- (1776 1857), Russian painter. Portraitist. Until 1823 he was a serf. Around 1798 he began to study at the St. Petersburg Academy of Arts, but in 1804 he was recalled by his landowner. From 1821 he lived permanently in Moscow. Already the early portraits of Tropinin are distinguished by intimacy ... ... Art Encyclopedia
Russian portrait painter. Until 1823 he was a serf. Around 1798 he began to study at the St. Petersburg Academy of Arts under S. S. Shchukin, but in 1804 he was recalled by his landowner. Until 1821 he also lived on ... ... Big soviet encyclopedia
- (1776 1857) Russian painter. In portraits, he strove for a lively, unconstrained characterization of a person (portrait of a son, 1818; A. S. Pushkin, 1827; self-portrait, 1846), created a type of genre, somewhat idealized image of a person from the people ... Big encyclopedic Dictionary
Tropinin (Vasily Andreevich, 1780-1857), portrait painter, was born a serf of Count A. Markov, who subsequently set him free. Nine years old was appointed by his master as pupils Imperial Academy Arts, ... ... Biographical Dictionary
- (1776 1857), painter. Until 1823 he was a serf. In portraits, he strove for a lively, unconstrained characterization of a person (portrait of his son, 1818; "A. S. Pushkin", 1827; self-portrait, 1846), created a type of genre, somewhat idealized image ... ... encyclopedic Dictionary
Tropinin, Vasily Andreevich- V.A. Tropinin. Bulakhov's portrait. 1823. Tretyakov Gallery. Tropinin Vasily Andreevich (1776-1857), Russian painter. In portraits, he strove for a living, direct characterization of a person (portrait of a son, 1818; “A.S. Pushkin”, 1827); created... ... Illustrated Encyclopedic Dictionary
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Museum of V. A. Tropinin and Moscow artists of his time. Moscow. Tropinin Vasily Andreevich (1776 or 1780, the village of Karpovka, Novgorod province 1857, Moscow), painter. Until 1823, serf Count I.I. Carrot. Around 1798 he began to study in ... ... Moscow (encyclopedia)
- (1780 1857) portrait painter, born a serf c. A. Markov, who subsequently released him into the wild. Nine years old was determined by his master to be the pupils of Imp. Academy of Arts, was formed in it under the leadership of Shchukin and ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
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- Vasily Andreevich Tropinin The collection is dedicated to the work of the remarkable Russian artist V. A. Tropinin (1776-1857). The articles analyze the art of Tropinin and his contemporary Russian art, is being considered...
- Vasily Andreevich Tropinin. Research, materials, . The collection is dedicated to the work of the remarkable Russian artist V. A. Tropinin. The articles analyze the art of Tropinin and contemporary Russian art, the question of…
Vasily Tropinin
Russian painter, master of romantic and realistic portraits
short biography
Vasily Andreevich Tropinin born March 30, 1776, p. Ropino, Novgorod province - May 3, 1857, Moscow) - Russian painter, master of romantic and realistic portraits.
V. A. Tropinin. Family portrait of Counts Carrots, 1813
Vasily Andreevich Tropinin was born on April 1, 1776 in the village of Ropino province in the family of a serf, Andrei Ivanovich, who belonged to Count Anton Sergeevich Minikh. The daughter of the count married the outstanding military leader I. M. Morkov, and the village of Tropinin and he himself became the property of Morkov. Other serfs hated Vasily, since his father was a headman, but Vasily never complained about the beatings and bullying of the serfs, including the fact that since childhood he had been drawing people and discovering them character traits in your drawings.
Around 1798, Vasily was sent to St. Petersburg to study as a confectioner, since confectionery also required the ability to depict figures of people and animals. After his training in confectionery, the cousin of Count Morkov persuaded him to send the young man, who had a natural talent and a penchant for drawing, as a volunteer to the St. Petersburg Academy of Arts. Here he studied with S. S. Schukin. But when Vasily twice won first place in the competitions of the Academy and, according to the tradition that had developed at the Academy, had to get free, instead, in 1804, he was recalled to the new estate of Count Morkov - the Podolsk village of Kukavka in Ukraine - and became at the same time a servant, a shepherd, an architect and Count's artist. A free settler married him, and the husband and wife were supposed to have equal status by law, but instead of granting freedom to Tropinin, the count recorded his wife as his serfs, and their children were to become eternal serfs of Morkov and his heirs. But Tropinin a kind person in his memoirs he wrote that he was grateful to the owner, since Ukraine made him a great artist.
He had a son - Arseny. Until 1821 he lived mainly in Ukraine, where he painted a lot from life, then he moved to Moscow with the Carrot family.
In 1823, at the age of 47, the artist finally gets freedom - under the influence of new trends, the count releases him free of charge. After a while, his relatives also become free. In September 1823, he presented to the Council of the St. Petersburg Academy of Arts the paintings "The Lacemaker", "The Beggar Old Man" and "Portrait of the Artist E. O. Skotnikov" and received the title appointed artist. In 1824, for the "Portrait of K. A. Leberecht" he was awarded the title of academician.
Since 1833 Tropinin on voluntary studies with students of the public art class that opened in Moscow (later the Moscow School of Painting, Sculpture and Architecture). In 1843 he was elected an honorary member of the Moscow Art Society.
In total, Tropinin created more than three thousand portraits. He died on May 3 (15), 1857 in Moscow. He was buried at the Moscow Vagankovsky cemetery.
In 1969, the "Museum of V. A. Tropinin and Moscow artists of his time" was opened in Moscow.
Creation
The first works of the artist are attributed to romanticism. While in St. Petersburg, he was among the townspeople, small and medium-sized landowners, from whom he later began to paint portraits, which led him to realism.
The author, unlike romantic portrait painters, tried to emphasize the qualities of the characters. But at the same time, he sympathized with them, which resulted in the image of internal attractiveness. For the same purpose, Tropinin tried not to show the obvious social affiliation of people.
Such works of the artist as "Lacemaker", "Guitarist" and others belong to the "portrait-type". Tropinin portrayed specific person, and through it I tried to show everything typical for this circle of people.
Family
- Tropinin, Arseniy Vasilyevich (1809-1885) - son, also an artist.
Addresses in St. Petersburg
1798-1804 - house of P. V. Zavadovsky - Bolshaya Morskaya street, 20.
Gallery
Vasily Andreevich Tropinin
Tropinin Vasily Andreevich (1776-1857), Russian painter. In portraits, he strove for a lively, unconstrained characterization of a person (portrait of his son, 1818; A.S. Pushkin, 1827; self-portrait, 1846), created a type of genre, somewhat idealized image of a person from the people (The Lacemaker, 1823).
Tropinin Vasily Andreevich (03/19/1776-05/03/1857), portrait painter, serf artist, who received his freedom only at the age of 47. From 1798 he studied at the Petersburg academy of arts, but due to the whim of his landowner S. S. Shchukin, he was recalled from the Academy in 1804, not having completed his studies to the prescribed course. Until 1821 Tropinin lived in Little Russia, then in Moscow. Having received his freedom in 1823, Tropinin settled in Moscow.
Tropinin adopted the heritage of Russian portrait painters of the 18th century, which was reflected in his early works. Portraits of the 1820-30s, the heyday of Tropinin's work, testify to his independent figurative concept. In them, he strives for a lively, unconstrained characterization of a person. These are the portraits of the son (1818), A. S. Pushkin(1827), composer P. P. Bulakhova(1827), painter K. P. Bryullova(1836), self-portrait (1846). In the paintings “Lacemaker”, “Golden Seamstress”, “Guitarist” Tropinin created a type of genre, idealized man from the people. Tropinin had a significant influence on the portraiture of the Moscow school.
V. A. Fedorov
Girl with a pot of roses. 1850
Tropinin Vasily Andreevich (1776-1857) - Russian painter. Fortress until 1823
IN early works created an intimate (in the spirit of sentimentalism), lively and unconstrained image of a person in his characteristic, somewhat idealized domestic environment (I. I. and I. I. Morkovs, 1813 and 1815; portraits of his wife, 1809 and son, 1818; "Lacemaker" , "Guitarist", "Bulakhov", 1823).
In the 1820-1840s. his portraits were characterized by an attentive characterization of the model, complication of composition, sculptural clarity of volumes and intensity of color while maintaining an intimacy, intimate (home) atmosphere (“K. G. Ravich”, 1825; “A. S. Pushkin”, 1827; “K. P. Bryullov", 1836; self-portrait in which the artist depicted himself against the backdrop of the Moscow Kremlin, 1846). Some elements of salon romanticism appeared in the painting "The Woman in the Window" (1841), inspired by M. Yu. Lermontov's poem "The Tambov Treasurer". The artist’s emphasis on everyday details (“Servant with a damask counting money”, 1850s) anticipated the development genre painting V mid-nineteenth V.
Orlov A.S., Georgiev N.G., Georgiev V.A. Historical dictionary. 2nd ed. M., 2012, p. 518.
V. Tropinin. Pushkin. 1827
Tropinin Vasily Andreevich, Russian artist. One of the founders of romanticism in Russian painting.
Born into a family of serfs. He was first a serf of Count A. S. Minich, then I. I. Morkov. In 1798-1804 he studied at the St. Petersburg Academy of Arts, where he became close to O. A. Kiprensky and A. G. Varnek (the latter also later became a prominent master of Russian romanticism). In 1804, Morkov summoned the young artist to his place; then he alternately lived either in Ukraine, in the village of Kukavka, or in Moscow, in the position of a serf painter, who was obliged to simultaneously carry out the economic assignments of the landowner. Only in 1823 was he finally freed from serfdom. He received the title of academician, but, having abandoned his career in St. Petersburg, in 1824 he settled in Moscow.
Early portraits of Tropinin, painted in restrained colors (family portraits of Counts Carrots of 1813 and 1815, both in Tretyakov Gallery), still entirely belong to the tradition of the Age of Enlightenment: the model is the unconditional and stable center of the image in them. Later, the coloring of Tropinin's painting becomes more intense, the volumes are usually molded more clearly and sculpturally, but most importantly, a purely romantic feeling of the moving elements of life insinuatingly grows, only a part of which the hero of the portrait seems to be a fragment ("Bulakhov", 1823; "K. G. Ravich" , 1823; self-portrait, circa 1824; all three - ibid.). Takov and A. S. Pushkin on famous portrait 1827 (All-Russian Museum of A. S. Pushkin, Pushkin): the poet, putting his hand on a stack of paper, as if “listens to the muse”, listens to the creative dream that surrounds the image with an invisible halo.
Portrait and genre
Already with early period the artist is actively interested in everyday genre by creating a large number of drawings and sketches of Ukrainian peasants. Genre and portrait are organically combined in his half-figure "nameless" paintings, the most famous of which is the pretty "Lacemaker" (1823, ibid.), captivating with its naive and sentimental appearance; the type of a girl from the bottom becomes a lyrical personification of Femininity as such, without losing a subtle natural persuasiveness. Tropinin more than once turned to the genre typified portrait (“Guitarist”, 1823, ibid.; “Golden Embroiderer”, 1825, Art Museum Republic of Komi, Syktyvkar), usually repeating this kind of composition in several versions (as well as his self-portraits).
In the portraits of the 1830s and 1840s, the role of expressive detail, in some cases the landscape background, increases, the composition becomes more complex, the coloring becomes more intense and expressive. The romantic atmosphere, the element of creativity, appears even more clearly in the portrait of “K. P. Bryullov” (1836, Tretyakov Gallery) and a self-portrait of 1846 (ibid.), where the artist presented himself against the spectacular historical backdrop of the Moscow Kremlin. At the same time, the artist’s romanticism, without ascending to the empyrean, usually remains chamber and peacefully “homely” - even where there is an obvious hint of a strong feeling, an erotic motif (“The Woman in the Window”, whose image was inspired by M. Yu. Lermontov’s poem “ Tambov Treasurer", 1841, ibid.). Later works Tropinin (for example, “Servant with a damask, counting money”, 1850s, ibid.) testify to the fading of color mastery, but they still attract with their genre observation, anticipating a passionate interest in everyday life, characteristic of Russian painting of the 1860s ..
An important part of Tropinin's heritage is his drawings, especially pencil sketches of portraits, which stand out for the sharp specificity of observations. The penetrating sincerity and the poetic and everyday, harmonious harmony of his images were more than once perceived as specific trait old Moscow art school. In 1969, the Museum of Tropinin and Moscow artists of his time was opened in Moscow.
Copyright (c) "Cyril and Methodius"
Creativity of Vasily Andreevich Tropinin
(1776-1857) Vasily Andreevich Tropinin belonged to the generation that brought forward the first Russian romantics. Tropinin was until the age of 45 a serf artist on the Ukrainian estate of Count Morkov, and combined with painting classes the duties of a confectioner and senior footman. At the whim of a landowner, he was unable to complete his education at the Academy of Arts. Tropinin's years of youth were spent on self-taught, in spite of obstacles, to master technical skills and achieve professional excellence. Count Carrot, who decided to have a painter in his house, in 1799 considered it profitable for himself to appoint a capable serf as an "outsider student" of the Academy of Arts. It was here that Tropinin studied portrait art with S.S. Schukin. At an academic exhibition in 1804, Tropinin's work "A Boy Yearning for a Dead Bird" attracted the attention of the Empress herself. Tropinin studied brilliantly and soon received silver and gold medals. President of the Academy S. Stroganov began to petition for the release of a talented young man, but did not have time: the serf Tropinin received an order from the owner to move from St. Petersburg to the new estate of Morkov - Podolia, in Ukraine. There, Tropinin was reminded that he was a serf, appointed to the post of confectioner and lackey, and also charged with making copies from paintings by Western European and Russian artists, who later decorated the count's house, as well as painting the local church, painting icons for it. Tropinin was also instructed to make picturesque portraits of the hosts. Gentle and kind by nature, Tropinin humbly endured the vicissitudes of fate, did not become hardened, did not become depressed from the consciousness of the discrepancy between his own talent and the position that he occupied, on the contrary, he perceived his stay in Ukraine as a continuation of his studies, a kind of internship. “I studied little at the Academy, but I learned in Little Russia: I painted from life there without rest, and these works of mine seem to be the best of all that I have written so far,” he later recalled. The color of these works is soft, muted - grayish, ocher, green tones predominate.
"Portrait of the son of Arseny". The artist worked on this portrait with a special enthusiasm. He pours out his soul. With intimate intimacy, he reveals his faith in the bright destiny of man, in the value of the human personality. Before the viewer appears the world of a young dream, illuminated by a particularly poignant and poignant confidence. The master seems to reveal to us his secret, a precious secret that the artist carefully keeps.. Illuminated by a quivering light, the boy's face appears. Just now he was busy with children's games and amusements, so the collar of his shirt was unbuttoned, his hair was slightly tossed, but now something attracted his attention, and he is unusually serious. . The head is turned to the left. The gaze of wide-open, focused eyes is also directed there. How much grace and nobility, inner beauty, in the appearance of this child! Everything is harmonious in this canvas: slightly raised anxious eyebrows, an affectionate but restless look, a chaste, softly contoured mouth, a rounded chin. Everything, everything to the smallest line in the canvas is filled with the artist's love for his offspring, his hope /. In 1821 Tropinin said goodbye to Kukavka forever. The return to Moscow was joyful for him. Having gained respect and popularity in Moscow, the artist, nevertheless, remained a serf, which caused surprise and discontent in the circles of the enlightened nobility. Tropinin A.A. was especially bothered. Tuchkov - general, hero of 1812 and collector, P.P. Svinin, N.A. Maikov. However, Count Carrot was in no hurry to give freedom to his serf painter, whose talent and human qualities he greatly appreciated. This happened only in 1823. Tropinin's wife and son Arseniy remained in serfdom for another five years.
"Lacemaker"(1823) is one of Tropinin's most popular works. A pretty girl weaving lace is depicted at the moment when she briefly looked up from her work and turned her gaze to the viewer, who thus becomes involved in the space of the picture. .
Laces, bobbins, a box for needlework are carefully and lovingly painted. The feeling of peace and comfort created by Tropinin convinces of the value of every moment of everyday human existence. Similar paintings Tropinin wrote a lot. Usually they depict young women at needlework - gold embroiderers, embroiderers, spinners. Their faces are similar, they clearly show the features of the artist's female ideal - a delicate oval, dark almond-shaped eyes, a friendly smile, a coquettish look. For this and other works in 1823 V.A. Tropinin was awarded the title of "appointed to academician".
The long-awaited freedom came only in 1823, when Tropinin was already forty-seven years old; the heyday of his talent belongs to this time. It was during this period that his own, independent art system arose, which in a peculiar way reworked the legacy of classicism and painting techniques XVIII century, and the genre of intimate everyday portrait created by Tropinin finally took shape.
At the beginning of 1827, Pushkin commissioned Tropinin to present a portrait to his friend Sobolevsky. this somewhat naive statement contains, in essence, a whole program that characterizes Tropinin's tasks and his attitude to reality. In Tropinin's portraits, the intimate, "homely" appearance of the people of his era is conveyed; Tropinin's characters do not "pose" in front of the artist and the viewer, but are captured as they were in privacy, around the family hearth. “Sobolevsky was dissatisfied with the smoothed and pomaded portraits of Pushkin, which then appeared. He wanted to keep the image of the poet as he is, as he used to be more often, and he asked Tropinin, one of the best portrait painters of that time in Moscow, if not Russia, to draw him Pushkin in a dressing gown, disheveled, with the coveted ring on his finger, ”says , according to Tropinin himself, one of his contemporary memoirists. This, apparently, was the original idea of the portrait. The artist's task was only to capture the face of Pushkin with all possible accuracy and truthfulness, without asking difficult tasks. psychological analysis and revealing the inner content of the image. In a sketch drawn directly from life, Tropinin came closest to realizing Sobolevsky's wishes. He gave an unpretentious, but, undoubtedly, quite accurate and similar image of Pushkin - "in a dressing gown and 
tattered," as Sobolevsky asked. But in the very appearance of the poet there was something that so distinguished him from ordinary Muscovites, the usual models of Tropinin, that the solution of the image could not enter the already established, familiar Tropinin system. Working on the portrait, Tropinin, in fact, moved very far from his original intention. This does not mean, of course, that he has departed from the truthful reproduction of nature. There is no doubt that Pushkin posed not only for a sketch, but also for a portrait, and the recreation of the living image of the poet was still main task Tropinin. The similarities in the portrait are no less than in the sketch, but the very understanding of the image has become different. From the original idea, only the external attributes of “homeliness” remained - a dressing gown, an unbuttoned shirt collar, disheveled hair, but all these details were given completely new meaning: they are perceived not as evidence of the intimate ease of the posing, but rather as a sign of that "poetic disorder" with which romantic art so often associated the idea of \u200b\u200binspiration. Tropinin did not write the "private man Pushkin", as Sobolevsky asked him to do, but an inspired poet, catching in his appearance an expression of deep inner significance and creative tension. In its figurative structure, the portrait of Pushkin echoes the works of modern romantic painting by Tropinin, but at the same time Tropinin managed to create a romantic image without sacrificing realistic accuracy and truthfulness of the image. Pushkin is depicted sitting, in a natural and relaxed pose. The right hand, on which two rings are visible, is placed on a table with open book. Apart from this book, the portrait does not contain any accessories associated with Pushkin's literary profession. He is dressed in a spacious dressing gown with blue lapels, and a long blue scarf is tied around his neck. The background and clothing are united by a common golden brown tone, on which the face stands out, shaded by the whiteness of the shirt lapel - the most intense colorful spot in the picture is at the same time her compositional center. The artist did not seek to "embellish" Pushkin's face and soften the irregularity of his features; but, conscientiously following nature, he managed to recreate and capture his high spirituality. Contemporaries unanimously recognized in Tropinin's portrait an irreproachable resemblance to Pushkin. In Pushkin's gaze, tense and intent, the content of the portrait characteristic is expressed with the greatest force. In wide open blue eyes the poet shines with genuine inspiration. In accordance with the romantic plan, Tropinin sought to give his gaze the expression that he took in moments of creativity. In comparison with the famous portrait of Pushkin by Kiprensky, Tropininsky's portrait seems more modest and, perhaps, intimate, but is not inferior to him either in expressiveness or in terms of pictorial power. The portrait of Pushkin, no doubt, belongs to one of the first places in the iconography of the poet and in the work of Tropinin. In this portrait, the artist most clearly expressed his ideal of a free man. He painted Pushkin in a dressing gown, with his shirt collar unbuttoned and a tie-scarf carelessly tied. Tropininsky Pushkin is not at all mundane - he is so regally majestic that it seems impossible to disturb his thoughts. A special impressiveness, almost monumentality, is imparted to the image of the poet by a proud posture and a steady posture, thanks to which his dressing gown is similar to an antique toga.
H 
and the 1830s-1840s account for the largest number of portraits painted by Tropinin. They said about the artist that he rewrote "literally the whole of Moscow." He paints portraits of the first persons of the city, statesmen, nobles, merchants, actors, writers, artists.
" Self-portrait" Tropinin was painted by the artist in the later years of his life. Before us is an elderly master, calmly looking ahead. Tropinin, as it were, sums up the life he has lived, showing himself as a calm, despite the experienced thunderstorms, a person who has reached a strong position, stable fame, which differs significantly from the loud and fleeting success of the St. Petersburg masters. The master depicts himself at the window of the workshop with a marvelous view of the ancient Kremlin. He calmly leans on the mastbel - an ancient painter's tool, so convenient in working on a picture that requires precision drawing and a smooth painting surface. Vasily Andreevich has a palette and brushes in his hands, he stands against the backdrop of his favorite view with the signs of his profession - this is how he will forever remain in the memory of his descendants, to whom his calm and affectionate gaze of a good-natured and hospitable Moscow resident is fixed. Tropinin conveys the cold coloring of the armchair and his suit in the interior of the studio, immersed in the evening dusk, as if eternity enters the room. Spilling outside the window warm light gentle pink sunset - Moscow evening comes, when the bells fill the city with crimson ringing and black rooks circle in flocks among the clear sky.
Vasily Andreevich Tropinin lived a long creative life. His art was in intense interaction with the aesthetic ideals of the era. He died on May 3, 1857, and was buried at the Vagankovsky cemetery.
Best Portraitist of the First half of XIX century. A whole Moscow chronicle of that era came out from under his brush.
Tropinin was born into a family of serfs, Count A.S. Minikha. It so happened historically that society has a negative attitude towards serfdom. However, even here there was a hierarchy, and the Tropinin family occupied a high place in it. The father of a Russian artist received personal freedom for his service as a manager, although his family remained a serf. For four years the boy studied at the Novgorod "folk school".
In the 1790s, Tropinin was transferred to a new owner - Count I. Morkov, who married the daughter of Minikh, Natalya Antonovna. Rejecting the requests of Father Tropinin to teach the boy painting, Count Morkov sends the young man to study in St. Petersburg as a confectioner in 1793.
Despite this, later, the count made Tropinin his confidant and appreciated his work. At that time, many nobles lived by the labor of serfs, because this was dictated by the era of serfdom, even liberal ones. Otherwise, they did not know how to live.
In St. Petersburg, having settled with Count Zavadovsky, overwhelmed by a passion for painting, the young artist takes lessons from professional artist. For which he was punished. The confectioner's wife brought Tropinin from painting lessons by the ears and gave instructions to flog the student.
Despite the fact that Troninin had a gentle character, he was persistent and firmly moved towards his goal. In 1798 Tropinin secretly began to visit free classes at the Academy of Arts. In 1799 he became an "outsider student" of the Academy. He was respected by the best students: Kiprensky, Varnek, Skotnikov. The professors also noted the success of the student - Tropinin received two medals. Tropinin got the basics artistic skill at famous portrait painter S. Schukin. In 1804, Count Morkov recalled Tropinin from St. Petersburg to Ukraine, to the village of Kukavka, Podolsk province, refusing to petition to release Tropinin (which even the president of the Academy asked for). Until 1812, Tropinin served as a footman, confectioner and serf painter. In the church painted by him, in 1807 Tropinin was married to Anna Ivanovna Katina. The war with Napoleon began, Count Morkov, as the head of the Moscow militia, with his two sons, goes to war. Carrot convoy with property, headed by Tropinin, goes after him. After the fire in Moscow, the house of Morkov also burned down. This house had to be restored by Tropinin.
At this time, Tropinin no longer serves, but is increasingly engaged in painting. In 1821 he and the count's family returned to Moscow. The fame of the portrait painter grew, famous people petitioned Morkov to release Tropinin, to give him freedom. In 1823 Tropinin became a free man, and his wife and son were in serfdom for another five years. In the same year, for the paintings "Lace Maker", "Portrait of the Artist O. Skotnikov" and "Beggar Old Man" he was approved as an "appointed" academician (that is, a candidate for academician). A year later, for the painting “Portrait of the medalist K.A. Leberecht", Tropinin received the title of academician. Having given up his professorship, the Russian artist returns to Moscow.
Since 1824, for thirty years, Tropinin has been living in Pisareva's house on Leninka near the Bolshoy Kamenny Bridge. Tropinin painted portraits famous people, became a famous and generally recognized artist, he had many orders. The Russian artist became close friends with another no less famous artist- Bryullov.
In 1856, the Russian artist lost his wife, with whom he lived in perfect harmony. Tropinin moves to his house in Zamoskvorechye. Son Arseny created a good atmosphere in the house in order to somehow smooth out the grief of his father.
Ah, don’t say that… My old woman is dead, and there are no doors…”
Tropinin V.A.
The artist is referring to the doors on Leninka, on which visitors left autographs without finding the artist at home. “There was Bryullov”, “There was Vitali”, “Bryullov was again”.
Famous works of Tropinin Vasily Andreevich
The painting "Portrait of Arseny Tropinin, the artist's son" was painted around 1818, it can be seen in the State Tretyakov Gallery, in Moscow. In the portrait, the boy is about ten years old. The portrait belongs to a series of "children's" portraits of the Russian artist. Early work Tropinin are written in accordance with the "pre-romantic" style. But already here, as in other "children's" works, the style of the Enlightenment is visible. The ideology is such that every child is “ Blank sheet papers”, uncorrupted by civilization and wrong education.
In his paintings, Tropinin is true to "nature", but the artist depicts only the good. Here and here - soft curls, "rounded" facial features, "sensitivity". A thoughtful and at the same time restless look to the side reflects a dream. great attention the artist also pays attention to garments, depicting home, everyday clothes, he carefully writes out the details. Favorite golden-ocher tones, according to history, were borrowed from the teacher S. Schukin.
The painting "Portrait of Bulakhov" was painted in 1823, it is stored in the State Tretyakov Gallery, in Moscow. Famous Opera singer Pyotr Aleksandrovich Bulakhov was good friend Tropinin. His "golden" tenor delighted listeners. He was the first to perform Alyabyev's Nightingale. With this work, romantic notes appear in Tropinin's work. There is no static in this portrait, characteristic work Tropinin. Here everything is in motion, life is in full swing, and the palette, before buying up, flares up with a variety of bright colors.
The protagonist of the portrait has just looked up from reading a book that symbolizes not "officialdom", but breadth of interests and artistry. The person being portrayed smiles a little.
Some people accuse me of almost all my portraits smiling. Why, I don’t invent, I don’t compose these smiles - I write them from life.
Tropinin V.A.
The favorite technique of the Russian artist is the image of the person being portrayed in a dressing gown, in a free, not forced pose. Thus, Tropinin tries to emphasize the naturalness of the image.
“Portrait of A.S. Pushkin" (1827). All-Russian Museum of A.S. Pushkin, St. Petersburg.
In 1827, two portraits dedicated to the poet were created, they seem to be opposed to each other. In the portrait of Kiprensky, Pushkin is depicted in a secular guise, with a symbolic context indicating the craft of the hero of the portrait. In the portrait of Tropinin A.S. Pushkin is written quite at home, his image is endowed with warmth. Pushkin ordered this portrait for his friend S. Sobolevsky. It is known from the history of the painting that when it was sent abroad to Sobolevsky, it was replaced with a copy, and the original wandered around the back streets of Moscow for a long time until it was acquired by Prince M. Obolensky. The painting was badly damaged. Its authenticity was confirmed by Tropinin. In 1909, the painting was bought by the Tretyakov Gallery. When was the museum organized by A.S. Pushkin in Leningrad (1937), it was transferred to the museum.
Pushkin's gaze is directed into the distance with inspiration. Despite home image, Pushkin remains here a romantic poet, focused on his vocation. The robe is written solemnly, reminiscent of an antique toga, falls from the shoulders, emphasizing the proud posture of the great poet. A neckerchief is casually tied around the poet's neck, from under which the collar of a loose shirt protrudes. As conceived by the artist, clothing should bring the hero of the portrait closer to the viewer. On right hand the poet, lying on the papers, two rings are visible. One of which is a gift from E.K. Vorontsova. Pushkin always treated this ring as a talisman.
The painting “Self-portrait with brushes against the backdrop of the Moscow Kremlin was executed in 1844, is stored in the Museum of V.A. Tropinin and Moscow artists of his time, in Moscow. This portrait is the most famous of Tropinin's self-portraits. Both in self-portraits and in portraits, the main task of the artist is the desire to preserve the image of a person for the memory of people close to him. In this portrait we see the vocation of the artist, the freedom of creativity.
After all, I was under the command, but again I have to obey ... No to Moscow
Tropinin V.A.
Moscow has always been opposed to uniformed St. Petersburg as a place where one could live according to one's own will, with some degree of success. And leaving, the artist made a conscious ideological choice.
The kind, open, intelligent face of the artist, in which it is difficult to find traces of serfdom. By the 1840s, Tropinin practically “rewrote” the whole of Moscow, for which he became almost a landmark of the second Russian capital. This inseparable connection is emphasized by the “window” landscape. Tropinin loved the dressing gown, met guests in it.
I learned this dress, it is freer to work in it ...
Tropinin V.A.
With his left hand, Tropinin tightly grips the palette and brushes - such an "imperious" gesture seems not even entirely organic for a person whose kindness was legendary.
Tropinin's masterpiece V.A. - painting "Lacemaker"
The painting was painted in 1823, is in the State Tretyakov Gallery, in Moscow. Thanks to this picture and two more works, Tropinin got into the Academy of Arts. In the composition and registration of the image of the heroine, academic style letters, which had no effect on artistic value works. This is the most successful image from Tropinin's series of paintings "working girls". The idealized image of "lace" is associated with the image of " Poor Lisa» Karamzin, which appeared in 1792. Tropinin was very fond of the "genre portrait". It is believed that when creating such paintings, Tropinin followed in the footsteps of two artists - the Frenchman Jean Baptiste Greuze (1725-1805), who became famous for his genre compositions from the life of the third estate, and female "heads", and the Italian Petro Rotari (1707-1762). genre portrait has a peculiar storyline, thanks to which it is possible to express the human type more clearly.
Everything froze for a moment when the girl looked at the newcomer, even the pin in her hand. By short-cut nails, you can determine the girl's belonging to the profession. During the era of syntementalism, people learned to love the human soul. So the poetic image of the "lace" cleared of everyday difficulties, hardships and worries is sympathetic. The still life is wonderfully executed, clarifying the production background of the portrait. The coloring is made in close tones. The gray background enlivens - in contrast - the lilac fabric of the kerchief draped over the shoulders of the lace maker. The girl holds whooping cough in her hand. “A bobbin is a chiseled stick, with a thickening at one end and a neck with a button on the other, for winding threads and weaving belts and lace.” Picturesquely broken fabric, masterfully painted by the artist, allows him to emphasize the spectacular lighting. Below is a fragment of thin lace.
