- (Greek λεξικόν, Latin dictionarium, glossarium, vocabularium, German Wörterbuch) a collection of words belonging to some language, located for more convenient use in one or another systematic order, most often in a purely external, ... ...
- (1824 June 11, 1895 in Wildungen, near Pyrmont) Senator, Privy Councilor, collector. Late at night, we received the sad news of the sudden death of Dmitry Alexandrovich Rovinsky, a senator, a well-known collector and publisher of Russians ... ...
Rovinsky, Dmitry Alexandrovich- Dmitry Rovinsky, lawyer and connoisseur of Russian portrait Wikipedia has articles about other people with this surname, see Rovinsky. Dmitry Alexandrovich Rovinsky (August 16 (28) ... Wikipedia
Rovinsky (Dmitry Alexandrovich) is a well-known lawyer and statesman, a scholarly researcher in the history of Russian life and art history, an honorary member of the Academies of Sciences and Arts. The son of a Moscow police chief, was born on August 16, 1824 ... Biographical Dictionary
Rostopchin, Count Feodor Vasilyevich- - Chief Chamberlain, Commander-in-Chief of Moscow in 1812-1814, member of the State Council. The Rostopchin family considers its ancestor to be a direct descendant of the great Mongol conqueror Genghis Khan - Boris Davidovich Rostopcha, ... ... Big biographical encyclopedia
Rovinsky Dmitry Alexandrovich Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
Rovinsky, Dmitry Alexandrovich- a well-known lawyer and statesman, a scholarly researcher in the history of Russian life and art history, an honorary member of the academies of sciences and arts. The son of a Moscow police chief, b. August 16, 1824. After graduating from law school... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
Dmitry Rovinsky
Dmitry Alexandrovich Rovinsky- Dmitry Rovinsky, lawyer and connoisseur of Russian portrait Dmitry Alexandrovich Rovinsky (August 16 (28), 1824, Moscow June 23, 1895, Bad Wildungen, Germany) Russian lawyer, famous as an art historian and compiler of reference books on Russian ... ... Wikipedia
Rovinsky, Dmitry- Dmitry Rovinsky, lawyer and connoisseur of Russian portrait Dmitry Alexandrovich Rovinsky (August 16 (28), 1824, Moscow June 23, 1895, Bad Wildungen, Germany) Russian lawyer, famous as an art historian and compiler of reference books on Russian ... ... Wikipedia
Rovinsky Dmitry Alexandrovich- Dmitry Rovinsky, lawyer and connoisseur of Russian portrait Dmitry Alexandrovich Rovinsky (August 16 (28), 1824, Moscow June 23, 1895, Bad Wildungen, Germany) Russian lawyer, famous as an art historian and compiler of reference books on Russian ... ... Wikipedia
Dmitry Rovinsky entered Russian history not as a lawyer and a reformer of the judicial system in 1864, but as a professional art historian and Russian collector - the founder of the science of Russian art history, and what he did in the field of engraving is generally priceless.
Without the works of Rovinsky on Russian engraving, Russian engravers, Russian engraved portrait, Russian folk picture, as well as engravings of Western European schools and Rembrandt etchings collected by a Russian collector, today not a single specialist in this field can do, either in our country or abroad.
Handbooks, historical reviews of the development of engraving techniques, monographs, catalogs, a library on the history of engraving - it all started with him. From the very beginning, Dmitry Rovinsky set himself a single goal - enlightenment, for which it was necessary to create a base, collect material and draw the attention of specialists to them.
The collection of thousands of his engravings began with the collection of Western samples, in particular, from the engravings of Rembrandt, but the advice of a distant relative M.P.
And in addition to this instruction, Pogodin handed over to the young man a small chest for analysis, where Shtelin's archive was located, among whose papers there were several engraved portraits and popular prints. They laid the foundation for the grandiose collections of Dmitry Rovinsky.
True, Dmitry Rovinsky did not immediately become a legendary Russian collector. At first, he collected folk pictures without much enthusiasm, and little distinguished them from each other in quality, believing that they did not represent any artistic value. As, however, and Russian engravings, which he considered a blind imitation of Western ones.
This went on until he plunged headlong into the topic, and the folk picture began to excite him no less than Rembrandt's etchings. Over the years, "watchfulness" began to shape his artistic taste. So gradually, from an amateur, he turned into a professional in the field of the history of Russian fine arts, Russian history, Russian folklore and Russian ethnography.
Only a list of multi-volume works, albums, articles and studies by Dmitry Rovinsky will take up a lot of space. His fundamental research works were:
“Russian Engravers and Their Works from 1564 to the Foundation of the Academy of Arts”, “Dictionary of Russian Engraved Portraits”, “Russian Folk Pictures”, “Detailed Dictionary of Russian Engravers and Their Works of the 16th-19th Centuries”.
The latter, which appeared shortly after the death of the author in 1895, became the final and posthumous monument to half a century of ascetic work of the scientist. Dmitry Rovinsky himself can also be considered a monument to Russian culture: immensely loving his people, their wisdom, cunning, humor and customs, for fifty years he studied everything Russian with the enthusiasm of a Russian patriot.
Diligence, passion, discipline and strictness towards oneself, instilled by the father in childhood, were supplemented and developed in the course of personal legal practice, which taught to carefully study any case, strict documentation of details and responsibility for decisions made.
These qualities not only contributed to his successful career as a prosecutor, but also to the development of Dmitry Alexandrovich as a brilliant connoisseur of Russian history and Russian life. Collecting folk pictures, icons and engraved portraits, he went around almost all the Moscow region, the east and north of the country, and when his position and funds began to allow, he traveled all over Europe, visited India, China, Morocco, Egypt, Jerusalem, Japan ....
And the real collecting began with the “Society for Trampling Roads,” as Ivan Zabelin and Dmitry Rovinsky called themselves, with their brother Nikolai who joined them. In search of Russian antiquity, they walked around all the local villages and towns, going on hikes since Easter: Kuntsevo, Kolomenskoye, New Jerusalem, Savvino-Storozhevsky Monastery, Sergiev Posad .... And so on.
One of the biggest trips to Pereslavl-Zalessky lasted two weeks, during which the friends walked thirty miles daily, eating black bread and kvass. During the campaigns, sketches of houses, churches, localities were made, customs, meetings, conversations were recorded. This is how the priceless collection of Rovinsky was formed.
The greatest difficulties in collecting arose with icons that their owners, especially the Old Believers, did not want to give away. I had to persuade and explain that the icon is not only an object of worship and prayer, but also a work of art that requires study. Dmitry Rovinsky had no luck with icons at all.
His first serious study, undertaken at the age of twenty-nine (1852), the Russian collector began precisely with the history of Russian iconography. Rovinsky's first manuscript on the history of Russian schools of icon painting seemed to be no different from previous studies in this area.
Accustomed to proving everything only with documents and confirming every word with facts, Rovinsky fell into the trap of his own professional meticulousness: his main conclusion was that there was no Byzantine standard, which Russian icon painters allegedly followed, in principle did not exist.
And therefore, there is no way to revive the mythical, unknown “Russian-Byzantine style”. Moreover, he showed on the facts that the royal painters, the same Simon Ushakov, always retreated from the Greek-Byzantine models. In the process of work, Dmitry Rovinsky for the first time began to attribute icons using the method of their stylistic analysis.
He described in detail all the stages of creating an icon, how fakes arise, how icons are “repaired”, etc. He was told about all this in his countless expeditions and conversations with icon masters. And most importantly, in the appendix to the work, he publishes 142 recipes for making paints for icons, which he wrote out from icon-painting originals.
This made the book in demand by all icon painters up to the present day. But the book was banned, four years later, in a truncated form, nevertheless published, and in full came out only half a century later - in 1903.
But it was this book that became a new stage in the study of icon painting schools and ancient Russian painting. Instead of general reasoning, real documents and facts were presented here for the first time, on the basis of which their systematization and reasonable conclusions were possible.
Previously, everything was the opposite: first, some version was put forward, which was then illustrated with separate samples of icons. As a result of the failure that the Russian collector suffered in Russian icon studies, Dmitry Rovinsky never returned to this topic.
Dmitry Rovinsky entered Russian history not as a lawyer and a reformer of the judicial system in 1864, but as a professional art historian and Russian collector - the founder of the science of Russian art history, and what he did in the field of engraving is generally priceless.
Without the works of Rovinsky on Russian engraving, Russian engravers, Russian engraved portrait, Russian folk picture, as well as engravings of Western European schools and Rembrandt etchings collected by a Russian collector, today not a single specialist in this field can do, either in our country or abroad.
Handbooks, historical reviews of the development of engraving techniques, monographs, catalogs, a library on the history of engraving - it all started with him. From the very beginning, Dmitry Rovinsky set himself a single goal - enlightenment, for which it was necessary to create a base, collect material and draw the attention of specialists to them.
Portrait of A. Menshikov, in a fur coat and fur hat, with an ax in his hands: "God humbled me" From the collection of D. A. Rovinsky
The collection of thousands of his engravings began with the collection of Western samples, in particular, from the engravings of Rembrandt, but the advice of a distant relative M.P.
And in addition to this instruction, Pogodin handed over to the young man a small chest for analysis, where Shtelin's archive was located, among whose papers there were several engraved portraits and popular prints. They laid the foundation for the grandiose collections of Dmitry Rovinsky.
True, Dmitry Rovinsky did not immediately become a legendary Russian collector. At first, he collected folk pictures without much enthusiasm, and little distinguished them from each other in quality, believing that they did not represent any artistic value. As, however, and Russian engravings, which he considered a blind imitation of Western ones.
Catherine II. From the collection of engraving portraits by D.A. Rovinsky
This went on until he plunged headlong into the topic, and the folk picture began to excite him no less than Rembrandt's etchings. Over the years, "watchfulness" began to shape his artistic taste.
So gradually, from an amateur, he turned into a professional in the field of the history of Russian fine arts, Russian history, Russian folklore and Russian ethnography.
Only a list of multi-volume works, albums, articles and studies by Dmitry Rovinsky will take up a lot of space. His fundamental research works were:
“Russian Engravers and Their Works from 1564 to the Foundation of the Academy of Arts”, “Dictionary of Russian Engraved Portraits”, “Russian Folk Pictures”, “Detailed Dictionary of Russian Engravers and Their Works of the 16th-19th Centuries”.
The latter, which appeared shortly after the death of the author in 1895, became the final and posthumous monument to half a century of ascetic work of the scientist. Dmitry Rovinsky himself can also be considered a monument to Russian culture: immensely loving his people, their wisdom, cunning, humor and customs, for fifty years he studied everything Russian with the enthusiasm of a Russian patriot.
Count Alexei Grigorievich Orlov. From the collection of D.A. Rovinsky
Diligence, passion, discipline and strictness towards oneself, instilled by the father in childhood, were supplemented and developed in the course of personal legal practice, which taught to carefully study any case, strict documentation of details and responsibility for decisions made.
These qualities not only contributed to his successful career as a prosecutor, but also to the development of Dmitry Alexandrovich as a brilliant connoisseur of Russian history and Russian life. Collecting folk pictures, icons and engraved portraits, he went around almost all the Moscow region, the east and north of the country, and when his position and funds began to allow, he traveled all over Europe, visited India, China, Morocco, Egypt, Jerusalem, Japan ....
And the real collecting began with the “Society for Trampling Roads,” as Ivan Zabelin and Dmitry Rovinsky called themselves, with their brother Nikolai who joined them. In search of Russian antiquity, they walked around all the local villages and towns, going on hikes since Easter: Kuntsevo, Kolomenskoye, New Jerusalem, Savvino-Storozhevsky Monastery, Sergiev Posad .... And so on.
Dmitry Pretender. From the collection of D.A. Rovinsky
One of the biggest trips to Pereslavl-Zalessky lasted two weeks, during which the friends walked thirty miles daily, eating black bread and kvass. During the campaigns, sketches of houses, churches, localities were made, customs, meetings, conversations were recorded. This is how the priceless collection of Rovinsky was formed.
The greatest difficulties in collecting arose with icons that their owners, especially the Old Believers, did not want to give away. I had to persuade and explain that the icon is not only an object of worship and prayer, but also a work of art that requires study. Dmitry Rovinsky had no luck with icons at all.
His first serious study, undertaken at the age of twenty-nine (1852), the Russian collector began precisely with the history of Russian iconography. Rovinsky's first manuscript on the history of Russian schools of icon painting seemed to be no different from previous studies in this area.
Peter I. From the collection of D.A. Rovnisky
Accustomed to proving everything only with documents and confirming every word with facts, Rovinsky fell into the trap of his own professional meticulousness: his main conclusion was that there was no Byzantine standard, which Russian icon painters allegedly followed, in principle did not exist.
And therefore, there is no way to revive the mythical, unknown “Russian-Byzantine style”. Moreover, he showed on the facts that the royal painters, the same Simon Ushakov, always retreated from the Greek-Byzantine models. In the process of work, Dmitry Rovinsky for the first time began to attribute icons using the method of their stylistic analysis.
He described in detail all the stages of creating an icon, how fakes arise, how icons are “repaired”, etc. He was told about all this in his countless expeditions and conversations with icon masters. And most importantly, in the appendix to the work, he publishes 142 recipes for making paints for icons, which he wrote out from icon-painting originals.
Catherine I. From the collection of D.A. Rovinsky
This made the book in demand by all icon painters up to the present day. But the book was banned, four years later, in a truncated form, nevertheless published, and in full came out only half a century later - in 1903.
But it was this book that became a new stage in the study of icon painting schools and ancient Russian painting. Instead of general reasoning, real documents and facts were presented here for the first time, on the basis of which their systematization and reasonable conclusions were possible.
Previously, everything was the opposite: first, some version was put forward, which was then illustrated with separate samples of icons. As a result of the failure that the Russian collector suffered in Russian icon studies, Dmitry Rovinsky never returned to this topic.
Tsar Boris Godunov. From the collection of D.A. Rovinsky
Rovinsky D.A. A detailed dictionary of Russian engraved portraits. 2 volumes. St. Petersburg, Printing House of the Academy of Sciences, 1889. 26.4 x 19 cm. In two modern semi-leather bindings with gold embossing between the bandages on the spine. Excellent security. Professional restoration of several sheets. Rarity.
Volume 1. A-O. XVI p., 1204 st.
Volume 2. P-Feta; p., 1205-1888 st., c., 880 st.
Dmitry Aleksandrovich Rovinsky (1824-1895) - lawyer, archeographer, art historian, largest collector of engravings and prints, honorary member of the St. Petersburg Academy of Sciences (since 1883), honorary member of the Academy of Arts (since 1870). Even in his youth, he began to collect his collection of European and Russian prints, unique in richness and completeness, as well as Russian popular prints, in addition to this, D.A. Rovinsky deeply studied the subject of his passion. The result was fundamental research and catalogs, which are still of great scientific interest: "Russian folk pictures" (vols. 1-5. 1881) with an atlas in 4 books (1881-1893), "Detailed dictionary of Russian engraved portraits" (vols. 1-4 - 1886-1889, v. 1-2 - 1889), "Detailed dictionary of Russian engravers of the 16th - 19th centuries." (vol. 1-2. 1895), etc.
This publication includes information about 10,000 engraved portraits published in Russia in the 17th-19th centuries. The first such dictionary was published by D.A. Rovinsky in 1872 and stimulated a significant increase in interest in the Russian engraved portrait. Information about engraved portraits is systematized according to the personalities of historical figures, about which biographical information is presented, especially detailed information about kings, members of the ruling dynasty and major historical figures, and data on their appearance. Under each name, all known portraits and information about their editions, technique, features of images, creators, iconography are presented, types of images are highlighted, originals from which later portraits were made, their rarity, quality, and reliability are assessed. The texts for the portraits are accurately reproduced.
The dictionary is unique in its completeness: it contains information about portraits of 2,000 Russian individuals who went down in history in various fields of activity, and Europeans who were in the service of Russia. D.A. Rovinsky strove for the completeness of the idea of the domestic engraved portrait. In addition to famous people, almost forgotten ones also got into the dictionary. The author summarized in the book materials not only from his own unique collection, but also from the best public and private collections available to him. He emphasizes that the portrait is interesting precisely as a reflection of reality, a source of a reliable image of a certain historical person.
At the end of the edition there are eight appendices, which give lists of publications with portraits, including engraved, but not published suites; large private and public collections. The history of the engraved portrait in Russia up to 1700 is presented; research on the iconographic prototypes of the princes and kings of the Rurik House; censorship rules relating to the publication of portraits; a list of surviving engraved boards, etc. The conclusion, consisting of eight chapters, tells about the origin and development of portrait engraving in Russia, lists the most outstanding and rare engraved portraits of the royal house, provides information about portraits of private individuals, etc. The last chapter of the conclusion is especially useful to collectors of engraved portraits. Because it tells about various engraving techniques, about the beauty and rarity of prints. The publication is accompanied by alphabetical indexes of portraits and masters.
The dictionary is indispensable as a reference tool for collectors and professional historians. The publication is of interest to museums.
Bibliography: N.B., 491. International book, 6-674.
YES. Rovinsky. A detailed dictionary of Russian engraved portraits in 4 volumes + 1 additional volume. Edition with 700 phototype portraits: [In 4 vols.]. Compiled by D.A. Rovinsky. SPb. Printing house of the Imperial Academy of Sciences. 1886-1889 In 4 modern half-leather bibliophile bindings with corners, bandages and gold embossing on the spines., 27.5x19.5 cm. Reprint edition.
T. I: A - D. - 1886. - XVI p., 736 st.: ill.; T. II: E - O. - 1887. - p., column. 737-1420: illustration; T. III: P - F. - 1888. - p., column. 1421-2208: illustration; Vol. IV: Applications, conclusion and indexes. - 1889. - p., 880 columns. T.V -1911 89c.ill. The fifth volume presents later additions and corrections to Rovinsky's dictionary made by D. Adaryukov and I. Orlov.
Life edition. Dmitry Alexandrovich Rovinsky (1824-1895) - lawyer and statesman, collector, outstanding engraving researcher, honorary member of the St. Petersburg Academy of Sciences and the Academy of Arts. For many years (since the 1840s) Rovinsky collected the most significant collection of engravings in Russia. Dmitry Alexandrovich bequeathed his richest collection to the Hermitage, the Rumyantsev Museum, the Imperial Public Library and the Academy of Arts. Rovinsky was the first to systematize rich factual material on the history of engraving and popular prints. His fundamental research and catalogs have not lost their scientific significance at the present time: `Russian folk pictures`, `Detailed dictionary of Russian engraved portraits`, `Detailed dictionary of Russian engravers of the 16th-19th centuries`, `Complete collection of Rembrandt engravings with all the differences in prints `.`Detailed Dictionary of Russian Engraved Portraits` is a unique guide for amateurs and collectors of engravings. The material, grandiose in volume, contains descriptions of a large number of portraits with a mass of the smallest details (frame, engraving method, signatures, etc.), in some cases, paintings originals and lithographs from which engravings were made are indicated, biographical notes, stories are placed about almost every person and indications of contemporaries, etc. As appendices, the Dictionary includes: `Materials for the history of portraiture in Russia until 1700`, a study `Where did the images of the Grand Dukes and Russian Tsars from Rurik to Ivan the Terrible come from`, `Notes on portraits painted on enamels and on bones`, `Censorship of royal portraits`, etc. `Conclusion` contains information about the portrait business and the first engraved portraits in Russia, listing the rarest portraits of the Royal House, about portraits of individuals, about the art of engraving, notes about collectors, about the value and rarity of prints, about the rules for storing engravings and much more. At the end of the Dictionary are placed: `Alphabetical index of masters` and `General alphabet of portraits`. The text is supplemented by 700 phototype portraits. Rare Collector's Edition!
Condition: good.
