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At the age of ten, Ivan was sent to the St. Petersburg Academy of Arts. Here he spent nine years. Martos initially studied in the ornamental sculpture class of Louis Rolland. Then Nicola Gillet, a wonderful teacher who trained the largest Russian sculptors, took up his education.

After graduating from the Academy, Martos was sent to continue his studies in Rome for five years, which played a huge role in the formation of the creative individuality of the sculptor.

The earliest of the sculptor's works that have come down to us are portrait busts of the Panin family, executed by him shortly after his return to Russia.

Portraiture as an independent genre does not occupy a significant place in Martos’s work. His talent is characterized by a tendency towards greater generalization, towards the transfer of human feelings in a broader sense than is inherent in portrait art. But at the same time, the sculptor also turns to portrait images. They are an invariable component of the tombstones he created. In these works, Martos showed himself to be an interesting and unique master of sculptural portraiture. Tombstones for Martos became the main area of ​​his activity for many years. The artist devotes twenty years of his life almost exclusively to them.

In 1782, Martos created two remarkable tombstones - S.S. Volkonskaya and M.P. Sobakina. Both of them are made in the style of an antique tombstone - a marble slab with a bas-relief image. These works by Martos are true pearls of Russian memorial sculpture of the 18th century.

The success of the early tombstones brought fame and recognition to the young sculptor. He begins to receive many orders. During these years, one after another, the tombstones of Bruce, Kurakina, Turchaninov, Lazarev, Paul I and many others appeared.

As a true creator, Martos does not repeat himself in these works; he finds new solutions in which one can notice a certain evolution of his style, a tendency towards monumental significance and glorification of images.

Increasingly, Martos turns to round sculpture in his works, making it the main element of tombstones, trying to convey spiritual movements and emotions in the plasticity of the human body.

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Until the end of his days, Martos worked in memorial sculpture, performing many more remarkable works, among which the most perfect are the tombstones of Paul I and the “Monument to Parents” in Pavlovsk, consonant with the lyrical musical images of the sculptor’s early creations.

However, work in tombstone sculpture no longer occupied such a significant place in Martos’s work in the last two decades. This period of his activity is associated entirely with the creation of works of a public nature, and above all city monuments.

The largest event in Russian art at the beginning of the 19th century was the creation of the Kazan Cathedral in St. Petersburg. In the implementation of the brilliant plan of A.N. Voronikhin was attended by many famous Russian artists - painters and sculptors. The most significant creative result was the participation of Martos. The huge bas-relief “Moses Flowing Out of Water in the Desert,” made by the sculptor, adorns the attic of the eastern wing of the protruding colonnade of the cathedral.

Martos' excellent understanding of architecture and the patterns of decorative relief was fully demonstrated in this work. The large length of the composition required skill in grouping and constructing figures. Exhausted people suffering from unbearable thirst are drawn to water, and the sculptor shows his heroes not as a uniform faceless mass, but depicts them in specific positions, endowing the images with that necessary degree of truth that impresses the viewer and makes the artist’s intention clear to him.

In 1805, Martos was elected an honorary member of the Free Society of Lovers of Literature, Science and the Arts. By the time he joined the Society, Martos was already a well-known sculptor, professor at the Academy of Arts, and author of many works. It was one of the members of the St. Petersburg Free Society that in 1803 made a proposal to collect donations for the erection of a monument to Minin and Pozharsky in Moscow. But only in 1808 a competition was announced, where, in addition to Martos, the largest Russian sculptors Demut-Malinovsky, Pimenov, Prokofiev, Shchedrin participated.

“But the genius of Martos,” wrote “Son of the Fatherland,” “has been the happiest of all and, in his most elegant work, most excellently depicted the monument to the Saviors of Russia. His project received the highest approval.” However, work on the monument was delayed due to the financial side of the issue. In fact, it began only in 1812, “at a time when the great work lay ahead to save the Fatherland again, just as Minin and Pozharsky saved Russia exactly two hundred years ago.”

Martos depicts the moment when Minin turns to the wounded Prince Pozharsky with a call to lead the Russian army and expel the Poles from Moscow. In the monument, Martos asserts the leading importance of Minin, who is most active in the composition. Standing, with one hand he seems to hand Pozharsky a sword, and with the other he points to the Kremlin, urging him to stand up for the defense of the fatherland.

Pozharsky, taking the sword and leaning his left hand on the shield, seems ready to respond to Minin’s call.

Portraying his heroes like ancient masters and retaining a large share of convention and idealization, Martos at the same time strives to note their national identity. Minin's antique tunic, worn over the ports, somewhat resembles a Russian embroidered shirt. His hair is cut into a brace. The Savior is depicted on Pozharsky's shield.

“Nature, obeying the Almighty and regardless of pedigree, inflames the blood to noble deeds both in a simple villager or shepherd, and in the highest in the kingdom,” wrote a contemporary of Martos. - She could, it seems, breathe patriotic strength into Pozharsky; however, his chosen vessel was Minin, so to speak, a Russian plebeian... Here he was the first active force, and Pozharsky was only an instrument of his Genius.”

The opening of the monument to Minin and Pozharsky on February 20, 1818 turned into a national celebration. This monument was the first in Moscow erected not in honor of the sovereign, but in honor of national heroes.

Being already an old man, Martos did not give up thoughts of creating new, even more perfect works. The master’s creative activity can be judged from the Academy’s report of 1821. It says that the sculptor executed a human-sized allegorical figure depicting Vera “with decent attributes” for Alekseev’s tombstone, a larger-than-life figure of the Apostle Peter for Kurakina’s tombstone, a large bas-relief composition “Sculpture” to decorate the new main staircase in the Academy building arts and began a huge bust of Alexander I for the Exchange building.

During these years of his life, the sculptor experienced a great creative upsurge. One major work followed another: a monument to Paul I in Gruzina, Alexander I in Taganrog, Potemkin in Kherson, Richelieu in Odessa and others.

One of the best works of the late period of Martos’s work is the monument to Richelieu in Odessa (1823 - 1828), made in bronze. It was commissioned by the city “with the goal of honoring the services of the former head of the Novorossiysk Territory.” Martos portrays Richelieu as a wise ruler. He looks like a young Roman in a long toga and a laurel wreath. There is a calm dignity in his upright figure and his gesture pointing to the port in front of him. Laconic, compact forms, emphasized by a high pedestal depicting allegories of Justice, Trade and Agriculture, give the monument a monumental solemnity.

Martos died in 1835.

Martos Ivan Petrovich

M artos, Ivan Petrovich - Russian sculptor (1754 - 1835). He graduated from the course at the Academy of Arts with a small gold medal and was sent to Italy. In Rome he studied in Thorvaldsen's studio and painted from life, in the studio of P. Battoni, and from antiques, under the guidance of R. Mengs. He was a professor, then rector of the Academy of Arts. , and entrusted him with the implementation of important sculptural enterprises. Simplicity and nobility of style, masterful composition (especially in polysyllabic bas-reliefs), correctness of drawing, excellent sculpting, skillful installation of drapery - constitute the distinctive features of the essentially classicist, but less coldly abstract than the works of Thorvaldsen and Canova, Martos’s art. His tenderly sad tombstone sculptures are especially good. Among his main works are: a colossal bronze statue of John the Baptist, decorating the portico of the Kazan Cathedral; a large bas-relief: “Moses pours out water from a stone”, in the attic of one of the passages of the colonnade of this temple; monuments to Emperor Paul I, the Grand Duchesses and Elena Pavlovna, in the Pavlovsk palace park; monument and, in Moscow (1804 - 18); a colossal bronze statue, in the hall of the Moscow noble assembly; bust of Emperor Alexander I, sculpted for the St. Petersburg exchange hall; monuments to Emperor Alexander I in Taganrog, the Duke in Odessa, the Prince in Kherson, in Arkhangelsk; tombstones for Turchaninov, Princess Gagarina and Princess Kurakina in the Alexander Nevsky Lavra, Princess Volkonskaya and Sobakina in the Moscow Donskoy Monastery, decorative statue "Actaeon" (several replicas). Martos' sculptures are engraved. - Wed.

Ivan Petrovich Martos(1754-1835) - Russian sculptor-monumentalist, academician of the Imperial Academy of Arts.

Biography

Martos's grave at the Lazarevskoye cemetery of the Adexandro-Nevsky Lavra of St. Petersburg

Ivan Martos was born in 1754 in the town of Ichnya, Poltava province (now Chernigov region of Ukraine) in the family of a small nobleman.

Martos died in St. Petersburg. He was buried at the Smolensk Orthodox Cemetery. In the 1930s, the burial was moved to the Lazarevskoye cemetery.

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Works

• a bronze statue of John the Baptist, decorating the portico of the Kazan Cathedral in St. Petersburg.;
• bas-relief “Moses pours out water from a stone”, above one of the passages in the colonnade of this temple;
• monument Grand Duchess Alexandra Pavlovna, in the palace park of Pavlovsk;
• sculpture in the pavilion “To Dear Parents” of Pavlovsk Park;
• monument to Minin and Pozharsky on Red Square in Moscow (1804-1818);
• marble statue of Catherine II, in the hall of the Moscow Noble Assembly;
• bust of Emperor Alexander I, sculpted for the St. Petersburg exchange hall;
• monument to Alexander I in Taganrog;
• monument to the Duke de Richelieu in Odessa (1823-1828);
• monument to Prince Potemkin in Kherson;
• monument to Lomonosov in Kholmogory;
• gravestone of Praskovya Bruce;
• tombstone of Turchaninov;
• monument to the book Gagarina, in the Alexander Nevsky Lavra;
• monument to secret adviser Karneeva (Lashkareva) Elena Sergeevna, in the Alexander Nevsky Lavra;
• "Actaeon";
• Monument to Lomonosov in Arkhangelsk in front of the ASTU building;
• tombstone of S. S. Volkonskaya (1782)
• tombstone of M. P. Sobakina (1782)
• tombstone of E. S. Kurakina (1792)
• tombstone of K. G. Razumovsky in the Resurrection Church of Baturin
• tombstone of N. I. Panin (1788)

Tombstone of M. P. Sobakina (1782)



Tombstone of S. S. Volkonskaya (1782)

Family

Martos was married twice. For the first time on a very beautiful noblewoman Matryona Lvovna, whose last name is unknown. She died on January 6, 1807 from consumption at the age of 43. The widower turned out to be a caring father, he managed to raise and educate his children.

Ivan Petrovich had a kind, sincere heart, he was a hospitable person and a great benefactor. Many poor relatives, whom he supported, constantly lived in his spacious professorial apartment. His sincere good deed is evidenced by the fact that even when he was widowed, his wife’s relatives continued to live in his apartment. Among them was the niece of his late wife, a poor orphan noblewoman Avdotya Afanasyevna Spiridonova, dear and kind girl. Once Martos witnessed when one of his daughters treated her much older Avdotya incorrectly and slapped her in the face. The unjustly offended orphan, with bitter sobs, began to put her things into a trunk made of twigs in order to leave the Martoses forever and get a job as a governess somewhere. Ivan Petrovich began to sincerely persuade the girl to stay. And so that she would no longer consider herself a parasite, the noble owner offered her his hand and heart. So unexpectedly for all his relatives and even for himself, already in his years, Martos married a second time. Immediately after the wedding, he strictly warned his children to respect Avdotya Afanasyevna as their own mother. It should be noted that his children and stepmother always lived in mutual respect. Martos really wanted his daughters to marry artists or people of related professions.

Children from first marriage:

From second marriage:

• Ekaterina Ivanovna(1815 - 18..), married to the architect, professor at the Academy of Arts Vasily Alekseevich Glinka. Glinka died of cholera. Martos gave a magnificent funeral, buried him in the Smolensk cemetery and erected a rich monument on his grave. Soon the sculptor and foundry master Baron Peter Klodt von Jurinsburg wooed the rich widow). Martos was not against Klodt marrying Catherine, but Avdotya Afanasyevna did not like the groom, and she persuaded her daughter to refuse Klodt. Avdotya Afanasyevna invited Klodt to marry her niece Ulyana Spiridonova(1815-1859), which soon happened.
• Alexander Ivanovich (1817-1819)

Biography
Ivan Petrovich Martos was born in 1754 in the town of Ichnya, Chernigov province (Ukraine) into the family of an impoverished landowner, a retired cornet.
At the age of ten, Ivan was sent to the St. Petersburg Academy of Arts. Here he spent nine years. Martos initially studied in the ornamental sculpture class of Louis Rolland. Then Nicola Gillet, a wonderful teacher who trained the largest Russian sculptors, took up his education.
After graduating from the Academy, Martos was sent to continue his studies in Rome for five years, which played a huge role in the formation of the creative individuality of the sculptor.
The earliest of the sculptor's works that have come down to us are portrait busts of the Panin family, executed by him shortly after his return to Russia.
Portraiture as an independent genre does not occupy a significant place in Martos’s work. His talent is characterized by a tendency towards greater generalization, towards the transfer of human feelings in a broader sense than is inherent in portrait art. But at the same time, the sculptor also turns to portrait images. They are an invariable component of the tombstones he created. In these works, Martos showed himself to be an interesting and unique master of sculptural portraiture. Tombstones for Martos became the main area of ​​his activity for many years. The artist devotes twenty years of his life almost exclusively to them.
In 1782, Martos created two remarkable tombstones - S.S. Volkonskaya and M.P. Sobakina. Both of them are made in the style of an antique tombstone - a marble slab with a bas-relief image. These works by Martos are true pearls of Russian memorial sculpture of the 18th century.
The success of the early tombstones brought fame and recognition to the young sculptor. He begins to receive many orders. During these years, one after another, the tombstones of Bruce, Kurakina, Turchaninov, Lazarev, Paul I and many others appeared.
As a true creator, Martos does not repeat himself in these works; he finds new solutions in which one can notice a certain evolution of his style, a tendency towards monumental significance and glorification of images.
Increasingly, Martos turns to round sculpture in his works, making it the main element of tombstones, trying to convey spiritual movements and emotions in the plasticity of the human body.
Until the end of his days, Martos worked in memorial sculpture, performing many more remarkable works, among which the most perfect are the tombstones of Paul I and the “Monument to Parents” in Pavlovsk, consonant with the lyrical musical images of the sculptor’s early creations.
However, work in tombstone sculpture no longer occupied such a significant place in Martos’s work in the last two decades. This period of his activity is associated entirely with the creation of works of a public nature, and above all city monuments.
The largest event in Russian art at the beginning of the 19th century was the creation of the Kazan Cathedral in St. Petersburg. In the implementation of the brilliant plan of A.N. Voronikhin was attended by many famous Russian artists - painters and sculptors. The most significant creative result was the participation of Martos. The huge bas-relief “Moses Flowing Out of Water in the Desert,” made by the sculptor, adorns the attic of the eastern wing of the protruding colonnade of the cathedral.
Martos' excellent understanding of architecture and the patterns of decorative relief was fully demonstrated in this work. The large length of the composition required skill in grouping and constructing figures. Exhausted people suffering from unbearable thirst are drawn to water, and the sculptor shows his heroes not as a uniform faceless mass, but depicts them in specific positions, endowing the images with that necessary degree of truth that impresses the viewer and makes the artist’s intention clear to him.
In 1805, Martos was elected an honorary member of the Free Society of Lovers of Literature, Science and the Arts. By the time he joined the Society, Martos was already a well-known sculptor, professor at the Academy of Arts, and author of many works. It was one of the members of the St. Petersburg Free Society that in 1803 made a proposal to collect donations for the erection of a monument to Minin and Pozharsky in Moscow. But only in 1808 a competition was announced, where, in addition to Martos, the largest Russian sculptors Demut-Malinovsky, Pimenov, Prokofiev, Shchedrin participated.
“But the genius of Martos,” wrote “Son of the Fatherland,” “has been the happiest of all and, in his most elegant work, most excellently depicted the monument to the Saviors of Russia. His project received the highest approval.” However, work on the monument was delayed due to the financial side of the issue. In fact, it began only in 1812, “at a time when the great work lay ahead to save the Fatherland again, just as Minin and Pozharsky saved Russia exactly two hundred years ago.”
Martos depicts the moment when Minin turns to the wounded Prince Pozharsky with a call to lead the Russian army and expel the Poles from Moscow. In the monument, Martos asserts the leading importance of Minin, who is most active in the composition. Standing, with one hand he seems to hand Pozharsky a sword, and with the other he points to the Kremlin, urging him to stand up for the defense of the fatherland.
Pozharsky, taking the sword and leaning his left hand on the shield, seems ready to respond to Minin’s call.
Portraying his heroes like ancient masters and retaining a large share of convention and idealization, Martos at the same time strives to note their national identity. Minin's antique tunic, worn over the ports, somewhat resembles a Russian embroidered shirt. His hair is cut into a brace. The Savior is depicted on Pozharsky's shield.
“Nature, obeying the Almighty and regardless of pedigree, inflames the blood to noble deeds both in a simple villager or shepherd, and in the highest in the kingdom,” wrote a contemporary of Martos. - She could, it seems, breathe patriotic strength into Pozharsky; however, his chosen vessel was Minin, so to speak, a Russian plebeian... Here he was the first active force, and Pozharsky was only an instrument of his Genius.”
The opening of the monument to Minin and Pozharsky on February 20, 1818 turned into a national celebration. This monument was the first in Moscow erected not in honor of the sovereign, but in honor of national heroes.
Being already an old man, Martos did not give up thoughts of creating new, even more perfect works. The master’s creative activity can be judged from the Academy’s report of 1821. It says that the sculptor executed a human-sized allegorical figure depicting Vera “with decent attributes” for Alekseev’s tombstone, a larger-than-life figure of the Apostle Peter for Kurakina’s tombstone, a large bas-relief composition “Sculpture” to decorate the new main staircase in the Academy building arts and began a huge bust of Alexander I for the Exchange building.
During these years of his life, the sculptor experienced a great creative upsurge. One major work followed another: a monument to Paul I in Gruzina, Alexander I in Taganrog, Potemkin in Kherson, Richelieu in Odessa and others.
One of the best works of the late period of Martos’s work is the monument to Richelieu in Odessa (1823 - 1828), made in bronze. It was commissioned by the city “with the goal of honoring the services of the former head of the Novorossiysk Territory.” Martos portrays Richelieu as a wise ruler. He looks like a young Roman in a long toga and a laurel wreath. There is a calm dignity in his upright figure and his gesture pointing to the port in front of him. Laconic, compact forms, emphasized by a high pedestal depicting allegories of Justice, Trade and Agriculture, give the monument a monumental solemnity.
Martos died in 1835.