form that suggests that from small parts designed like a mosaic the majestic panorama of St. Petersburg – Leningrad appears.
All-Russian Festival of Labour on 1 May 1920
- 1935
- Canvas, oil. 150,5 х 252
- The State Russian Museum
- ЖБ-1829
Pyotr Buchkin depicts one of the first national Communist subbotniks in Leningrad. This picture was possibly painted for the First Exhibition of Leningrad Artists (1935), where the themes of labour and shock workers were virtually de rigeur. These working Saturdays, necessary during the civil war and accompanying economic crisis, later became a widespread movement. This one was dedicated to planting the first trees on Victims of the Revolution Square, as the Field of Mars was then known. But in this event the artist was attracted by the theme of modernity, shared holidays, and public festivities. The painting was created based on sketches and drawings from the actual event.
Демонстрация у моста лейтенанта Шмидта
- 1935
- Canvas, oil. 169 х 297,5
- The State Russian Museum
- ЖБ-1819
Елка на Дворцовой площади
- 1939
- Cardboard, tempera. 70 х 89
- The State Russian Museum
- ЖС-720
Салют
- Canvas, oil.
- The State Russian Museum
- Ж-6542
Nevsky Prospekt on 9 July 1945
- 1945
- Canvas, oil. 75,5 х 101
- The State Russian Museum
- Ж-9200
Первомайская демонстрация
- 1946
- Cardboard, .
- The State Russian Museum
- С.Гр.-17847
Демонстрация
- 1947
- Paper, .
- The State Russian Museum
- С.Гр.-17849
Демонстрация
- 1948
- Paper, .
- The State Russian Museum
- С.Гр.-17851
Демонстрация
- 1949
- Cardboard, .
- The State Russian Museum
- С.Гр.-17856
Ленинград. Праздничная демонстрация на площади Зимнего дворца
- 1949
- Cardboard, paper, .
- The State Russian Museum
- С.Гр.-17858
Салют
- 1978
- Canvas, oil. 115 х 145
- The State Russian Museum
- Ж-11039
Гампельн Карл Карлович
Сулиман-Грудзинский Э.
Altman Nathan Isaevich
1889, Vinnitsa - 1970, LeningradPainter, graphic artist, sculptor, book, theatrical and cinema designer. Studied under Kiriak Kostandi and Gennady Ladyzhensky at the Odessa School of Art (1903-07) and at the Maria Vasilyeva Free Russian Academy in Paris (1910-11). Contributed to exhibitions (from 1906). Contributed to the exhibitions of the Fellowship of South Russian Artists (1910), Union of Youth (1913-14), World of Art (1913, 1915, 1916) and the Jewish Society for the Encouragement of Artists (1915-19; founding member). Taught at Mikhail Bernstein\'s studio (1915-16) and the State Free Art Studios in Petrograd (1918-20). Member of Department of An, People\'s Commissariat of Education (1918-21). Research assistant of the Institute of Artistic Culture (1923). Designed for theatres. Honoured Artist of the Russian Soviet Federater Socialist Republic (1968).
Дудин (Дудин-Марцинкевич) Самуил Мартынович
Lakhovsky Arnold
Блувштейн Яков Зейликович (Яков Захарович)
Плитман А. А.
Puni Ivan Albertovich (Pougny Jean)
1894, Kuokkala (Finland) - 1956, ParisPainter, graphic artist, theatrical designer, illustrator, writer on art. Studied at the Military Academy in St Petersburg (1900-1908). Visited Italy and France and studied at the Academic de Rodolphe Julian in Paris (1910-1912). Contributed to the exhibitions of the Union of Youth (1912-1913), Salon des Independants (1913, 1914), Jack of Diamonds (1916-1917) and the Four Arts (1928). Helped to curate the Tramcar V. First Futurist Exhibition (1915) and 0,10. Last Futurist Exhibition (1915-1916). Taught at the Petrograd Free Art-Studios (1918) and under Marc Chagall at the Vitebsk School of Art (1919). Emigrated to Berlin (1921) and Paris (1923). Awarded the Legion d\'honneur (1946). Contributed to exhibitions in France, Austria, Italy, Japan, Mexico and the United States.
Рудницкий Ян Казимирович
Бухгольц Федор Федорович
Мазуревский Виктор Викентьевич
Френц Рудольф Рудольфович
Brodsky Isaac izraelevich
1883 (1884), Sofievka Tauride province. - 1939, LeningradPainter, graphic artist; teacher. Studied at the Odessa School of Art (1896–1902) and the Higher School of Art, Imperial Academy of Arts (1902–1908). Fellow of the Imperial Academy of Arts in France and Italy (1909–1911). Contributed to exhibitions (from 1904), including the International Exhibitions in Rome (1911), Munich (1913, gold medal) and others. Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (from 1932–1939, professor), director of the All-Russian Academy of Arts (from 1934). Honoured Artist of Russia (1934).