Russian painting is rightfully distinguished from the world artistic arts. The fact is that until the seventeenth century, domestic painting was exclusively associated with religious theme. The situation changed with the coming to power of the reforming tsar, Peter the Great. Thanks to his reforms, Russian masters began to engage in secular painting, and icon painting separated as a separate direction. The seventeenth century is the time of such artists as Simon Ushakov and Joseph Vladimirov. Then, in Russian art world portrait was born and quickly became popular. In the eighteenth century, the first artists appeared, moving from portrait painting to landscape. The artists’ pronounced sympathy for winter panoramas is noticeable. The eighteenth century was also remembered for the emergence of everyday painting. In the nineteenth century, three movements gained popularity in Russia: romanticism, realism and classicism. As before, Russian artists continued to turn to portrait genre. It was then that the world-famous portraits and self-portraits of O. Kiprensky and V. Tropinin appeared. In the second half of the nineteenth century, artists increasingly depicted the common Russian people in their oppressed state. Realism becomes the central movement of painting of this period. It was then that the Itinerant artists appeared, depicting only real, real life. Well, the twentieth century is, of course, the avant-garde. The artists of that time significantly influenced both their followers in Russia and throughout the world. Their paintings became the forerunners of abstract art. Russian painting is a huge amazing world talented artists who glorified Russia with their creations
Greetings, friends, subscribers and site visitors!
Have you ever wondered who is depicted in the paintings of various Russian artists? Who are they, such sweet, beautiful, well-groomed and sophisticated women? What kind of life have you lived? What was the fate of these lovely ladies?
Looking at the portraits of the “lovely half of humanity,” these questions fly through my head. Moments from life and mesmerizing views captured on canvases excite me. And today I decided to talk about them... lovely, young and such different women.
“Portrait of Princess Zinaida Yusupova”, 1900. V.A. Serov
A woman of extreme beauty is depicted in the painting by V.A Serov. Princess Zinaida Yusupova was the last of a famous family and the richest heiress, whose hand many men sought.
But the princess believed in real feelings, which soon became part of her life. In a happy marriage, Zinaida gave birth to two children. The princess was also involved in charity work throughout her life.
V.A. Serov, 1900, St. Petersburg, Russian Museum
The terrible loss left a terrible imprint on the woman’s heart; the elder’s son died as a result of a duel. Looking for peace of mind the Yusupov couple went to Rome, leaving St. Petersburg / at a time of great changes in Tsarist Russia,/ and after the death of her husband, the woman went to Paris to see her son, where she lived until her death
“Portrait of M.I. Lopukhina", 1797. V.L. Borovikovsky
Countess Maria Lopukhina posed with an arrogant look and some ease at the age of 18. This “piercing” portrait was commissioned by the husband of young Maria from the artist V. L. Borovikovsky, famous master portraits of that time.
The Russian portrait painter had a keen sense of feminine nature and painted many paintings depicting women of enchanting beauty. Six years after the painting was created tragic fate took a young woman /died from consumption/.
Beautiful, charming, with a gentle and flirtatious look, Maria Lopukhina from the Tolstoy family lived her life long life…. But her image, captured for centuries, will remain with us forever!
V.L. Borovikovsky, 1797 Moscow, Tretyakov Gallery
“Portrait of Struyskaya”, 1772. F.S. Rokotov
Alexandra Petrovna Struyskaya is an amazingly beautiful woman depicted on the artist’s canvas. At the age of 18, she became the wife of a wealthy widower landowner and poetry lover. During her marriage, which lasted 24 years, Struyskaya gave birth to 18 children. But fate decreed that 10 children died in infancy.
Very different, but such happy spouses lived together family life, the husband dedicated poems to Alexandra, singing his feelings in them. After the death of her husband, A.P. Struyskaya lived for another 40 years, successfully taking care of family affairs, which helped her leave a decent fortune for her children.
F.S. Rokotov, 1772 Moscow Tretyakov Gallery
"Horsewoman", 1832. Karl Bryullov
The artist’s luxurious and dynamic canvas depicts the heirs of the Pacini family, the daughters Italian composer: the eldest - Giovannina, sitting on a handsome black, and the youngest Amatsilia, who is captivatingly watching her sister from the porch of the house.
The girls' adoptive mother, Countess Yulia Pavlovna Samoilova, ordered a portrait of her stepdaughters from her lover Karl Bryullov. The Russian countess, in addition to her amazing beauty, had enormous wealth, which she planned to leave to her daughters. The girls recovered the promised dowry in court, since in her old age Countess Yu.P. Samoilova practically went bankrupt.
Karl Bryullov 1832 Tretyakov Gallery, Moscow
“Girl with Peaches”, 1887 V.A. Serov
The most famous picture The artist was painted on the estate of S.I. Mamontov. The artist’s painting depicts a twelve-year-old girl, the daughter of the landowner Savva Ivanovich Mamontov. The girl grew up, turned into a beauty and became the wife of the successful nobleman Alexander Samarin. She gave her husband and the world three children.
Family happiness lasted only 5 years and at the age of 32, a charming woman named Vera Savvishna Samarina died of pneumonia. Her husband never married again...
Valentin Serov 1887 State Tretyakov Gallery, Moscow
“Merchant's Wife at Tea”, B.M. Kustodiev, 1918.
Kustodiev’s very bright creation, full of emotions and mood, dates back to the period of post-revolutionary famine. The painting depicts the brightness and satiety of Russia, which in 1918, such abundance was no longer acceptable.
The picture majestically shows off Galina Vladimirovna Aderkas, a real baroness of a noble knightly family. Neighboring with the artist, Galina’s colorful appearance was noticed by the artist’s wife Kustodiev.
A 1st year student became a “merchant at tea” Medical department Astrakhan. Having received medical education and after working for some time as a surgeon, Galina Aderkas found her calling in film scoring, in choral singing and in circus art.
Boris Mikhailovich Kustodiev 1918 State Russian Museum St. Petersburg
Life story you can leave it on paper for posterity by writing a biography... and also create another story, a history of views, a history of charming eyes, enchanting poses...
Probably, you too would like your descendants to get to know you through a portrait. No, not through a photograph on paper, but through a portrait! After all, it is he who, through the brightness and richness of colors, conveys all the beauty and mystery of our soul!!!
After all, a woman is a mysterious creature... like a book that you want to read and reread. Who knows, maybe they will write to you someday, what do you think?
And for dessert: video about why we buy paintings, why we need them
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Ask your questions below in the comments, I usually answer all questions quickly
Konstantin Makovsky is a famous Russian artist who painted many paintings of boyar Rus' in the 17th century. The furnishings of the boyar mansions, the clothes of the heroes of the paintings, and the boyars and boyars themselves are reproduced so faithfully that from the artist’s paintings one can study individual chapters of the history of Rus'.
The precision in the writing of individual details and motifs of patterns woven by the hands of Russian embroiderers, or clear ornaments on carved cups and bowls surprises and delights viewers of the past and present.
Luxurious clothes embroidered with pearls, amazingly beautiful headdresses of that time, beautiful boyars decorated with precious necklaces, boyars in brocade caftans - in everything you can feel with what love for Russian national beauty and culture, for the rich heritage of our ancestors, these pictures were painted . You can stand near each of them for a long time - admire the Russian patterns and feel pride and at the same time sadness, sadness that much has been lost, has not been preserved and is not preserved today. Therefore, such paintings, which contain unique evidence of the culture of the Russian land, are especially valuable to us.
Biography of the artist Konstantin Makovsky
Konstantin Egorovich Makovsky (1839 - 1915) was born into a family where there was an atmosphere of art worship. Many people have been to their house famous figures culture and art. The artist’s father, Yegor Ivanovich Makovsky, was one of the largest collectors in Moscow in the second quarter of the 19th century. His hobby was works of fine art, mainly ancient engravings.
And Konstantin Egorovich, having inherited his father’s passion, collected all the masterpieces of Russian ancient craftsmanship, but these were “beautiful antiquities.” He skillfully arranged some things in living rooms and workshops, and then used them in his paintings, while others he simply displayed in his large old ebony cabinet, so that he could then admire and admire the beauty and skill of Russian masters.
On the cornice of the fireplace stood ancient household utensils: silver ladles, cups, washstands, fans - items from boyar times. Ancient boyar brocade suits, multi-colored sundresses, armbands studded with pearls, kokoshniks embroidered with pearl lace - all this can be seen in the artist’s paintings. And besides the things lovingly collected by Konstantin Yegorovich, people who gathered around him also took part in his paintings. Sometimes scenes from boyar life were played out, which were then transferred to canvas. And this undoubtedly aroused the keen interest of the audience, because through Makovsky’s paintings they became familiar with the history of Rus' and the culture of their ancestors.
The artist’s daughter in her memoirs told how “... luxurious “living pictures” of boyar life were staged...”. Sometimes there were up to 150 people invited to these evenings, among whom were representatives of ancient families, descendants of those whom the artist depicted. They “...cleverly and beautifully dressed in brocade and velvet clothes...” in order to reproduce in them the scene conceived by the artist. This is how the paintings appeared - “The Wedding Feast”, “The Bride’s Choice” and many other paintings.
Paintings by Konstantin Makovsky
On the canvases of K.E. Makovsky in bright luxurious suits from his own collection created images beautiful women, contemporaries of the artist. You look at the picture and feel as if the Russian pattern is glowing, the embroidered sundress of the Russian beauty is glistening with silk and silver. And if you pay attention, you will see that in each picture the hawthorn girls are wearing completely different headdresses. Indeed, the artist’s collection of kokoshniks and hats was his richest and most valuable acquisition.
Collecting Russian antiquities K.E. Makovsky continued to study throughout his life. By collecting masterpieces of Russian masters, the artist became familiar with the history of Russia and, admiring them, was inspired by new ideas. Now his paintings evoke in us not only admiration for the rich heritage of our ancestors, but also a desire to learn more and more about our homeland.
Writer E.I. spoke about how K.E. Makovsky used his collection in his work. Fortunato, who was lucky enough to be his model.
K.E. Makovsky was not only an artist. Communicating with major historians, he himself became a great specialist in the field of Russian antiquity. K.E. Makovsky sought to preserve the artistic heritage of Russia. Therefore, it is no coincidence that in 1915 he became a member of the Renaissance Society artistic Rus', whose main task was the preservation, study and promotion of Russian antiquity.
It is bitter and sad that the collection, collected over half a century, which occupied such an important place in the artist’s life, which became a reflection of an entire era in Russian culture, will be put up for auction just six months after his death. In September 1915, K.E. Makovsky was hit by a street car on one of the streets of Petrograd. Having received a severe head injury, the artist died two days later. Sudden death ruined all my plans...
More than 1,000 items were listed at the auction, some of them went to the capital's museums: the Russian Museum, the Hermitage, the Museum of the Baron Stieglitz School of Technical Drawing, and Moscow museums. Many items were bought by representatives of Moscow antique firms. Authentic suits, silver cups, ladles, glasses passed into the hands of prominent Moscow collectors.
But not everyone admired K. Makovsky’s paintings and his style of work.
At the beginning of his creative path K. Makovsky shared the views of the Itinerant artists; he painted peasant children (“Children Running from a Thunderstorm,” “Date”), but already in the 1880s the artist irrevocably moved away from them and began organizing personal exhibitions.
In 1883 he created the painting “Boyarsky wedding feast V XVII century”, followed by “The Choice of a Bride by Tsar Alexei Mikhailovich” (1886), “The Death of Ivan the Terrible” (1888), “Dressing the Bride for the Crown” (1890), “The Kissing Rite” (1895,). The films were a success both in Russia and abroad. international exhibitions. For some of them, at the 1889 World Exhibition in Paris, K. Makovsky was awarded a gold medal.
Prices for his paintings were always high. P.M. Tretyakov sometimes could not acquire them. But foreign collectors willingly bought paintings from the “boyar” cycle, so most of the artist’s works left Russia.
Thanks to this success, K.E. Makovsky became one of the richest people. Throughout his life he was surrounded by luxury that no Russian artist had ever dreamed of. Makovsky fulfilled any order on any topic with equal brilliance. It was the latter that caused misunderstanding and even condemnation among many. Some, apparently, were jealous of the success, others believed that the people with their own people should be present in the paintings. everyday life. But such paintings were not sold so readily, and many believed that Makovsky wrote on topics that were in demand, that is, for the sake of his own enrichment.
However, he always lived as he wanted and wrote what he wanted. His vision of beauty simply coincided with the demands and demands of those people who were willing to pay a lot of money for his paintings. His easy success became the main reason for the negative attitude of the Itinerant artists towards him and his work. He was accused of using art and his talent for material benefits.
K.E. Makovsky began his artistic journey with Peredvizhniki artists, exhibiting paintings on the theme of people's lives. However, over time, his interests changed, and from the 1880s he became a successful salon portrait painter. The fact that this happened for the sake of material wealth cannot be believed. After all, his numerous collections and multifaceted talent. But it cannot be denied that Makovsky did not seek recognition abroad. In addition, Europeans were interested in Russian history, so his works sold quickly.
In his personal life, Makovsky was also happy. His pleasant appearance, sociability, always open and smiling look of clear eyes made Konstantin Egorovich always a welcome guest. He was married three times. His first wife Lenochka Burkova, an actress at the Alexandrinsky Theater, lived a short life with him. A charming and gentle girl brought a lot of joy and warmth into his life. But illness took her away from earthly life early.
Carefree and greedy for the joys of life, Konstantin Yegorovich quickly consoled himself when he saw a girl of extraordinary beauty at the ball - Yulenka Letkova. The girl was only sixteen years old, and the charming painter was thirty-six. Soon the wedding took place. Having lived twenty years of a happy family life, Konstantin Yegorovich painted many paintings, most of which contain a sweet image of his young wife. For for long years Yulia Pavlovna Makovskaya was his muse and model for portraits.
In 1889, Konstantin Makovsky went to the World Exhibition in Paris, where he exhibited several of his paintings. There he became interested in the young Maria Alekseevna Matavtina (1869-1919). Born in 1891 illegitimate son Konstantin. I had to confess everything to my wife. Yulia Pavlovna did not forgive the betrayal. A few years later, a divorce was filed. And Konstantin Egorovich continued his happy family life with his third wife, whom he also used as a model. He also often depicted his children from both his second and third marriages on his canvases.
Publications in the Museums section
Tatiana before and after Pushkin: portraits of three centuries
It is believed that popular name Tatyana became after the publication of the novel “Eugene Onegin”. However, even before this, this name was not uncommon among the nobility. We remember portraits of Tatyana from the 18th to the 20th centuries together with Sofia Bagdasarova.
A. Antropov. Portrait of Princess Tatiana Alekseevna Trubetskoy. 1761. Tretyakov Gallery
A. Peng. Portrait of Princess Tatyana Borisovna Kurakina. 1st half XVIII century, State Hermitage
Unknown artist. Portrait of Anastasia Naryshkina with her daughters Tatyana and Alexandra. Early 1710s, Tretyakov Gallery
Girls from the Romanov family were baptized Tatiana back in the 17th century: for example, that was the name of the sister of the first Tsar Mikhail Fedorovich and his youngest daughter. Then this name from royal dynasty disappeared, and the next Tatiana appeared in the imperial family in the 1890s. However, in noble families During the 17th and 18th centuries the name remained popular. One of the most famous Tatyanas is Tatyana Shuvalova. Her son, Empress Elizabeth's favorite Ivan Shuvalov, chose his mother's name day to sign a decree establishing Moscow University. So Tatyana's day became Student's Day. The portrait of Tatyana Shuvalova has not survived.
The oldest Russian portrait with Tatiana, apparently, was family portrait Naryshkins of the 1710s. It depicts the daughter of the first commandant of St. Petersburg, Moscow governor Kirill Naryshkin, with her mother and sister. The unknown artist did not work the faces very subtly, but carefully painted the patterns on the fabric and the fashionable lace fontange (headdress) of the mother.
The court artist of the Prussian king Antoine Pen was invited to paint a portrait of the daughter of Prince Boris Kurakin - and the niece of Tsarina Evdokia Lopukhina. The director of the Berlin Academy of Arts, in the traditions of classicism, worked on chiaroscuro, folds of clothing, and even conveyed the finest shimmer of expensive fabric on the shoulders of Princess Tatyana Kurakina.
Princess Tatyana Trubetskaya - the sister of the poet Fyodor Kozlovsky - looks bright in a portrait of 1761: the artist Alexei Antropov depicted her in an outfit decorated with red and green bows and flowers. The princess with full make-up: in those years it was fashionable not only to powder, but also to apply blush and fill in the eyebrows.
D. Levitsky. Portrait of Tatyana Petrovna Raznatovskaya. 1781. State Art Museum Belarus
N. Argunov. Portrait of ballerina Tatyana Vasilievna Shlykova-Granatova. 1789. Kuskovo
E. Vigée-Lebrun. Portrait of Tatyana Vasilievna Engelhardt. 1797. Fuji Museum, Tokyo
Twenty years later, Dmitry Levitsky wrote Tatyana Raznatovskaya. A young woman with a proud posture looks noble and elegant. Her light blue dress and white silk cape contrast with the dark, deep background in the pictorial tradition of those years.
One of richest women Russia - Prince Potemkin's niece Tatyana Engelhardt married one of the Yusupovs and brought a gigantic fortune and the hereditary name Tatyana to their family. In the portrait by visiting French portraitist Vigée-Lebrun, Tatyana Engelhardt is weaving a wreath of roses and is dressed in a new fashion - in a high-waisted dress.
Researchers believe that among peasants the name Tatyana in the 18th–19th centuries was three times more popular than among nobles. The Sheremetev serf artist Nikolai Argunov depicted the peasant woman Tatyana Shlykova, an actress in the serf theater, in an elegant stage costume. Later, the count chose “precious” surnames for his beautiful actresses. Shlykova became Granatova, and her “colleagues” became Zhemchugova and Biryuzova.
A. Bryullov. Portrait of Tatyana Borisovna Potemkina. 1830s. VMP
V. Tropinin. Portrait of Tatyana Sergeevna Karpakova. 1818. Museum fine arts Republic of Tatarstan
K. Reichel. Portrait of Tatyana Vasilievna Golitsyna. 1816, State Russian Museum
Among those immortalized on Tatiana’s canvases there are other actresses. In 1818, Vasily Tropinin portrayed the young dancer Karpakova. Her parents played in the Imperial Theaters, and she herself was fond of ballet since childhood. Tatyana Karpakova danced on the stage of the Bolshoi Theater from the age of 12; her contemporaries admired her expressive facial expressions, ease of dance and impeccable technique.
In the same year, a portrait of Princess Tatiana Golitsyna was created. Daughter-in-law of Natalia Golitsyna, the prototype of Pushkin Queen of Spades, is depicted wearing a black beret. In the first third of the 19th century, these headdresses were traditionally worn by married ladies. True, more often fashionistas preferred bright colors - crimson, green, scarlet.
“The width of the beret extends to twelve inches; the upper part is one color, the lower part is another color. The materials from which such berets are made are also different: satin and velvet. These berets are put on the head so crookedly that one edge almost touches the shoulder.”
Excerpt from a 19th century fashion magazine
A watercolor by Alexander Bryullov from the 1830s depicts Tatyana Potemkina. In it, the model is dressed in an outfit that covers not only the shoulders, but also the neck, ears and hair of the princess: Potemkina was very religious. Having become the spiritual daughter of Saint Ignatius (Brianchaninov), she took care of the spread of Orthodoxy, built churches, gave huge amounts of money to charity and, of course, did not allow herself to wear a neckline.
V. Vasnetsov. Portrait of Tatyana Anatolyevna Mamontova (1884, Tretyakov Gallery)
I. Repin. Portrait of Tatyana Lvovna Tolstoy (1893, Yasnaya Polyana)
F. Winterhalter. Portrait of Tatyana Alexandrovna Yusupova (1858, State Hermitage)
In 1825–1837, Alexander Pushkin's Eugene Onegin was published in parts. Tatyana Larina became the “first Tatyana” of Russian literature - before that, writers preferred other names. After the release of the novel, the name became much more popular - many named their daughters in honor of the romantic and virtuous heroine of Pushkin.
But not many portraits of Tatyana from these years have survived. Among them is a canvas on which the fashionable portrait painter Franz Xaver Winterhalter depicted Tatyana Yusupova. The heroine of the portrait inherited it from her grandmother Tatyana Engelhardt, and Yusupova named one of her daughters the same way.
Portraits of the daughters of Leo Tolstoy and Anatoly Mamontov were created in the 1880–90s, they were painted by B. Kustodiev. Portrait of Tatyana Nikolaevna Chizhova. 1924. Ivanovo Regional Art Museum
M. Vrubel. Portrait of Tatyana Spiridonovna Lyubatovich as Carmen. 1890s. Tretyakov Gallery
By the beginning of the twentieth century in Moscow and the Moscow province, the name Tatyana became the fifth most popular name after Maria, Anna, Catherine and Alexandra.
The portrait of one of Tatiana also belongs to the brush of Mikhail Vrubel. Opera singer Tatyana Lyubatovich is depicted in the role of Carmen - at the beginning of the twentieth century this was a very popular image among artists and the heroines of their paintings.
In 1908, Saratov artist Alexander Savinov painted the canvas “Harpist”. His wife became his heroine famous philosopher Semyon Frank Tatyana Frank (nee Bartseva). Savinov created an ornamental portrait with a textured tone and muted colors in the traditions of the growing new style - modernism.
In this artistic circle of Tatiana, the “Portrait of the artist Tatyana Chizhova” is noteworthy; Boris Kustodiev painted it in 1924. The title of the picture is inaccurate. After Kustodiev’s death, the portrait was transferred to the Russian Museum, and the abbreviation in the signature “arch.” deciphered as “artist.” In fact, Tatyana Chizhova was an archaeologist. The portrait shows her in her favorite dress and with her grandmother’s ring on her finger.
Publications in the Museums section
The fates of beauties famous portraits
We know them by sight and admire their beauty in the prime of youth. But how did these women live after the painting was completed? Sometimes their fate turns out to be surprising. Remembering with Sofia Bagdasarova.
Sarah Fermor
AND I. Vishnyakov. Portrait of Sarah Eleanor Fermor. Around 1749–1750. Russian Museum
Vishnyakov's painting is one of the most beautiful examples of Russian Rococo and one of the most famous portraits of the era of Empress Elizabeth Petrovna. Particularly impressive is the contrast between the childish charm of a 10-year-old girl and the fact that she tries to do everything “like an adult”: she accepts correct posture, holds a fan according to etiquette, diligently maintains posture in the corset of a court dress.
Sarah is the daughter of General Willim Fermor, a Russified Scot in Russian service. It was he who took Königsberg and all of East Prussia for us, and in the civil service after the fire he rebuilt classic Tver in the form that delights us now. Sarah's mother was also from a Scottish family - from the Bruces, and was the niece of the famous Jacob Bruce, “the sorcerer from the Sukharev Tower.”
Sarah was married late at that time, at the age of 20, to her peer Jacob Pontus Stenbock, a representative of a Swedish count family (one Swedish queen even came from it). The Stenbocks had by that time moved to Russian Estland. The couple lived, frankly, quite well: suffice it to say that their palace in Tallinn now houses the premises of the Estonian Prime Minister and the government meeting room. Sarah, according to some indications, became the mother of nine children and died under Emperor Alexander I - either in 1805, or even in 1824.
Maria Lopukhina
V.L. Borovikovsky. Portrait of M.I. Lopukhina. 1797. Tretyakov Gallery
Borovikovsky painted many portraits of Russian noblewomen, but this one is the most charming. In it, all the master’s techniques are applied so skillfully that we don’t even notice exactly how we are bewitched, how the charm of this young lady is created, to whom almost a hundred years later Yakov Polonsky dedicated poems (“... but Borovikovsky saved her beauty”).
Lopukhina is 18 years old in the portrait. Her ease and slightly arrogant look seem either to be a common pose for such a portrait of the era of sentimentalism, or signs of a melancholic and poetic disposition. But we don’t know what her character really was. At the same time, Maria, it turns out, was sister Fyodor Tolstoy (American), famous for his defiant behavior. Surprisingly, if you look at the portrait of her brother in his youth (L.N. Tolstoy State Museum), we will see the same imposing and relaxed manner.
The portrait was commissioned by her husband, Stepan Lopukhin, shortly after the wedding. Lopukhin was 10 years older than Maria and came from a rich and noble family. Six years after painting the picture, the girl died from consumption. Ten years later, her husband also died. Since they were childless, the painting was inherited by the only surviving daughter of Fyodor Tolstoy, from whom Tretyakov bought it in the 1880s.
Giovannina Pacini
K.P. Bryullov. Rider. 1832. Tretyakov Gallery
Bryullov’s “Horsewoman” is brilliant ceremonial portrait, in which everything is luxurious - the brightness of the colors, the splendor of the draperies, and the beauty of the models. Russian academicism has something to be proud of.
On it are written two girls who bore the surname Pacini: the eldest Giovannina is sitting on a horse, the younger Amatzilia is looking at her from the porch. But whether they had the right to this surname is still not clear. The painting was ordered to Karl Bryullov, her long-time lover, by their adoptive mother, Countess Yulia Samoilova, one of the most beautiful women Russia and heir to the colossal fortune of Skavronsky, Litt and Potemkin. Having left her first husband, Samoilova went to live in Italy, where both Rossini and Bellini visited her salon. The countess did not have her own children, although she married twice more, once to a young and handsome Italian singer Peri.
By official version, Giovannina and Amazilia were sisters - the daughters of the author of the opera “The Last Day of Pompeii”, composer Giovanni Pacini, a friend (and, according to rumors, lover) of the countess. She took them into her home after his death. However, judging by the documents, Pacini had only one daughter, the youngest of the girls. Who was the eldest? There is a version that she was born out of wedlock by the sister of that same tenor Peri, Samoilova’s second husband. Or maybe the countess and the girl had a closer relationship family connection... It is not for nothing that “The Horsewoman” was first considered a portrait of the Countess herself. Having grown up, Giovannina married an Austrian officer, captain hussar regiment Ludwig Aschbach, and went with him to Prague. Samoilova guaranteed her a large dowry. However, since the countess went bankrupt in her old age (she had to pay huge alimony to her third husband, a French aristocrat), both “daughters” collected the promised money from the old woman “mother” through a lawyer. Samoilova died in poverty in Paris, but the further fate of her students is unknown.
Elizaveta Martynova
K.A. Somov. Lady in blue. 1897–1900. Tretyakov Gallery
“Lady in Blue” by Somov - one of the symbols of painting Silver Age, in the words of art critic Igor Grabar - “La Gioconda of our time”. As in the paintings of Borisov-Musatov, there is not only the enjoyment of beauty, but also admiration of the fading charm of landowner Russia.
Elizaveta Martynova, who posed for Somov in the portrait, was apparently one of the artist’s few female crushes. The artist met her, the daughter of a doctor, while studying at the Imperial Academy of Arts - she was among the students enrolled in 1890, when women were first allowed to enter this educational institution. Surprisingly, it seems that Martynova’s own works have not survived. However, her portraits were painted not only by Somov, but also by Philip Malyavin and Osip Braz. Anna Ostroumova-Lebedeva studied with her, who in her memoirs casually noted that, although Martynova was always described as a tall, stately beauty, in reality she was vertically challenged. The artist’s character was emotional, proud and easily vulnerable.
Somov painted her several times: in 1893 in watercolor in profile, two years later in pencil, and in 1897 he created a small portrait of her in oil against a background spring landscape(Astrakhan Art Gallery). He created the same picture intermittently for three years: the artist spent two of them in Paris, and Martynova settled in Tyrol for a long time to treat a lung disease. The treatment did not help: about four years after finishing the painting, she died of consumption at the age of about 36. She apparently had no family
Galina Aderkas
B.M. Kustodiev. Merchant's wife having tea. 1918. Russian Museum
Although Kustodiev’s “Merchant’s Wife at Tea” was written in the post-revolutionary year of 1918, for us it is a real illustration of that bright and well-fed Russia, where there are fairs, carousels and the “crunch of French bread.” However, after the revolution, Kustodiev did not change his favorite subjects: for a person chained to the end of his life wheelchair, it became a form of escapism.
Galina Aderkas, a natural baroness from a family that traces its history back to a Livonian knight of the 13th century, posed for the merchant's wife in this portrait-picture. One of the baronesses von Aderkas was even Anna Leopoldovna’s teacher.
In Astrakhan, Galya Aderkas was the Kustodievs' housemate, from the sixth floor; The artist’s wife brought the girl to the studio after noticing the colorful model. During this period, Aderkas was very young, a first-year medical student. And to be honest, in the sketches her figure looks much thinner and not so impressive. She studied, as they say, surgery, but her passion for music took her into another field. The owner of an interesting mezzo-soprano, in Soviet years Aderkas sang as part of the Russian choir at the Music Broadcasting Directorate of the All-Union Radio Committee, participated in dubbing films, but did not achieve much success. She married, apparently, a certain Boguslavsky and, possibly, began performing in the circus. The Manuscript Department of the Pushkin House even contains handwritten memoirs authored by G.V. Aderkas, entitled “Circus is my world...”. What her fate was like in the 30s and 40s is unknown.