Ivan Petrovich Martos is a Russian sculptor. Ivan Petrovich Martos was born around 1754 in the town of Ichnya (Ukraine), in the family of a small Ukrainian nobleman. At the age of ten, Ivan was sent to the St. Petersburg Academy of Arts. Here he spent nine years. Martos initially studied in the class of ornamental sculpture under Louis Rolland. Then Nicolas Gillet, a wonderful teacher who brought up the largest Russian sculptors, took up his upbringing. After graduating from the Academy, Martos was sent to continue his studies in Rome for five years, which played a huge role in shaping the creative personality of the sculptor.
The earliest of the sculptor's works that have come down to us are portrait busts of the Panin family, executed by him shortly after his return to Russia. Portrait as an independent genre does not occupy a significant place in the work of Martos. His talent tends to be more generalized, to convey human feelings in a broader sense than is inherent in portrait art. But at the same time, the sculptor also turns to portrait images. They are an invariable component of the gravestones he created. In these works, Martos showed himself to be an interesting and original master of the sculptural portrait. Gravestones for Martos became the main area of his activity for many years. The artist devotes twenty years of his life almost exclusively to them. In 1782, Martos creates two wonderful tombstones - S. S. Volkonskaya and M. P. Sobakina. Both of them are executed in the nature of an antique tombstone - a marble slab with a bas-relief image. These works by Martos are true gems of Russian memorial sculpture of the 18th century. The success of early tombstones brought fame and recognition to the young sculptor. He starts getting a lot of orders. During these years, tombstones of Bruce, Kurakina, Turchaninov, Lazarevs, Paul I and many others appeared one after another. As a true creator, Martos does not repeat himself in these works, he finds new solutions in which one can notice a certain evolution of his style, a tendency towards monumental significance and glorification of images. Increasingly, Martos turns to round sculpture in his works, making it the main element of tomb structures, trying to convey spiritual movements and emotions in the plasticity of the human body. Until the end of his days, Martos worked in memorial plastic, performing many more wonderful works, among which the most perfect are the tombstones of Paul I and the "Monument to Parents" in Pavlovsk, consonant with the lyrical musical images of the sculptor's early creations.
However, work in tomb sculpture no longer occupied such a significant place in the work of Martos in the last two decades. This period of his activity is entirely associated with the creation of works of a public nature, and above all, urban monuments. The largest event in Russian art at the beginning of the 19th century was the creation of the Kazan Cathedral in St. Petersburg. Many well-known Russian artists - painters and sculptors - took part in the implementation of the brilliant plan of A. N. Voronikhin. The most significant in terms of creative results was the participation of Martos. A huge bas-relief "Moses flowing water in the desert", executed by the sculptor, adorns the attic of the eastern wing of the protruding colonnade of the cathedral. Martos' excellent understanding of architecture and patterns of decorative relief is fully manifested in this work. The large length of the composition required skill in grouping and building figures. Exhausted, suffering from unbearable thirst, people are drawn to the water, and the sculptor shows his heroes not as a uniform faceless mass, but depicts them in specific positions, endows the images with the necessary degree of truth that impresses the viewer and makes the artist’s intention clear to him.
In 1805, Martos was elected an honorary member of the Free Society of Lovers of Literature, Sciences and Arts. By the time he joined the Society, Martos was already a well-known sculptor, professor at the Academy of Arts, author of many works. It was one of the members of the St. Petersburg Free Society who in 1803 made a proposal to collect donations for the erection of a monument to Minin and Pozharsky in Moscow. But only in 1808 a competition was announced, where, in addition to Martos, the largest Russian sculptors Demut-Malinovsky, Pimenov, Prokofiev, Shchedrin participated. The first place was won by the project of Martos. Initially, the monument was erected near the Trading Rows, against the Kremlin wall. The opening took place in 1818 and was a great and important artistic event. The artist managed to embody in his work the thoughts and feelings that worried the general public of Russia. The images of the heroes of Russian history, marked by great civic pathos, were perceived as modern. Their exploits were reminiscent of the recent events of the Patriotic War. In the same years, Martos also performed a number of other works, the most diverse in purpose. So, in 1812 he created a statue of Catherine II, in 1813 - sketches of the figures of the four evangelists for the Kazan Cathedral and many others. The creative activity of Martos is manifested in subsequent years. Along with teaching at the Academy of Arts, in the 20s he performed several major monumental works: a monument to Paul I in Georgia, Alexander I in Taganrog (1828-1831), Richelieu in Odessa (1823-1828), Lomonosov in Arkhangelsk (1826-1829 ). From the documents it is known that Martos also worked on the creation of a monument to Dmitry Donskoy, which, unfortunately, he failed to implement. Martos lived a long, labor-filled life, entirely devoted to the service of art. Ivan Petrovich Martos died on April 5, 1835 in St. Petersburg. 
Tombstone of Kozhukhova, 1827
Monument to Minin and Pozharsky, 1818
Ivan Petrovich Martos (1754 - 1835)
Ivan Petrovich Martos is known for a wonderful monument on Red Square in Moscow - to Minin and Pozharsky, erected in 1818 in honor of the liberation of Russian lands from Polish troops at the beginning of the 17th century. We will turn to the works of this sculptor, made back in the era we are considering.
Martos took a course at the Academy of Arts, after which he left for Italy. He continued his studies in Rome. He was attracted by ancient tombstones, and he decided to work in this direction, especially since the appeal to this genre corresponded to the mood of society. Returning to Russia in 1782, Martos set to work on tombstones.
Our collection presents the works of Martos - tombstones - relating mainly to the beginning of the 1790s. By this time, new ideas had developed in Russian, as well as in European culture. The strict laws of classicism, the ethical norm of which was the subordination of all human feelings to reason and the predominance of state interests over personal ones, were replaced by an interest in the spiritual movements of a person, in depicting love for the family hearth, memory of loved ones. This trend in art and literature was called "sentimentalism", it reflects the views of the French writer Jean-Jacques Rousseau, who asserted the ethical value of the purity and immediacy of human feelings. It is the feeling that becomes the main idea of the image. The theme of sculptural works at this time - the memory of loved ones and relatives - became the main one. Martos worked in this direction. Moreover, the sentimental theme of mourning the dead included the figures of the so-called "mourners", made, if you look closely, in the style of classicism. They are full of grandeur: strict images, generalized folds of robes, mean expressive gestures - these qualities distinguish the work of Martos.
Gravestone of Princess E. S. Kurakina
Elena Stepanovna Kurakina, born Princess Apraksina (1735 - 1769). The daughter of the famous Field Marshal Stepan Fedorovich Apraksin, a participant in the victorious Seven Years' War. Two geniuses are depicted on a rectangular pedestal - this is an allegorical image of the sons of the princess, mourning the death of their mother. The majestic figure of the mourner is depicted above the portrait of the deceased. The monumentality of the figure is emphasized by the large, flowing folds of the cloak. Facade point of view, allegory, clear forms of all volumes determine the classicistic solution of the monument. Chronos
Turchaninov Alexey Fedorovich (1704 (5?) - 1787) - a large Ural salt industrialist and miner, owner of a colossal fortune. His real name is Vasiliev. He was a pupil, son-in-law and heir of the salt-manufacturer M.F. Turchaninov, and adopted his surname. For successful resistance to the troops of Pugachev, he was elevated to the nobility by Catherine II. A.F. Turchaninov was a benefactor and philanthropist, he opened a school, a library, a hospital and a botanical garden for his workers.
The tombstone of A.F. Turchaninov is multi-figured, including a portrait - a marble bust of the deceased and bronze figures of Chronos and the "mourner". Chronos (Kronos in Greek) is the god of time. One of the oldest, pre-Olympic gods. Father of Zeus. Martos depicted him as winged, with a book in his hands. This is the Book of Life, in which the deeds of the deceased are recorded. Chronos in later ancient times was identified with Saturn.
mourner
Tombstones by Martos are made in the style of classicism. They are united by a strict frontality, closed clear silhouettes, and a strict generalization of the solution.
Monument to Grand Duchess Alexandra Pavlovna
Grand Duchess Alexandra Pavlovna (1783 - 1801) - daughter of Grand Duke Pavel Petrovich, the future Emperor Paul I, and Grand Duchess Maria Feodorovna.
Ivan Petrovich Martos
MARTOS Ivan Petrovich (1754-1835) - sculptor. Descended from small estate nobles. representative of classicism. He became famous as a master of tombstones. Among the monuments he created: K. Minin and D. Pozharsky in Moscow (1818), M. V. Lomonosov in Arkhangelsk, E. Richelieu in Odessa, Alexander I in Taganrog, etc.
Orlov A.S., Georgiev N.G., Georgiev V.A. Historical dictionary. 2nd ed. M., 2012, p. 301-302.
Martos Ivan Petrovich (1754-04/05/1835), sculptor, one of the most significant representatives of Russian classicism in art. Descended from small landed Little Russian nobles. Studied at Petersburg Academy of Arts(1764-73), boarder (scholarship) of the Academy in Rome (1773-79).
In n. In the 1780s, Martos created a series of sculptural portraits (of which the most famous are N. I. Panina (1780) and A. V. Panina (1782). In the last decades of the 18th century, Martos was mainly occupied with tomb sculpture, which at that time acquired He began with marble reliefs, moving on to sculptural compositions, conveying in them an intimate world of experiences and sorrow, but at the same time a feeling of enlightenment, acceptance of death as a necessary completion of life's journey.Such are the wonderful tombstones of S. S. Volkonskaya and M. P. Sobakina (1782).In the gravestone of Gagarina, Martos embodied the idea of strict perfection, sublime heroic beauty.By this time, the formation of strict monumentalism in the work of Martos was completed.
The further development of the sculptor was already in the creation of monumental genres, monuments and bas-reliefs. The central place in this genre belongs to the monument Minin And Pozharsky in Moscow (1804-1818). Martos achieves high purity of style and harmony in the creation of monuments by E. Richelieu in Odessa (1823-28), Alexander I in Taganrog (1831) and in a bas-relief on the eastern attic Kazan Cathedral In Petersburg“Moses cutting the water in the desert”, the creation of the Acteon fountain in Peterhof.
Martos taught at the St. Petersburg Academy of Arts (1779-35, from 1814 - its rector). He had a great influence on the work of many Russian sculptors of the 1st third of the 19th century.
L. N. Vdovina
Ivan Petrovich Martos (1752-1835). Ivan Petrovich Martos was born in 1752 in Ukraine in the town of Ichne, Chernigov province. At the age of twelve, he was sent to the Academy of Arts, where for eight years he studied "sculptural art" with N. Gillet and drawing with A. Losenko.
After graduating from the Academy with a gold medal, he goes to Rome to continue his education. Here, the young artist carefully studies ancient art, paying particular attention to ancient sculpture and architectural monuments.
Upon returning to St. Petersburg, Martos becomes a teacher at the Academy, successfully moving up the career ladder: he receives the title of academician, then professor, and later is appointed rector.
Already the first works of the young sculptor testified to artistic maturity. Among the early works is a marble bust of N.I. Panin (1780, State Tretyakov Gallery). Striving for significance and majesty in the transfer of the image, Martos depicted Panin in antique clothes, successfully using the frontal setting of the figure.
In the same years, Martos began to work in tomb sculpture - a completely new field of Russian fine art. It was here that he achieved the greatest success. The tombstones created by Martos in 1782 - S. S. Volkonskaya (TG) and M. P. Sobakina (Museum of Architecture of the Academy of Construction and Architecture of the USSR) - are truly masterpieces of Russian sculpture. In the tombstone of M. P. Sobakina, the master achieves the musicality of the line, the beauty of the rhythms, the expressiveness of the compositional solution. Placed at the base of the pyramid, the figures of the mourner and the genius of death are filled with sincere sadness. Despite the complex setting of the figures, the abundance of draperies, the composition is perceived as integral and harmonious.
The tombstone of S. S. Volkonskaya depicts a lonely figure of a mourner, permeated with restrained and courageous grief. The laconicism and clarity of the figurative solution, the low relief of the figure, closely connected with the plane of the tombstone, as well as the fine processing of marble make this monument one of the most perfect works of Russian plastic art. The success was so great that Martos began to receive numerous orders. This is how tombstones were created: N. A. Bruce (1786-1790, Museum of Architecture of the Academy of Construction and Architecture of the USSR), N. I. Panin (1790), E. S. Kurakina (1792), A. F. Turchaninov (1796) , A. I. Lazarev (1803), E. I. Gagarina (1803; all in the Leningrad Museum of Urban Sculpture). The tombstones are different in compositional structure, the nature of execution: early tombstones are distinguished by intimacy, lyricism, later ones - monumentality, sometimes pathos.
An outstanding place among the later works of the sculptor belongs to the tombstone of E. Kurakina. Lying on the sarcophagus, the mourner seemed to fall asleep in tears, resting her head on her crossed arms. The complex angle, the tense restless rhythm of the heavy folds of clothing reinforce the impression of tragedy. The sincerity of suffering, the depth and humanity of experiences conquer in this statue. At the same time, the image of the mourner is distinguished by majestic strength, internal energy. In this work, Martos rose to the heights of genuine monumentality. The sculptor, according to one of his contemporaries, could make marble "weep". Martos' skill and enormous creative activity put him among the greatest artists of his time. Almost no significant order for sculptural work is complete without his participation. He created decorative moldings for the palaces in Tsarskoye Selo (Pushkin) and Pavlovsk, he made a statue of Actaeon for the Great Cascade of Peterhof.
At the beginning of the 19th century, the construction of the Kazan Cathedral began in St. Petersburg, and Martos also took part in decorating it. He owns a bas-relief on the theme of the biblical legend about the long-term wanderings of the Jewish people “The outflow of water by Moses in the desert” (on the attic of the eastern wing of the colonnade of the cathedral) and the statue of John the Baptist, installed in the niche of the portico. The bas-relief clearly showed Martos' understanding of the connection between decorative relief and architecture. The long length of the composition required skill in building figures. The sculptor successfully coped with the difficult task of conveying various human feelings and the state of mind of thirsty people. This relief is distinguished by the clear arrangement of groups, a strictly thought-out and at the same time complex rhythm.
Martos achieved the greatest fame and fame when creating a monument to Minin and Pozharsky in Moscow. Work on it coincided with the Patriotic War of 1812, a patriotic upsurge in the country, and the growth of national consciousness. The idea of the need to erect a monument to two outstanding heroes of Russian history originated much earlier. In 1803, one of the active members of the Free Society of Lovers of Literature, Sciences and Arts, the most progressive educational organization of that time, Vasily Popugaev proposed to hold a nationwide subscription and use the money raised to erect a monument to the “Russian plebeian” Minin and Prince Pozharsky. Martos set to work enthusiastically. “Which of the famous heroes of antiquity,” he wrote, “surpassed the courage and exploits of Minin and Pozharsky?” According to I. Martos, expressed already in the first sketches, Minin and Pozharsky represented a single group, united by a commonality of feelings, a patriotic impulse. True, their standing figures in fluttering cloaks, with somewhat pathetic gestures, were still theatrical and unnecessarily showy. In subsequent sketches, the importance of Minin, his activity and strong-willed composure are emphasized. “Here he was the first active force,” wrote S. Bobrovsky, one of the members of the Free Society of Lovers of Literature, Sciences and Arts, about Minin.
In 1808, the government announced a competition in which, in addition to Martos, the sculptors Shchedrin, Prokofiev, Demut-Malinovsky, Pimenov participated. The first place was won by the project of Martos. Compared to the sketches, where traces of melodrama remained in the images of the heroes, and the composition lacked composure, the monument captivates with severe solemnity. Martos's group is distinguished by exceptional integrity, the figures in it are united not only emotionally, but also closely related compositionally. Minin immediately captures the viewer's attention with purposefulness and impulse. His image is full of great inner strength, activity and at the same time restraint. This is achieved by powerful sculpting of the figure. A wide free gesture of the right hand pointing to the Kremlin, a clearly expressed vertical body confirm the dominant position of Minin in the composition. Pozharsky is also full of determination and readiness for a feat. Taking the sword from Minin's hands, he seems to rise from his bed, ready to follow him. Pozharsky's face is inspired. It keeps traces of recently experienced suffering and at the same time it is courageous and courageous. In the guise of heroes, Martos emphasizes typically Russian national features, successfully combining elements of antique and Russian attire in their costumes. “Russian clothes,” contemporaries wrote, “were almost the same, and at the same time, what we now call Russian; they were somewhat similar to Greek and Roman ... in a word, they were almost the same as depicted in this monument.
Initially, the monument was erected near the Trading Rows, against the Kremlin wall. The opening took place in 1818 and was a great and important artistic event. “During this solemn ceremony,” the Moskovskie Vedomosti newspaper wrote about the opening of the monument, “the crowd of residents was incredible: all the shops, the roofs of Gostiny Dvor ... and the very towers of the Kremlin were strewn with people eager to enjoy this new and unusual spectacle.”
The artist managed to embody in his work the thoughts and feelings that worried the general public of Russia. The images of the heroes of Russian history, marked by great civic pathos, were perceived as modern. Their exploits were reminiscent of the recent events of the Patriotic War.
In the same years, Martos also performed a number of other works, the most diverse in purpose. So, in 1812 he created a statue of Catherine II, in 1813 - sketches of the figures of the four evangelists for the Kazan Cathedral and many others. The creative activity of Martos is manifested in subsequent years. Along with teaching at the Academy of Arts, in the 1920s he performed several major monumental works: a monument to Paul I in Georgia, Alexander I in Taganrog (1828-1831), Richelieu in Odessa (1823-1828), Lomonosov in Arkhangelsk (1826 -1829). From the documents it is known that Martos also worked on the creation of a monument to Dmitry Donskoy, which, unfortunately, he failed to implement.
The performance of the artist was amazing. “I cannot be idle,” he wrote. All contemporaries who knew Martos noted his industriousness, disinterestedness and the greatest modesty. In a report to the Minister of Public Education, President of the Academy Olenin wrote about the artist: “In his modesty, Martos never burdened the government with requests for himself and has the same content from the treasury that some of his students use.”
Martos lived a long, labor-filled life, entirely devoted to the service of art. He died in 1835.
Materials from the book: Dmitrienko A.F., Kuznetsova E.V., Petrova O.F., Fedorova N.A. 50 short biographies of masters of Russian art. Leningrad, 1971, p. 59-63.
Read further:
Martos Alexei Ivanovich (1790-1842), real state councilor, son of Ivan Petrovich.
Sculptor, graphic artist.
He came from a noble family, the son of a hundred Cossack. In 1764 he entered the Imperial Academy of Arts in St. Petersburg. He studied first in the painting and engraving classes, and then in the class of "ornamental" sculpture with L. Rolland and the "sculptural and statue" class with N. F. Gillet. In 1772 he created the program works "Cyril, the Greek Philosopher, and the Grand Duke Vladimir", "Izyaslav Mstislavovich on the Battlefield", awarded a small gold medal. In 1773 he was released from the Academy with a certificate of the 1st degree for the title of a class artist and the right to a pensioner's trip abroad.
In the same year he went to continue his artistic education in Rome. He attended natural classes of the French Academy of Arts, as well as the Academy of St. Luke, where he mastered the technique of cutting from marble in the workshop of Professor C. Albacini. Under his supervision, he made marble copies of antique sculptures. I used the advice of J.-M. Vienne and P. Buttoni. In 1778, for the alabaster statue "Endymion falling asleep", he was recognized as "appointed" to the academician of the Imperial Academy of Arts. At the end of the same year he returned to Russia.
From 1779 until the end of his life he taught at the sculpture class of the Academy, almost all the masters of the first half of the 19th century were his students. In 1782 he was awarded the title of academician. In 1785 he was approved as an adjunct professor. In 1788 he was elected a member of the Council of the Imperial Academy of Arts. In 1794, "for the diligence and art shown in sculptural art," he received the title of professor. In 1799 he was promoted to adjunct rectors. From 1814 - rector, from 1831 - honored rector of the Imperial Academy of Arts.
He worked mainly in the field of monumental art, memorial sculpture. He created the tombstones of S. S. Volkonskaya, M. P. Sobakina (both - 1782), P. A. Bruce (1786–1790), N. I. Panin (1788), A. F. Turchaninov, E. S. Kurakina (both - 1792), A. I. Lazarev (1802), E. I. Gagarina (1803), E. Chichagova (1812–1813) and others; most of them are installed in the necropolises of the Alexander Nevsky Lavra in St. Petersburg and the Donskoy Monastery in Moscow.
In 1797-1798 he completed the sculptural composition "Monument to Parents" for the memorial pavilion, in 1803-1805 he created the composition "To the Benefactor-Spouse" for the mausoleum of Paul I. In 1800 he completed work on the Acteon statue for the Grand Cascade of Fountains in Peterhof.
In 1804 he took part in the competition for the creation of a monument to Minin and Pozharsky, where he was awarded the first prize. The work lasted more than ten years, the grand opening of the monument took place on Red Square in Moscow in 1818 and became a nationwide event: “The confluence of residents was incredible: all the shops, the roofs of Gostiny Dvor ... and the very towers of the Kremlin were strewn with people eager to enjoy this new extraordinary spectacle” - wrote the newspaper Moskovskie Vedomosti.
Simultaneously with the work on the monument to Minin and Pozharsky, in 1804–1807 he was engaged in sculptural decoration of the Kazan Cathedral, for which he created the compositions “Moses pouring water from a stone”, “The Birth of the Virgin Mary”, “The Conception of the Mother of God”, as well as a statue of John the Baptist. In 1812, a monument to Catherine II by Martos was erected in the hall of the Nobility Assembly in Moscow. In 1812-1820, he completed the monuments to Paul I and Alexander I in the estate of Count A. A. Arakcheev Gruzino.
Among the later works of Martos, the monuments to E. Richelieu in Odessa (1826), Alexander I in Taganrog (1831), M.V. Lomonosov in Arkhangelsk (1832), G.A. 1836). In 1831 he created sketches of sculptures for the Church of St. Catherine at the Imperial Academy of Arts. Created a number of sculptural portraits.
In 1935, a retrospective exhibition of the master's works was held at the State Russian Museum.
Ivan Petrovich Martos is an outstanding Russian sculptor of the last third of the 18th - the first third of the 19th century, in whose works classicist ideals found their expression. The source of his inspiration was, first of all, the art of ancient Greece: even Minin and Pozharsky were likened by the sculptor to ancient heroes. The characteristic features of his works are the clarity of compositional construction, a calm, measured rhythm, and the harmony of images. The sculptor's favorite material was marble, which made it possible to achieve soft light-shadow transitions, convey the softness, fluidity of fabrics and draperies, and the warmth of the human body.
Martos' works are in a number of museum collections, including the State Russian Museum, the State Tretyakov Gallery, the Research Museum of the Russian Academy of Arts.
Ivan Petrovich Martos(- 5 (17) April) - Ukrainian and Russian sculptor-monumentalist.
Biography
Ivan Martos was born around 1754 in the town of Ichnya, Poltava province (now the Chernihiv region of Ukraine) in the family of a small Ukrainian nobleman. He was accepted as a student of the Imperial Academy in the first year of its establishment (in 1761), began his studies in the city, graduated from the course in the city with a small gold medal. He was sent to Italy as a pensioner of the Academy. In Rome, he was diligently engaged in his branch of art, practicing, in addition, in drawing from nature in the workshop of P. Buttoni and from antiques, under the guidance of R. Mengs. Returned to St. Petersburg. in the city and was immediately appointed teacher of sculpture at the Academy, and in 1794 he was already a senior professor, in 1814 - rector, and finally in 1831 - honored rector of sculpture. Emperors Paul I, Alexander I and Nicholas I constantly entrusted him with the implementation of important sculptural enterprises; with numerous works, Martos made himself famous not only in Russia, but also in foreign lands.
Martos died in St. Petersburg on April 17, 1835 and was buried at the Lazarevsky cemetery
Artworks
family
Martos has been married twice. First time on a very beautiful noblewoman Matryona, whose last name is unknown. She died early. The widower turned out to be a caring father, he managed to raise and educate children.
Ivan Petrovich had a kind, sincere heart, he was a hospitable person and a great benefactor. In his spacious professorial apartment, many poor relatives whom he supported constantly lived. His sincere beneficence is evidenced by the fact that even when he became a widow, his wife's relatives continued to live in his apartment. Among them was the niece of the late wife, the poorest orphan noblewoman Avdotya Afanasievna Spiridonova, sweet and kind girl. Somehow Martos witnessed when one of his daughters treated her much older Avdotya incorrectly and slapped her. The unjustly offended orphan, with bitter sobs, began to put her things into a trunk woven from twigs in order to get away from the Martos forever and get a job somewhere as a governess. Ivan Petrovich began to sincerely persuade the girl to stay. And so that she no longer considered herself a freeloader, the noble owner offered her a hand and a heart. So unexpectedly for all relatives and even for himself, already in years, Martos married a second time. Immediately after the wedding, he sternly warned his children to respect Avdotya Afanasyevna like their own mother. It should be noted that his children and stepmother constantly lived in mutual respect. Martos really wanted his daughters to marry artists or people of related professions.
Children from first marriage:
- Nikita Ivanovich(1782 - 1813) - graduated with a gold medal from the St. Petersburg Academy of Arts and at the state expense, as a scholarship holder, was sent abroad, where he improved his professional skills as a sculptor and architect. Together with him, Abram Melnikov studied in Rome, who later married his sister Lyuba. His father had high hopes for the talented Nikita, but in 1813 his son died unexpectedly. He was killed by French soldiers when Napoleon occupied Italy.
- Anastasia (Alexandra) Ivanovna(1783 -?), the talented portrait painter Alexander Varnek was in love with her and wooed her. But the girl refused him: she chose her life partner against the will of the father of a promising employee Gerasim Ivanovich Luzanov, who later reached high government ranks.
- Praskovya Ivanovna (1785 - ?)
- Alexey Ivanovich Martos(1790 - 1842) - writer, memoirist.
- Petr Ivanovich (1794 - 1856)
- Sofia Ivanovna(1798 - 1856) - married to V.I. Grigorovich (1786/1792 - 1863/1865), professor and conference secretary of the Academy of Arts, art critic, publisher.
- Vera Ivanovna(180. - 18..) - married to the artist A.E. Egorov (1776 - 1851).
- Lyubov Ivanovna(180. - 18.) - married to the architect, professor of the Academy of Arts A.I. Melnikov (1784 - 1854).
From second marriage:
- Ekaterina Ivanovna(1815 - 18 ..), married to the famous architect, professor of the Academy of Arts Vasily Alekseevich Glinka (1787/1788 - 1831). Glinka died of cholera. Martos arranged a magnificent funeral, buried him at the Smolensk cemetery and erected a rich monument on the grave. Soon, the sculptor and foundry master, the German baron P.K. Martos himself was not opposed to Klodt marrying Catherine, but Avdotya Afanasyevna did not like the groom, and she persuaded her daughter to refuse poor Pyotr Karlovich. Avdotya Afanasievna offered Klodt to marry her niece Ulyana Ivanovna Spiridonova(1815 - 1859), which soon happened.
- Alexander Ivanovich (1817 - 1819)
Notes
Bibliography
- Kovalenskaya N. N. Martos (1752-1835) / Book designer N. Yu. Gitman. - M. - L.: State. Publishing House "Art", 1938. - 140, p. - 5,000 copies.(in trans.)
- Alpatov M.V. Ivan Petrovich Martos, 1752-1835 / Cover - woodcut by M. Matorin .. - M. - L .: Art, 1947. - 36, p. - (Mass Library). - 15,000 copies.(reg.)
- Kovalenskaya N. History of Russian art in the first half of the 19th century. - M., 1951.
- Alpatov M.V. Martos // Russian art of the 18th century. - M., 1958.
- Ivan Petrovich Martos: Album / Compiled by A. Kaganovich; Design by the artist V. Lazursky. - M .: Izogiz, 1960. - 52 p. - (Masters of Russian art). - 10,000 copies.(region, superregion)
- Kovalenskaya N. N. History of Russian art of the XVIII century. - M .: Publishing House of Moscow State University, 1962. - 374 p. - 10 250 copies.(in trans.)
- Kovalenskaya N. N. Russian classicism: Painting, sculpture, graphics: To the 400th anniversary of Russian book printing. - M .: Art, 1964. - 704 p.(in trans.)
- Hoffman I. M. Ivan Petrovich Martos, 1754-1835. - L.: Artist of the RSFSR, 1970. - 48 p. - (People's Art Library).
- Timofeeva N.V. Citizen Minin and Prince Pozharsky // Chimes: Historical and Local Lore Almanac. Issue. 2. - M .: Moscow worker, 1987.
Links
- Martos Ivan Petrovich Biography and work of the artist on Artonline.ru.
- Martos, Ivan Petrovich in the library "Prospector"
Categories:
- Personalities in alphabetical order
- Born in 1754
- People from Ichna
- Born in Poltava Governorate
- Deceased April 17
- Deceased in 1835
- The dead in St. Petersburg
- Artists in alphabetical order
- Persons: Taganrog
- Buried at the Lazarevsky cemetery of the Alexander Nevsky Lavra
Wikimedia Foundation. 2010 .
See what "Martos, Ivan Petrovich" is in other dictionaries:
- (1754 1835), Russian sculptor. He studied at the St. Petersburg Academy of Arts (1764-73) with N. F. Gillet; taught there (since 1779, rector since 1814). Pensioner of the Academy of Arts in Rome (1773-79). Returning to Russia as a staunch supporter of classicism, Martos already in the early 80s ... ... Art Encyclopedia
Martos Ivan Petrovich- (17541835), sculptor; representative of classicism. Studied at the Academy of Arts (176473), academician since 1782; taught there (17791835, rector since 1814). Master of monumental and decorative sculpture, author of portraits and tombstones, in which ... ... Encyclopedic reference book "St. Petersburg"
Russian sculptor. Born in the family of a small Ukrainian nobleman. Studied at the St. Petersburg Academy of Arts (1764‒73) under L. Rolland and N. F. Gillet. Pensioner of the Academy of Arts in Rome (1773‒79), where ... ... Great Soviet Encyclopedia
- (1754 1835) Russian sculptor. representative of classicism. Martos's memorial sculptures (tombstones of M. P. Sobakina, 1782, E. S. Kurakina, 1792, E. I. Gagarina, 1803) harmoniously combine civil pathos, ideal elevation, charm ... Big Encyclopedic Dictionary
