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The boy's early ability to draw prompted him to be sent to the Academy of Arts in 1763.

Here he was assigned to a cultural class taught by N. Gillet, a French artist who taught many talented sculptors of that time.

In addition to modeling, which Kozlovsky was seriously involved in, drawing was a great and sincere hobby. Therefore, when choosing a specialty, he hesitated for a long time, not knowing what to give preference to: painting or sculpture.

In 1772, Kozlovsky was awarded a 1st degree gold medal for the program bas-relief “Prince Izyaslav on the Battlefield” (plaster, Research Museum of the USSR Academy of Arts).

The sculptor turned to the theme from national history. Kozlovsky managed to create a dynamic scene: the characters’ poses are full of expression, their gestures are exaggeratedly pathetic. The artist has not yet arrived at the strict brevity and restraint that will characterize the mature period of his work.

Having received the Grand Gold Medal for thesis“The Return of Svyatoslav from the Danube” (1773), Kozlovsky graduated from Academician of Arts. To continue his education, he goes to Italy. Acquaintance with works of antiquity, in-depth studymonuments of antiquity and paintings by Renaissance artists enrich his work and broaden his horizons.

Unfortunately, nothing has come down to us from Roman works, except for a few drawings executed with great temperament and perfection.

Apollo

In 1780, the Marseille Academy of Arts awarded the artist the title of academician. This is evidence of the popularity of his works abroad. Returning to his homeland, Kozlovsky performed numerous works to decorate architectural monuments.

He performs bas-reliefs for concert hall in Tsarskoye Selo (architect D. Quarenghi) and for the Marble Palace in St. Petersburg (architect A. Rinaldi). At the same time, he made a marble statue of Catherine II, presenting her in the image of Minerva (1785, Russian Museum). The artist creates an idealized, full of greatness, image of the empress-legislator. Catherine liked the statue, and Kozlovsky received permission to travel to Paris “to acquire knowledge of his art.”

Hymen

In 1790 in Paris, the sculptor made the statue “Polycrates” (GRM). The theme of the human desire for freedom, expressed in the work, is consonant with revolutionary events in France, which Kozlovsky witnessed.

Polycrates. Gypsum. 1790. Russian Museum.

The master depicted the most intense moment of the suffering of Polycrates, chained to a tree by the Persians. Never before has a sculptor achieved such expression, drama, strength in expressing complex human feelings and such figurative plastic solutions. His excellent knowledge of anatomy and work from life helped him in this.

In 1794, Kozlovsky was awarded the title of academician, then “in respect for his talents” he was appointed professor, and in 1797 - senior professor.

His role as a teacher at the Academy is extremely high. An excellent draftsman, a sensitive and attentive teacher, he earned universal respect and love. A whole galaxy of young talented sculptors came out of his workshop: S. Pimenov, I. Terebenev,V. Demut-Malinovsky and others.

Minerva and the artistic genius.

The end of the 80-90s of the 18th century was the heyday of the sculptor’s talent.

Heroic themes, full of high patriotic pathos, attracted the artist during this period.

In 1797, he carved in marble the statue “Yakov Dolgoruky, tearing up the royal decree” (GRM). It is significant that the artist turned to themes of Russian history and events of the recent past.

"Yakov Dolgoruky, tearing up the royal decree." Marble. 1797. Russian Museum.

He was attracted by the image of Peter’s associate, who was not afraid, in the presence of the emperor, to tear up the unjust decree signed by the tsar, which imposed unbearable hardships on the ruined peasants. The figure of Dolgoruky is full of determination and firmness. His face is angry, stern. IN right hand a torch, in the left - the scales of justice; at the feet there is a dead snake and a mask, personifying deceit and pretense.

Kozlovsky also turns to the plots of the Homeric epic and Roman history. Great place His work includes work on the image of Alexander the Great (1780s, Russian Russian Museum).

In the statue “Alexander the Great,” the sculptor captured one of the episodes of the future commander’s training of will. The beauty and perfection of the figure, the flexibility and smooth movements of the youthful body are attractive. The silhouette of the statue is thought out, characterized by clarity and expressiveness of its contours.

Vigil of Alexander the Great.

He created a number of sculptural and graphic sketches on the Homeric theme. Among them, the most successful is the marble figurine “Ajax Protects the Body of Patroclus” (1796, Russian Museum), the theme of which is male friendship conveyed in the tense movement of Ajax’s figure, in a wide step, in an energetic turn. The contrast of the dead immobility of Patroclus's drooping body and the strong, muscular Ajax gives the scene drama.

Almost all of Kozlovsky's works recent years imbued with heroic pathos and the spirit of courageous struggle. In the bronze group “Hercules on Horseback” (1799, Russian Museum), the idea of ​​the victoriousness of Suvorov’s campaigns is symbolically expressed.

The artist presented the commander in the form of a young man, Hercules, riding a horse. His figure is very lifelike and real. This group, to a certain extent, was a preparatory stage in the artist’s work on the most significant, most a major work- a monument to the great Russian commander A.V. Suvorov.

Hercules on horseback

With great enthusiasm, Kozlovsky began creating the monument in 1799. The sketches preserved in the Russian Museum testify to a long and complex compositional search, endless changes in the solution of the image.

Only in the latest versions did the artist come up with the idea of ​​presenting Suvorov as a “god of war” with a sword and shield in his hands. To glorify the strength and courage of the Russian commander, Kozlovsky turned to the allegorical form, creating an idealized generalized image of a warrior. There are no specific personality traits of Suvorov in it. the main idea, expressed by the artist in the monument, is to show the courage, determination, and unshakable will of the commander. The knight is depicted in energetic but restrained movement. He quickly and easily takes a step forward. The hand with the sword is raised high, as if to strike. With a shield he covers the crown and the papal tiara. The head is sharply turned to the side. In the open, young, proud face there is an expression of calm courage.

The frontal design of the statue is distinguished by solemnity, calmness, and monumental clarity. When viewed from the right, the movement of the warrior in an offensive impulse is especially noticeable; the viewer looking at the monument from the left side more clearly feels the emphasized firmness and confident power of the figure. The pedestal, designed by Kozlovsky with the participation of L.N. Voronikhin, is harmoniously connected with the plastic solution.

monument to Suvorov

The massive, rhythmically dissected form is contrasted with the light and graceful figure of the hero. The monument was inaugurated on May 5, 1801 and installed in the depths of the Champs de Mars, near the Engineering Castle. Only in 1820, in connection with the reconstruction of buildings on the Champ de Mars.

The monument to Suvorov is the pinnacle of the sculptor’s creativity. His appearance was the biggest event in artistic life Russia. The history of Russian monumental art begins with him sculptures XIX century.

Another outstanding work of Kozlovsky, the best decoration of the Peterhof cascades, was “Samson” - the central statue of the sculptural ensemble, to the creation of which the best Russian sculptors F. I. Shubin, I. P. Martos, F. F. Shchedrin, F. G. contributed. Gordeev and others.

But perhaps the most significant role was the role of Kozlovsky, whose work compositionally completed and united the sculptural complex of the Grand Cascade. The artist again turned to the Symbolic solution. The hero Samson represents Russia, and the lion represents defeated Sweden. The powerful figure of Samson is given by the artist in a complex turn, in tense movement.

Samson tearing the lion's mouth

“Samson” by Kozlovsky is one of the most outstanding works decorative sculpture. The ensemble of Peterhof fountains, destroyed by the Nazis during the Great Patriotic War Patriotic War, now restored.

Kozlovsky's last works were tombstones P. I. Melissino (1800) and S. A. Stroganova (1802, “Necropolis of the 18th century”, Leningrad Museum of City Sculpture), filled with a heartfelt feeling of sorrow.

The sculptor’s life was cut short in the prime of his talent.

Cupid with an arrow

Genius. Pavlovsk Palace

Psyche

Ajax protects the body of Patroclus

Kozlovsky, Mikhail Ivanovich

Professor of sculpture. Genus. October 26, 1753, d. September 18, 1802 in St. Petersburg. The son of the “galley fleet of the Trubachev master,” he was admitted to the Academy of Arts at the request of his father on July 1, 1764, knowing literacy and arithmetic, and in 1767, with the general distribution of students by specialty, he was assigned to the sculpture class, to prof. Gillet. Making rapid progress in the arts, he made plaster statues from antiquity, “Zeno’s Flora”, and “Venus aux belles fesses”, received, one after another, medals: in 1770, May 3rd, 2nd silver for the drawing from life and July 30th, 2nd gold for the execution of the bas-relief program “Prince Vladimir, waking up, deflects the blow dealt to him by Rogneda”; in 1771, September 5th, 1st silver for sculpting a bas-relief for the task; in 1772 on September 24th, - again the 2nd gold medal for completing the task “The soldiers want to kill Prince Izyaslav Mstislavich on the battlefield, without recognizing him, but he holds them back by opening his helmet,” and finally in 1773 -1st gold medal for the bas-relief “Svyatoslav’s meeting with his mother and children in Kyiv upon returning from the Danube”, after which, by determination on May 20, he was appointed a pensioner for 4 years in Rome, where he was sent on July 30 on an English ship.

In his reports from Italy, Kozlovsky reported to the Academy that, having arrived in Rome on January 10, 1774, he practiced sculpting from life, copying antiques from the French Academy (where he took advice from Vienna), composition, and drawing from An. Carracci (in the Farnesi Gallery), Domenichino, Raphael Urbino, as well as from antiques and from life, finally, in the execution of his own round figures representing the “River in the form of a seated woman with an urn” (1775), “the month of August” or “summer” in the form of a young shepherdess, “Jupiter kissing Cupid” (1776), and to top it all off - the production of several studies from the horse of Marcus Aurelius and from the works of Michel Angelo, for which he asked to postpone his stay in Rome for another year, for which followed by the permission of the council on the magazine on March 27, 1777. That year he worked in the Capitoline Gallery with a “dying fighter or gladiator”, then - “academy” and “anatomy” from life, taken from him by many artists in Rome and which he sent to St. Petersburg in 1779; heading to Paris, on February 10, 1780, he received the title of academician from the Marseille Academy of Painting, Sculpture and Architecture, and in his homeland he was recognized, by the determination of the academic council of September 3, 1782, as “appointed” to academician for the alabaster figure of “Jupiter with Ganymede” . Five and a half years later, on January 15, 1788, the same council decided that, since “their appointed from the Academy and its former pensioner in foreign countries, Mr. Kozlovsky, is now leaving back to Paris to further acquire knowledge in his art,” then advice, “knowing his good and honest behavior, and, moreover, respecting the celebrity that he had already acquired for himself with his art, having made a marble statue of Her Imperial Majesty ( Catherine II, 1787, now at the Academy), who has earned the Highest favor, intends to entrust the pensioners located in Paris to his supervision, giving him special instructions concerning his position."

In Paris, where Kozlovsky arrived on August 20, he attended a life class at the Academy, and he was given the right to enter it at the same time as the professor, which gave him the opportunity to choose the best place for drawing. In the capital of France, he found up to 10 Russian pensioners - painters, sculptors, engravers, but the director of the Academy had no information about many of them, and they, in turn, complained that they “were without any protection” and therefore could not begin their work . Kozlovsky distributed them to different professors, and the academic council fully approved of his order.

Almost a year later (July 25, 1780) he reported to the Academy from Paris that “a great change has followed here - the citizens have taken up arms and are maintaining guards themselves, and they are also forcing us to do so, without accepting any excuses, for which the pensioners of the Imperial Academy of Arts are extremely complaining , because every week costs them 6 francs, and it would seem obscene to walk around with a gun in someone else’s fatherland, for this reason I visited our envoy, told him that the Imperial Academy sent us here for the wrong reason, so that we could have a gun here wear, and asked him to protect us, to which His Excellency did not give any decision and now we must all do what we are ordered, and no one is allowed out of the city, no one knows how all this will end; Besides, everything here has become more expensive, so that our pensioners can barely have their daily bread.” Notifying at the same time about the activities of pensioners, Kozlovsky in conclusion advised the Academy not to keep pensioners in Paris any longer, and a year later (July 4, Art. Art. 1790) notified that “he could no longer fulfill the duties of an inspector, because circumstances would remain in He is not allowed in Paris."

Executed in 1791 from white marble in life size. with a request, where, having briefly talked about his constant zeal and success abroad, he added at the end that “upon my return to Russia, I tried evenly with my efforts to win the blessing of lovers of fine arts and finally lived the happiness that many of my works became known to Her To the Imperial Majesties and Their Imperial Highnesses, now, presenting them (such as Fauna, Marcia, Polycrates, Girl with a Butterfly) to the prudent judgment of the Imperial Academy of Arts, I most humbly ask, by comparing them with the works of other artists, to honor me with an honor according to them, what my talents deserve."

This request had an effect and, according to the decision of the meeting on September 12, Kozlovsky was promoted to academician, and on October 21 of the same year, in a ceremonial meeting, to junior professor.

IN next year(March 22) Kozlovsky took a place as a member of the academic council, and a little later (April 13) the president of the gr. Musin-Pushkin sent the following proposal to the Academy: “according to the staff of the Academy, confirmed by Her Imperial Majesty, there are supposed to be two professors for each art - a senior and a junior, but as of now for sculptural art, only the senior professor is paid, but from experience it is known that the sculptor professor and member of the council Kozlovsky, out of sheer diligence, without any salary to this day, repeatedly set up models in the full-scale class and had supervision over the students, then ... this professor Kozlovsky should be placed at the Academy on the regular salary of a junior professor, consisting of 600 rubles . annual salary, moreover, entrusting the full-time class to his supervision and disposal for the greater benefit,” which was carried out according to the decision of the council on April 28.

In general, gr. Musin-Pushkin patronized this artist; On September 9, 1796, he presented Catherine II with copper cast at the Academy: sculpted by prof. Kozlovsky group “Minerva with a genius” and “3 orliks, and two marble linings”, and Her Majesty deigned to keep the orliks ​​with linings, but ordered Minerva to be placed in the Academy, and on February 21, 1797, the President proposed to the Council to issue 500 rubles. at the expense of his salary (which on January 12, 1796 he expressed a desire to use to encourage artists, but at the exhibition of that year there were no works by artists deserving encouragement), as a reward to prof. Kozlovsky for the group of Minerva he made, which was presented to the Empress.

Continuing his service at the Academy, Kozlovsky was appointed on December 31, 1796 to the commission to describe paintings, marbles and prints of the Imperial Hermitage; in 1797 he made a marble statue of “Cupid” for the same museum; On July 27, 1799, he was elected senior professor of sculpture to replace Martos, who was elected adjunct rector; at the end of the same year, he was awarded the approval of his project for the monument to Suvorov on Tsaritsyn Meadow in St. Petersburg, and in May 1801, upon completion of it, he received the rank of collegiate adviser and a rich snuff box; a year earlier, in April 1800, the President of the Academy of Arts, gr. A. Stroganov, a marble statue of a “shepherd with a lamb” by Kozlovsky, and a porphyry pedestal to it; September 1, 1802 gr. Muravyov forwarded to the President, by order of the Highest, for consideration, the petition of Prof. Kozlovsky about the order to satisfy him for a marble statue representing the “Hymen”, made for the occasion of the wedding of Grand Duke Konstantin Pavlovich and located in the Hermitage. On October 2, after Kozlovsky’s death, Leontyev notified gr. Strogonov that he has a decisive answer regarding the completion of the bas-relief begun by the late prof. Kozlovsky (for the building of the Medical-Surgical Academy), cannot report without first knowing the will of the Minister of Internal Affairs, Count. V.P. Kochubey, and three days before that the president proposed to the academy council to give the students a program for the construction of a tombstone for the late professor (at the Smolensk cemetery), as a result of which Chekalovsky sent gr. Strogonov on April 15, 1804, two sculptural and one drawn sketch of such a monument, for which pensioners Demut-Malinovsky, Pimenov and Prokofiev received three gold medals. In addition to the above-mentioned works, Kozlovsky also executed: a marble statue, “The Vigil of Alexander the Great” (it represents the hero sitting on a bed in a doze and holding a ball in his right hand, ready to roll into the thicket), a colossal group of Samson with a lion for the Peterhof Garden and decorations for Tauride Palace, as well as bas-reliefs in the Marble Palace, depicting: “the return of Regulus to Carthage” and “Camilla liberating Rome from the Gauls”.

Art critic first half of the 19th century in., says that “each of Kozlovsky’s works reveals in the author an extraordinary ability, a lot of feeling, imagination, an original look and a masterful hand. But, despite these merits, it must be said that Kozlovsky, full of originality and genuine living talent, was a romantic of a kind. Examples of antiquity and monuments. classical art were not for him an exceptional example of perfection: here, to his credit, it must be said that even at the end of the last century he understood the conventions of the elegant ancients. This led Kozlovsky into the sphere of artistic license, where dexterity of technique is considered art, where the expression of feeling replaces the expression of character, where the ardor and playfulness of the imagination are called creativity. But even on this road, where another would certainly have fallen completely, that is, would have become a pitiful and rude mannerist, Kozlovsky retained his dignity: his works, not having the ideal perfection and beauty of antiquity, are distinguished by their naturalness of character and the free simplicity of imitation of nature.”

Kozlovsky published in the form of a book the best of his drawings (some of them from sculptures he executed), engraved with strong vodka and lavis; Some of them bear the name of the engraver Korsakov, others - without the name of the master. There are a total of 42 unnumbered engravings on 24 sheets, including the “bathhouse” attributed to him, where women wash together with men.

Files of the Archive of I. A. X. 1774-1800; “Collection of materials for the history of I. A. Kh.”, P. N. Petrova, and “Index to it,” A. E. Yundolova; "Monthly Dictionary for 1840", p. 177; D. Rovinsky " Detailed dictionary Russian engravers", 1894, vol. I; Nagler "Künstler-Lex.", VII.

N. Sobko.

(Polovtsov)

Kozlovsky, Mikhail Ivanovich

One of the best Russian sculptors, he was educated in St. Petersburg. Academy of Arts, where his closest mentor was Professor Gillet. At the end of the course in 1772, he was sent to foreign lands, worked in Rome and Paris and, returning to Russia in 1782, for the group “Jupiter with Ganymede”, sculpted abroad, was recognized as an academician. In 1788-97. was again in Paris, where he was entrusted with supervising the pensioners sent there by the Academy of Arts. In 1794, he was elevated to the rank of academician, as an artist who had already proven his talent and knowledge by previous works, and after that he was promoted to the rank of professor. From 1794 until the end of his life he taught sculpture at the academy. Died 1802

From his works, which strongly respond to the direction of French sculpture late XVIII century, the most famous are: the monument to commander Suvorov, on Tsaritsyn Meadow, in St. Petersburg, the colossal statue “Samson tearing the lion’s mouth”, decorating the main Peterhof fountain, marble statues: “Sitting Girl” (in Winter Palace) and "Cupid taking an arrow from his quiver" (in the Imperial Hermitage), "Hymen", performed on the occasion of the wedding of Tsarevich Konstantin Pavlovich, a male figure for the study of human anatomy (écorché) and bas-reliefs: "Return of Regulus to Carthage" and "Camillus , delivering Rome from the Gauls" (both in the Marble Palace, St. Petersburg).

A. N.

(Brockhaus)

Kozlovsky, Mikhail Ivanovich

glorious sculptor; a graduate of the Academy of Arts and professor of sculpture. Genus. Oct 26 1733, d. 16 Sep. 1802.

Kozlovsky published in the form of a book the best of his drawings (some of them from sculptures he executed), which were engraved with strong vodka and lavis. Under some numbers there is the name of the engraver Korsakov; others without the name of the master.

This book consists of 42 engravings, printed on 24 large format sheets, without a title page and without text or table of contents; The engravings are not numbered. Among them is No. 17, a Russian bathhouse, according to the certificate of E.I. Makovsky and Tropinin, engraved by Kozlovsky himself; He also apparently engraved many other paintings from the same edition.

1. "Socrates' thought on the immortality of the soul - design of a tombstone." Engraved with Lavis. 16.10½ x 114.

2. “Diogenes in a public place, averse to human vices; S.M. Kozlovskaya.” 12.5 x 17.7½. Engraved with strong vodka. On the second prints the inscription has been corrected and written: “in place”.

3. "Merope delivered by her son from Tyropus; Op. M. Kozlovskaya"; etching; 15.47, x 21.2.

4. Solomon's court; etching: "Op. M. Kozlovskaya." 9.6 x 15.6½.

5. "Christ twelve years old in the Holy of Holies; etching; "Op. M. Kozlovskaya". 4.10½ x 18.7½.

6. "The Journey of Gallatea; Op. M. Kozlovskaya"; etching. 5.6½ x 19.1½.

7. "Apelles the painter choose best model to depict your Venus; CM. Kozlovskaya"; etching; 13.6½ x 18.8.

8. "Mucius Scevella before Porsena; Op. M. Kozlovskaya"; etching; 15.8½ x 14.9.

9. God talks with Peter and Paul; etching; Op. M. Kozlovskaya. 6.1½ x 5.9.

10. Virtuous Roman woman; etching: "From a drawing by Mr. Kozlovsky. Carved by A. Korsakov." 7.8½ x 6.7½.

11. "Bacchus Festival; Op. M. Kozlovskaya"; etching; 11.2 x 23.4.

12. "Idol sacrifice"; engrav. strong vodka and aquatint; 11½ x 23.10.

13. Argus: "Op. M. Kozlovskaya". 4.3½ x 3.11. Etching.

14. Camel: "Op. M. Kozlovsky" 4½ x 5.8. Etching.

15. Theseus kills the Boar; "S.M. Kozlovskaya"; 9.6 x 7.3½. Etching.

16. Hercules kills Leo: "S.M. Kozlovskaya"; 9.5½ x 7.4½. Etching.

17. "Russian bathhouse; Op.: M. Kozlovskaya." 14.9 x 31.1.

18. Doctrine of Medicine; large engraving on two boards, engraving. strong vodka and aquatint: "Op. M. Kozlovskaya" 9.5 x 41.5½.

19. "Evangelist; Op. M. Kozlovskaya"; 3.97, x 5.7. Etching.

20. "Epictitus Filozov; S.M. Kozlovskaya"; etching; 4.5 x 3.10½.

21. "Bacchus' journey. From a drawing by Mr. Kozlovsky. Carved by A. Korsakov." 9.10½ x 13.4½. Etching.

22. “Young Tobius heals his father Tobit; Op. M. Kozlovskaya.” 5.1 x 5.5½. Etching.

23. "Abraham sacrifices Isaac; S.M. Kozlovskaya." 4.2 x 5.4. Etching.

24. “Ancient marriage. From a drawing by Mr. Kozlovsky. Carved by A. Korsakov”; engrav. cr. vodka; 9 x 14.4.

25. "From Tassa Clorinda. S.M. Kozlovskaya." 7.½ x 8.8. Engraver. strong vodka.

26. “Dinon is burned. S.M. Kozlovskaya”; 5.11 x 8.5½. Etching, made with a chisel.

27. "Artemisa mourns her husband. S.M. Kozlovskaya." 6.3 x 8.3. Etching, chisel.

28. "The Abduction of Europe. S.M. Kozlovskaya." 5.9 x 8.7½. Grav. strong vodka and a cutter.

29. Peddlers: 1) with sbiten and bagels; 2) with a tray on the shoulder; 3) with a basket, with mushrooms; on the head; 4) with pancakes on a plate. Etching: "Op. M. Kozlovskaya". 6.6 x 14.8.

30. Peddlers - three female figures female traders and one male, with game. Etching: "Op. M. Kozlovskaya". 7.8 x 14.8.

31. "Ajax carries away the body of Patroklovo. Op. M. Kozlovskaya." Etching. 5.3 x 5.10.

32. Venus with Cupid: "S.M. Kozlovsky". Etching. 4.9 x 5.11½.

33. "Volcano's Journey; Op. M. Kozlovskaya." 8.4 x 14.3½. Etching.

34. "Benjamin in Egypt; S.M. Kozlovskaya"; 6.6 x 9.6½. Etching.

35. "The Centaurus kidnaps the mistress of Hercules; Op. M. Kozlovskaya." 9.2 x 6.9. Grav. crepe. vodka and cutter.

36. “Abraham sacrifices his son Isaac; Op. M. Kozlovskaya”; crepe. a hammer and a chisel. 8.9 x 8.

37. "Tombstone of the late Melisin; S.M. Kozlovskaya." 6.7 x 7.6. Etching.

38. "Plato and Aristotle; S.M. Kozlovskaya"; 6.2 x 5.6½. Etching.

39. "Children's dance; S.M. Kozlovskaya"; 6.10½ x 13.8. Etching.

40. Musicians - two male figures playing the bagpipes and the pipe, one of them dances; etching: "S.M. Kozlovskaya". 5.2 x 5.10.

41. “Hercules kills Antaeus; S.M. Kozlovskaya”; etching. 6.2½ x 5.5½.

42. “Scipio dismisses the captive. Op. M. Kozlovskaya”; etching. 8.1 x 11.5½. 1st state of the board before signatures.

(Rovinsky)

Kozlovsky, Mikhail Ivanovich

famous sculptor, educated, retired and professor I. A. X., b. October 26, 1753 † 1802 September 16

(Polovtsov)

Large biographical encyclopedia. 2009 .

See what “Kozlovsky, Mikhail Ivanovich” is in other dictionaries:

- (1753 1802), Russian sculptor. Representative of classicism. Studied at the St. Petersburg Academy of Arts (1764 73) with N. F. Gillet; professor there (since 1794), among his students were S. S. Pimenov and V. I. Demut Malinovsky. Pensioner of the Academy of Arts in Rome (1774 79) and Paris (1779... ... Art encyclopedia

Russian sculptor. Son of a naval trumpeter. He studied at the St. Petersburg Academy of Arts (1764‒73) with N.F. Zhilei A.P. Losenko, was a pensioner of the Academy of Arts - in Rome (1774‒79) and Paris (1779‒80), where he also worked in... ... Great Soviet Encyclopedia

Kozlovsky Mikhail Ivanovich- (17531802), sculptor; representative of classicism. Studied at the Academy of Arts (176473), Academician from 1794; taught there (since 1794). Pensioner of the Academy of Arts in Rome (177479) and Paris (177980). Master of monumental decorative and easel sculpture,... ... Encyclopedic reference book "St. Petersburg"

Sculptor, graphic artist.

Born into the family of a military musician - “the galley fleet of the Trubachev master.” In 1764 he entered the Educational School of the Imperial Academy of Arts, then studied in the “sculpture and statue” class with N.-F. Gillet. He was repeatedly awarded small and large silver medals for drawings and modeling from life. In 1770 he completed the bas-relief “Vladimir and Rogneda” according to the program, for which he received a small gold medal. In 1772, for his works “Cyril the Greek Philosopher and Prince Vladimir” and “Izyaslav Mstislavovich on the Battlefield” he was awarded another small gold medal. In 1773, for the bas-relief program “Svyatoslav’s Meeting with Mother and Children upon Return from the Danube,” he was awarded a large gold medal, and was released from the Academy with a 1st degree certificate for the title cool artist and the right to retiree travel abroad.

In the same year he went to Rome, where he lived until 1779. He studied the collections of the Vatican, Palazzo Farnese, Spada, Borghese. Made many copies and sketches with antique sculptures, as well as works by Renaissance masters, especially Michelangelo. He attended life classes at the French Academy of Arts in Rome, where he took advice from J.-M. Vienna.

In 1779 he moved to France. In 1780 he was elected honorary academician of the Academy of Painting, Sculpture and Architecture in Marseille. In the same year he returned to St. Petersburg. In 1782 he presented to the Council of the Imperial Academy of Arts the plaster sculpture “Jupiter with Ganymede”, completed during his retirement, for which he was recognized as “appointed” to academicianship. In the 1780s, at the invitation of A. Rinaldi, he worked on the decorative design of the Marble Palace in St. Petersburg, and also, by order of G. Quarenghi, created reliefs for the “Temple of Friendship” in Tsarskoe Selo. In 1784–1785 he sculpted a large marble statue of Catherine II in the image of Minerva.

In 1788, to improve his skills, he again went to Paris and attended a full-scale class at the Royal Academy of Painting and Sculpture. Among other things, on behalf of the IAH, he supervised Russian pensioners in Paris. In 1790 he returned to Russia. In 1794 he was elected academician, and immediately afterwards, “in respect of his talent,” he was awarded the title of professor. In 1795 he became a member of the Council of the Imperial Academy of Arts. From the same year he taught in the sculpture class of the Academy, among his students were S. S. Pimenov and V. I. Demut-Malinovsky. In 1799 he was appointed senior professor.

In 1799–1800 he worked on the monument to A.V. Suvorov in St. Petersburg. He participated in the design of the Grand Cascade of Fountains in Peterhof, for which he created the central statue “Samson Tearing the Lion’s Jaws”.

He was engaged in memorial sculpture, created tombstones for P. I. Melissino (1800), S. A. Stroganova (1802) for the Lazarevsky cemetery of the Alexander Nevsky Lavra.

In 1953, an exhibition of the master’s works was organized at the State Russian Museum.

Kozlovsky is an outstanding Russian sculptor of early and mature classicism. The ideals of enlightenment, civic duty and valor characteristic of this time were embodied in his work. As themes for his works, as a rule, he chose subjects from the history of Republican Rome and ancient Greece.

Kozlovsky relied not only on traditions ancient art, in the individual manner of the sculptor, baroque features are noticeable, which is expressed in dynamic compositions with sharp angles and movement (this is especially clearly manifested in the drawings). To reveal the plan, he often resorted to the language of allegory. Addressed to the most various materials- marble, bronze, terracotta. He was one of the best draftsmen of his time. He was engaged in etching.

Late castings of some of the sculptor’s works are known, made at the beginning of the twentieth century by decision of the Council of the Imperial Academy of Arts.

Kozlovsky's works are in the largest museum collections Russia, including in the State Tretyakov Gallery, the State Russian Museum, the Pavlovsk Palace Museum, the Pushkin Museum. A. S. Pushkin and others.

Mikhail Ivanovich Kozlovsky is a Russian sculptor. Mikhail Ivanovich Kozlovsky was born on November 6, 1753 in St. Petersburg. He studied at the St. Petersburg Academy of Arts (1764-1773) with Gillet and Losenko, and was a pensioner of the Academy of Arts - in Rome (1774-1779) and Paris (1779-1780), where he also worked in 1788-1790. Since 1794, academician and professor at the St. Petersburg Academy of Arts.
Kozlovsky is one of largest sculptors Russian classicism; His work is imbued with the ideas of enlightenment, sublime humanism and vivid emotionality. Having initially experienced the influence of the Baroque style, Kozlovsky already in early works(reliefs for the Marble Palace in St. Petersburg, marble, 1787; “The Vigil of Alexander the Great,” marble, 1780s, Russian Museum, Leningrad) showed a desire for strict plasticity of works, balance of composition, and interest in civil historical themes. In the statue "Polycrates" (plaster, 1790, Russian Museum), full of tragic pathos, the dynamics and complexity of the silhouette are again felt, reminiscent of Baroque sculpture. In subsequent years, Kozlovsky creates plastically subtle images of beautiful and harmonious people in pastoral-idyllic statues, full of gentle grace ("Sleeping Cupid", marble, 1792, Russian Museum). At the same time, he is fascinated by themes of heroism and images of heroes. national history(“Yakov Dolgoruky, tearing up the royal decree”, marble, 1797, Tretyakov Gallery), he creates ideal allegorical embodiments military glory Russia ("Hercules on Horseback", bronze, 1799, Russian Museum). An allegory of the victory of Peter I over Sweden was a statue full of powerful tension for the Grand Cascade in Petrodvorets “Samson tearing apart the mouth of a lion” (gilded bronze, 1800-1802; stolen by the Nazis during the Great Patriotic War of 1941-1945, recreated in 1947 by sculptor V. L. Simonov). The most important work Kozlovsky - a monument to Suvorov (bronze, 1799-1801, now on Suvorov Square in Leningrad) - a figure of a young warrior, distinguished by the clarity of its plastic form, strict expressiveness of movement, silhouette, rhythm, and a feeling of calm confidence. Kozlovsky was a remarkable master of drawing who turned to historical and genre themes. Mikhail Ivanovich Kozlovsky died on September 30, 1802 in St. Petersburg.
Samson tearing the lion's mouth apart. 1800-1802

Vigil of Alexander the Great, second half of the 1780s. Russian Museum

Monument to Suvorov, 1799-1801

Apollo, around 1789

Great Soviet Encyclopedia

Kozlovsky Mikhail Ivanovich

Kozlovsky Mikhail Ivanovich, Russian sculptor. Son of a naval trumpeter. He studied at the St. Petersburg Academy of Arts (1764‒73) with N.F. Gillei A.P. Losenko, was a pensioner of the Academy of Arts - in Rome (1774‒79) and Paris (1779‒80), where he also worked in 1788‒90. Since 1794, academician and professor at the St. Petersburg Academy of Arts. K. is one of the largest sculptors of Russian classicism; His work is imbued with the ideas of enlightenment, sublime humanism and vivid emotionality. Having initially experienced the influence of the Baroque style, K. already in his early works (reliefs for the Marble Palace in St. Petersburg, marble, 1787; “The Vigil of Alexander the Great,” marble, 1780s, Russian Museum, Leningrad) showed a desire for strict plasticity of works, balance of composition, interest in civil historical themes. In the statue “Polycrates” (plaster, 1790, Russian Museum), full of tragic pathos, the dynamics and complexity of the silhouette are again felt, reminiscent of Baroque sculpture. In subsequent years, K. creates plastically subtle, full of gentle grace, images of beautiful and harmonious people in pastoral-idyllic statues (“Sleeping Cupid”, marble, 1792, Russian Museum). At the same time, he is fascinated by themes of heroism, images of heroes of national history (“Yakov Dolgoruky, tearing up the royal decree”, marble, 1797, Tretyakov Gallery), he creates ideal allegorical embodiments of the military glory of Russia (“Hercules on horseback”, bronze, 1799, Russian Museum) . An allegory of the victory of Peter I over Sweden was a statue full of powerful tension for the Grand Cascade in Petrodvorets “Samson tearing apart the mouth of a lion” (gilded bronze, 1800–02; stolen by the Nazis during the Great Patriotic War of 1941–45, recreated in 1947 by sculptor V.L. Simonov). K.'s most important work is the monument to A.V. Suvorov (bronze, 1799-1801, now on Suvorov Square in Leningrad) - the figure of a young warrior, distinguished by the clarity of its plastic form, strict expressiveness of movement, silhouette, rhythm, and a feeling of calm confidence. K. was a remarkable master of drawing, who turned to historical and genre themes. Among K.’s students are S. S. Pimenov, V. I. Demut-Malinovsky.

Lit.: [Kaganovich A.], M. I. Kozlovsky, M., 1959; History of Russian art, vol. 6, M., 1961, p. 400‒35.

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PANTYUKHOV Mikhail Ivanovich