The page presents paintings by Tropinin Vasily Andreevich, the peculiarity of which, undoubtedly, is the elegant aesthetics, tenderness, openness and simplicity of people. The artist can be called a sentimentalist.
But Tropinin did not embellish the faces in his portraits; this is exactly how he saw them.
And this is evidenced by Tropinin’s most famous paintings: “The Lacemaker”, “The Gold Seamstress”, “The Spinner”. In addition to tenderness and warmth in these paintings, Tropinin glorifies the love of everyday work, the ability to receive joy and satisfaction from work.
A special place in Tropinin’s work is occupied by portraits of children, whom he painted with special love. “Peasant Boy with a Hatchet”, “Girl with a Doll”, “Boy with a Goldfinch”, “Girl with a Dog”, a portrait of a son and other portraits are imbued with innocence, spontaneity and dreaminess.
Self-portrait of Tropinin.
The photo shows the painting “Woman in the Window”. Tropinin.
The portrait was painted based on “Tambov Treasurer” by Lermontov. A sincere, simple woman looks at the world from the window with immediate interest.
The photo shows the painting “Girl with a Dog”. Tropinin.
A girl hugs a frightened dog. And she looks rather surprised and interested. A bright image of a child in the painting.
Tropinin's paintings with children are sentimental, tender and sweet. The artist loved children!
Lacemaker. Tropinin.
The most famous picture artist!
It shows a simple and kind girl, lovingly busy with lace. She took her eyes off her work and looked at the newcomer with playful interest. She is interested in both the work and the people.
Tropinin's paintings are filled with warmth and tenderness.
Self-portrait against the backdrop of a window overlooking the Kremlin
The artist has a good-natured look!
Guitar player. Tropinin.
The artist painted guitarists more than once. In this picture, a young man looks at a listener to whom he has just played a melody on the guitar. own composition. His look is dreamy and gentle. The atmosphere around is casual and relaxed, the guitarist himself is in a simple dressing gown.
An ordinary but meaningful life!
Tropinin's paintings are tender and meaningful.
Girl with a doll. Tropinin.
The girl likes to play with the doll. She holds it so tenderly in her hands. A cute baby!
Portrait of Alexander Pushkin.
Portrait of Ershova with her daughter.
Tropinin's paintings are filled with love and warmth, especially for children!
Portrait of the artist's son, Arseny
The son looks like his father!
The photo shows a portrait of Bryullov. Tropinin.
Bryullov holds a folder with canvases in his left hand, and a brush in his right.
The photo shows the painting “Old Beggar”.
For this painting Tropinin received the title of academician. Work to order. The topic is uncharacteristic for the artist.
The photo shows the painting “The Old Soldier”. Tropinin.
The photo shows the painting “Boy with a Goldfinch.”
The boy is holding right hand little goldfinch. On the left is a cage for him. In surprise, the boy looks somewhere to the side.
In the photo "Peasant boy with a hatchet."
The lovely child is already working. He has a hatchet on his right shoulder and a straw hat decorated with flowers on his head. The gaze is directed somewhere into the distance. His look is pure and innocent.
All Tropinin's paintings with children are pure and innocent!
The photo shows the painting “Girl with a Pot of Roses.” Tropinin.
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Vasily Andreevich Tropinin
TROPININ Vasily Andreevich (1776-1857), Russian painter. In portraits he strove for a lively, relaxed characterization of a person (portrait of a son, 1818; “A. S. Pushkin,” 1827; self-portrait, 1846), created a type of genre, somewhat idealized image of a person from the people (“The Lacemaker,” 1823).
Tropinin Vasily Andreevich (03/19/1776-05/3/1857), portrait painter, serf artist, who received his freedom only at the age of 47. From 1798 he studied at the St. Petersburg Academy of Arts, but, at the whim of his landowner S.S. Shchukin, he was recalled from the Academy in 1804, without completing his studies to the required course. Until 1821 Tropinin lived in Little Russia, then in Moscow. Having received freedom in 1823, Tropinin settled in Moscow.
Tropinin adopted the heritage of Russian portrait painters by the 18th century, which was reflected in his early works. Portraits of the 1820-30s, the heyday of Tropinin’s work, testify to his independent figurative concept. In them he strives for a lively, relaxed characterization of a person. These are the portraits of a son (1818), A. S. Pushkina(1827), composer P. P. Bulakhova(1827), artist K. P. Bryullova(1836), self-portrait (1846). In the films “The Lacemaker”, “The Gold Seamstress”, “The Guitarist” Tropinin created a type of genre, idealized person from the people. Tropinin had a significant influence on portraiture of the Moscow school.
V. A. Fedorov
Girl with a pot of roses. 1850
Tropinin Vasily Andreevich (1776-1857) - Russian painter. Serf until 1823
In his early works he created an intimate (in the spirit of sentimentalism), lively and relaxed image of a person in his characteristic, somewhat idealized everyday environment (I. I. and I. I. Morkov, 1813 and 1815; portraits of his wife, 1809 and son, 1818; “Lacemaker”, “Guitar Player”, “Bulakhov”, 1823).
In the 1820-1840s. his portraits were characterized by attentive characterization of the model, complexity of the composition, sculptural clarity of volumes and intensity of color while maintaining a chamber, intimate (homely) atmosphere (“K. G. Ravich”, 1825; “A. S. Pushkin”, 1827; “K. P. Bryullov”, 1836; self-portrait in which the artist depicted himself against the backdrop of the Moscow Kremlin, 1846). Some elements of salon romanticism appeared in the painting “Woman in the Window” (1841), inspired by M. Yu. Lermontov’s poem “Tambov Treasurer”. The artist’s emphasis on everyday details (“Servant with Damask Counting Money,” 1850s) anticipated the development genre painting V mid-19th century V.
Orlov A.S., Georgieva N.G., Georgiev V.A. Historical Dictionary. 2nd ed. M., 2012, p. 518.
V. Tropinin. Pushkin. 1827
TROPININ Vasily Andreevich, Russian artist. One of the founders of romanticism in Russian painting.
Born into a family of serfs. He was a serf first of Count A. S. Minikh, then of I. I. Morkov. In 1798-1804 he studied at the St. Petersburg Academy of Arts, where he became close to O. A. Kiprensky and A. G. Varnek (the latter also later became a prominent master of Russian romanticism). In 1804 Morkov summoned the young artist to his place; then he alternately lived in Ukraine, in the village of Kukavka, then in Moscow, in the position of a serf painter, obliged to simultaneously carry out the economic orders of the landowner. Only in 1823 was he finally freed from serfdom. He received the title of academician, but, abandoning his career in St. Petersburg, settled in Moscow in 1824.
Tropinin's early portraits, painted in restrained colors (family portraits of Counts Morkov, 1813 and 1815, both in the Tretyakov Gallery), still entirely belong to the tradition of the Age of Enlightenment: the model is the unconditional and stable center of the image in them. Later, the color of Tropinin’s painting becomes more intense, the volumes are usually sculpted more clearly and sculpturally, but most importantly, the purely romantic feeling of the moving element of life insinuatingly grows, of which the hero of the portrait seems to be only a part, a fragment (“Bulakhov”, 1823; “K. G. Ravich” , 1823; self-portrait, circa 1824; all three - in the same place). Such is A. S. Pushkin in famous portrait 1827 (All-Russian Museum of A.S. Pushkin, Pushkin): the poet, placing his hand on a stack of paper, as if “listening to the muse”, listening to creative dream, surrounding the image with an invisible halo.
Portrait and genre
Already with early period the artist is actively interested and everyday genre, creating a large number of drawings and sketches of Ukrainian peasants. Genre and portrait are organically combined in his semi-figured “untitled” paintings, the most famous of which is the pretty “Lacemaker” (1823, ibid.), captivating with its naive and sentimental appearance; the type of girl from the bottom becomes the lyrical personification of Femininity as such, without losing her subtle natural persuasiveness. Tropinin more than once turned to the typical genre portrait (“Guitar Player”, 1823, ibid.; “Golden Seamstress”, 1825, Art Museum of the Komi Republic, Syktyvkar), usually repeating this kind of composition in several versions (as well as his self-portraits).
In portraits of the 1830s and 40s, the role of expressive detail, in some cases the landscape background, increases, the composition becomes more complex, and the color becomes more intense and expressive. The romantic atmosphere, the element of creativity, appears even more clearly in the portrait of “K. P. Bryullov" (1836, Tretyakov Gallery) and a self-portrait of 1846 (ibid.), where the artist presented himself in a spectacular historical background Moscow Kremlin. At the same time, the artist’s romanticism, without ascending to the empyrean, usually remains intimate and peacefully “homey” - even where there is an obvious hint of a strong feeling, an erotic motif (“The Woman in the Window,” whose image was inspired by M. Yu. Lermontov’s poem “ Tambov Treasurer", 1841, ibid.). Tropinin’s later works (for example, “A Servant with Damask Counting Money,” 1850s, ibid.) indicate the fading of coloristic mastery, but still attract with their genre observation, anticipating the passionate interest in everyday life characteristic of Russian painting of the 1860s. x years..
An important part of Tropinin's legacy is his drawings, especially pencil portrait sketches, which stand out for their sharp observational character. The soulful sincerity and poetic, everyday, harmonious harmony of his images were more than once perceived as a specific feature of the Old Moscow art school. In 1969, the Museum of Tropinin and Moscow artists of his time was opened in Moscow.
Copyright (c) "Cyril and Methodius"
The first Moscow portrait painter of the last century was convinced that a portrait of any person is painted “for the memory of people close to him, people who love him.” A former serf, he declined flattering official offers, but tried not to refuse anyone who made private requests to paint a portrait for family or friends. What was drawn for the memory of those who loved it constituted our memory, our idea of the good-natured, talented, famous and little-known people of the past century. People, as it turned out, close to us.
It is definitely difficult to say how much income from his serf Vasily Tropinin did Count Irakli Ivanovich Morkov, who distinguished himself during the capture of Ochakov and during the storming of Izmail, who received a diamond sword and a huge estate in the south of Ukraine after the Polish campaign. But over the course of many years, he stubbornly gave birth to requests from the most famous and influential people to give freedom to the artist, who was already appreciated by everyone. As if it was necessary for him that the talent noted by the Empress Elizaveta Alekseevna herself, the talent before which the great Karl Bryullov bowed, would serve at the table during dinner as the chief footman. Contemporaries noted that Tropinin Vasily Andreevich enjoyed the count's great confidence. Apparently, Irakli Ivanovich knew the value of this good-natured and eccentric person, endowed not only with great talent, but also with endless humility and patience. Everyone knew the price. The marriageable daughters argued among themselves which of them would receive a serf artist as a dowry. Irakli Ivanovich responded to this that no one would get it. And only in 1823, when the artist turned 47 years old, on the feast of the Resurrection of Christ, after matins, which was celebrated at Count Morkov’s house, Tropinin was given a vacation pay instead of a red egg, however, alone, without his son. Only five years after the death of the count, his heirs gave his freedom to Arseny Vasilyevich, the beloved son of Vasily Andreevich, the one whose portrait, among others, made him famous as a wonderful artist.
The artist was born a serf in the village of Karpovka, Novgorod province, which belonged to Count Minich. Then Count Irakli Ivanovich Morkov became his master, who received Tropinin as a dowry for his wife, Minich’s daughter.
Tropinin's early passion for drawing and his abilities were so obvious that even then, in childhood, they attracted the attention of Count Morkov's friends. Many advised the Count to send Tropinin to study painting. But the more urgent the advice, the more he resisted. To St. Petersburg, but to become a pastry chef, that was the decision. Only in 1798, at the request of a close relative of Count Morkov, who undertook to pay his own money for Tropinin’s failure to study painting, was he sent to the Art Academy as a free student (according to the Academy’s charter at that time it was forbidden to accept serfs) to S.S. . Shchukin, student of D.G. Levitsky. Tropinin studied easily and successfully, and in 1804, at a student exhibition, he exhibited a portrait of a boy who grieved for a dead bird. His work was very much liked by the academic authorities, as well as by Empress Elizaveta Alekseevna. Count Morkov, warned of possible requests for the release of a talented serf, urgently recalled Tropinina to his Little Russian estate in the village of Kukavka. It was there that the serf Vasily Tropinin earned the count’s “great trust”: as they say, and “ the Swede, and the reaper, and the player on the pipe" Occasionally he is allowed to write what he wants. Most of Tropinin's early works have not survived; they burned in Morkov's Moscow house during the Moscow fire of 1812.
Tropinin's early works have a special sophistication and at the same time shy timidity in expressing feelings, glowing with touching tenderness towards the world. Their painting is thin-layered and transparent. The most interesting work from the surviving group of early works is “ Portrait of Natalia Morkova"- sketch for a large group portrait of the Morkov family.
His golden hair is messy, his brown, lively eyes are averted. In 18th-century art, children were depicted as small adults with wooden figurines and doll faces. In the next century, art, as it were, opens up childhood, trying to understand the vast world of a child who lives with bright, pure feelings.
Already in the 1820s, Vasily Andreevich was famous in Moscow as worthy of attention artist. And a year later, having freedom, Tropinin was elected academician of the Academy of Arts. ON THE. Ramazanov writes: “Tropinin had orders for 14,000 rubles in St. Petersburg, but northern Palmyra, sung by more than one St. Petersburg poet, did not like Vasily Andreevich very much, who said: “I was all under the command, but again I will have to obey either Olenin or to one or the other... No, to Moscow!” Tired of a life of servitude, Tropinin rejected all offers of official service; he now wanted to lead the life of a private person and be independent. Successful early official career did not allow the talent of his teacher S.S. to develop to its full potential. Shchukin. And Tropinin did not want to repeat his path. There are no commissioned official works in Tropinin’s legacy. Having settled in Moscow, the artist soon became the first Moscow portrait painter. Here he painted about three thousand portraits. It was an honor to order portraits from him of artistic Moscow, small noble Moscow and merchant Moscow. Alexander Sergeevich Pushkin came to him either on Lenivka or on Tverskaya (it is not precisely established) to pose. Tropinin had a great influence on the Moscow school of painting; he stood at the origins of the formation of the Moscow School of Painting, Sculpture and Architecture. Brothers Vladimir and Konstantin Makovsky studied with him.
People came to Tropinin from other cities and from distant landowners' estates. According to the same Ramazanov, Karl Bryullov refused to paint portraits of Muscovites, citing Tropinina as an excellent artist. When the English master D. Dow was working on a gallery of portraits of heroes of the war of 1812 for Winter Palace, then Tropinin wrote Muscovites who did not want to go to St. Petersburg to pose. Doe then used these portrait studies in his works.
Popularity did not affect the formation of Tropinin’s character. He painted portraits at clients' homes, later finishing them in his studio. The prices for his portraits were low; Tropinin valued copies from old masters at a higher price. Just like Fedotov and Venetsianov, Tropinin was not abroad, but did not complain about it: “Perhaps it turned out for the best that I was not in Italy; if I had been there, perhaps I would not have been unique.” But Tropinin knew Western European art well; he studied private collections in St. Petersburg and Moscow, as well as the richest collection of the Hermitage.
Of all the masters, the first half of the 19th century century Tropinin most of all retains ties with art XVIII century. One of his favorite artists was J.-B. Dreams, his works Tropinin I copied a lot. He also copied works Austrian artist I.-B. Lampi, teachers V.L. Borovikovsky, " Portrait of Agasha's daughter» D.G. Levitsky. There are undoubted connections between Tropinin’s art and the “heads” of the Italian master P. Rotari. The whimsical, playful, flirtatious Rococo style and the gentle grace of the art of sentimentalism - Tropinin has it all. The aromas of the art of the gallant century linger in his work for a long time.
Tropinin's nature was also close to the hedonism of 18th-century art, which affirmed pleasure, pleasure as the highest goal and the main motive of human behavior, his intoxication with the beauty of the forms and colors of the real world. All his " lacemakers», « goldsmiths», « spinners" And " laundresses"as if covered with a thin veil of light eroticism.
They are affectionate, smiling, flirtatious. Tropinin's revelations are that he loves. He admires his natures as the most amazing creations of nature. Tropinin uses a system of contrasts - complex turns of the figure, when the shoulders are turned strongly in three quarters, the face is almost in the front, the eyes are slanted to the left or right, the result is a helical line, creating the impression of playing with the viewer. Most famous work this series - the painting by Vasily Andreevich Tropinin "" - became business card Tropinina.
He repeated this work several times. Here Tropinin is already a mature master. The errors in anatomy and negligence that were in the early works have disappeared. " Lacemaker» are distinguished by the clarity and precision of the silhouette, the sculptural roundness of the forms. Numerous thin translucent layers of paint allowed Vasily Andreevich Tropinin to achieve a delicate effect of porcelain transparency in appearance, which, when illuminated, begin to glow from the inside. The details are carefully and lovingly painted: hair curls, bobbins, scissors.
Portraits of Tropinin are often shallow in depth psychological characteristics, but very reliable in conveying a person’s everyday environment. Tropinin's work is comparable to the so-called Biedermeier movement, which developed in the art of Germany, Austria and a number of Scandinavian countries in the 20-40s of the last century, glorifying the ideal family life, the affection of family members for each other, admiring the arranged life not for show.
Tropinin I liked intimate portraits. He always cared about the naturalness of the model’s pose, advised to pay attention “so that... the face does not worry about sitting this way, placing his hand that way, etc., try to distract him with conversation and even distract him from the thought that he is sitting for a portrait.” His images expressed in portraits are distinguished by an individual and natural originality of pose, spiritual and benevolent openness.
One of the best portraits of Tropinin - portrait of Bulakhov.
The sketchy manner of painting, carelessness and artistry of the letter correspond to the gentle character of the person depicted. He is presented in the homely appearance of a private person, which is emphasized by his clothing - a robe with squirrel fur. But the magazine “Bulletin of Europe” in the hands of Bulakhov suggests that he is not alien to intellectual pursuits. Loungewear was perceived as the antithesis of a tailcoat; it was “loose clothing free man».
From the more prim and strict style The life of bureaucratic Petersburg, the capital, the residence of the emperor, Moscow was distinguished by its freedom. Many writers chose to live in Moscow; it was a city of artistic bohemia. Moscow was famous for its hospitality and its eccentrics. Moscow ladies often dressed with tasteless fancy and pomp. An example of this Countess N.A. Zubova, Suvorov’s beloved daughter, from Tropinin’s portrait.
Her bright red headdress with white feathers seems straight out of a Baroque painting. Nevertheless, this outfit matches her monumental figure, the healthy complacency of her nature, the entire brutality of her appearance and does not make her funny or absurd. But one should not think that Tropinin’s talent was inaccessible to the aristocracy of spirit, inner world intellectual model. With long, liquid strokes he paints a thin, intelligent face famous historian Karamzin.
He enlarges the face, gives it strictly from the front, abandoning complex turns, details of the situation, elements of “everyday prose” in the portrait.
Tropinin lived in the heyday of romantic feelings for life. He, personally acquainted with Karl Bryullov and Pushkin, admired their work and empathized with their worldviews, which, naturally, affected their writing. Portrait of A.I. Baryshnikov under a tree against the backdrop of an evening landscape, a sort of reflective English dandy; portrait of Bryullov against the backdrop of smoking Vesuvius, portrait of V.M. Yakovleva with a stamp of disappointment and fatigue on her face.
But in general, romantic influences were alien to Tropinin’s sober character; he perceived them rather externally, paying tribute to the mood of the era. The most successful portrait of this group of works is portrait of A.S. Pushkin.
The portrait was commissioned from the artist by Alexander Sergeevich himself and presented as an unexpected gift to his friend S.A. Sobolevsky. Tropinin put a lot of his own feeling into this portrait. Creativity and freedom - the ideas that underlie the guiding idea of the portrait of Pushkin, were sacred to the artist himself, who with incredible difficulty overcame the entire class ladder of the hierarchical Russian society.
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In 1855, calm in Lately Vasily Andreevich's life was darkened by the loss of his beloved wife Anna Ivanovna, whom he married in Kukavka about half a century ago. Soon after the funeral, he moved to a house he bought across the Moscow River. And two years later, “on May 5th at 10 o’clock in the morning, artists, friends, relatives and admirers of Vasily Andreevich Tropinin converged on Polyanka and came to his small, cozy and beautiful house. Never before had there been such a large gathering of people in the home of a venerable artist, who spent his entire life modestly, nobly, vigilantly, and actively; many two, three people close to him came to talk with him and listen to his wise speeches; - and on this day there was a crowd that was silent... We escorted the deceased to the Vagankovo cemetery. Snow and hail rushed in our faces; the wayward northern spring seemed to want to remind us that we were burying our northern artist, who never melted in the Italian sun and therefore died in full memory...” recalls Shikhanovsky.
05/03/1857 (05/16). – Portrait painter Vasily Andreevich Tropinin died
Self-portrait with brushes and palette in front of a window overlooking the Kremlin (1844)
Vasily Andreevich Tropinin (03/19/1776–05/3/1857), portrait painter. Born a serf on the estate of Count Anton Sergeevich Minikh, located in the village of Karpovka, Novgorod province. Tropinin's father was the headman of the serfs, then a manager, and for honest service he received manumission from the count, but manumission did not apply to his children; they continued to be considered serfs.
Vasily received his primary education (through the efforts of his father) in Novgorod, where he studied at a public school for four years. It was there that the boy developed a passion for drawing. When Minikha's daughter Natalya Antonovna married Count Irakli Ivanovich Morkov, young Tropinin was included in her dowry and entered the service of the new owner. Count Morkov did not favor his serf's hobby of drawing and sent Vasily to St. Petersburg to study confectionery. In the capital, Tropinin, who was under the supervision of Count Alexei Ivanovich Morkov’s cousin, free time continued to draw. Soon Alexey Ivanovich was surprised to learn that Vasily had been secretly attending lectures at the Academy of Arts since 1798.
After viewing the serf’s drawings, the young count decided at all costs to persuade his cousin to send Tropinin to study at the Academy of Arts, and ultimately achieved his consent, promising his relative that he would reimburse all costs. At that time, according to the Academy's charter, serfs could only be free listeners for an appropriate fee. For six years Tropinin studied art in plaster and painting classes. The future painter learned the basics of artistic craft in the workshop famous artist- Professor Stepan Semenovich Shchukin. Vasily received gold and silver medals for his student drawings. Tropinin at the Academy of Arts became friends with the future famous engraver Yegor Osipovich Skotnikov and artist Orest Adamovich Kiprensky.
In 1804, Tropinin presented his work for the first time at an academic exhibition. His painting was praised by the adjunct rector of the Academy Ivan Akimovich Akimov and Empress Maria Feodorovna, who visited the exhibition. And the President of the Academy, Count Alexander Sergeevich Stroganov, having learned from Kiprensky that one of the best students continued to be a serf, promised to obtain freedom for Tropinin. But, as soon as Count Irakli Morkov learned about the interest of such high-ranking gentlemen in his peasant, he immediately recalled Vasily from St. Petersburg to Little Russia. The count did not need a highly educated portrait painter - he needed a serf estate artist who was supposed to paint icons and altar images for the new church under construction and decorate carriages.
In 1807, Vasily Tropinin married Anna Ivanovna Katina, a free settler who was not afraid to marry a serf. A year later, the Tropinins had a son, Arseny. The Patriotic War of 1812 found Tropinin in Little Russia. Count Morkov was elected to the leadership of the Moscow militia. Summoned to Moscow, Tropinin arrived in the ancient capital with a convoy of his master's property. Life in burned-out Moscow gradually came back to life after Napoleon's expulsion. In 1813, militias began to return from the war, and in 1814, Russian troops from foreign campaigns. Tropinin took up painting again. In the count's house, which was rebuilt after the fire, he had a workshop where he painted portraits of his owners, their relatives and noble acquaintances. A large canvas of the Morkov family depicts a father with his sons-warriors and eldest daughters-brides, happy to meet after graduation Patriotic War.
Family of Counts Morkovs, 1813, Tretyakov Gallery
In 1818, Tropinin painted a portrait of the historian Nikolai Mikhailovich Karamzin, which was engraved and opened the collected works of the writer. The nobles, following the old fashion, again revived in their homes portrait galleries instead of the canvases burned in the Moscow fire. Therefore, Tropinin painted portraits of the count’s neighbors, numerous military men, his loved ones (son, sister Anna), and Muscovites. In these works one can notice his mastery of the full range of painting techniques related to portraiture. Orders also appeared from representatives of the merchant class.
In the 1810-1820s, improving his skills, Tropinin copied paintings by old masters from Moscow private collections. This helped to master professional “secrets”: the expressiveness of contours, the subtlety of light and shadow modeling, and color. Although no art exhibitions were held in Moscow, the master quickly gained fame as a good portrait painter. The interest of lovers of fine art in his personality was aroused by flattering lines in the Notes of the Fatherland: “Tropinin, a serf of Count Morkov. He also studied at the Academy of Arts and has a happy talent and inclination for painting. His coloring is similar to Titian’s.”
Many enlightened and noble people, learning that the painter Tropinin was a serf, were extremely outraged by this. The young nobles, with whom Count Morkov had various affairs, considered it their duty to publicly demand that he grant freedom to the talented serf. There is information that once at the English Club, a certain Dmitriev, having won a large sum from the count at cards, publicly invited him to exchange the debt for freedom for Tropinin. But Morkov did not want to lose his personal artist: he did not let Vasily Andreevich go anywhere and took care of him in his own way.
And yet Count Morkov was forced to concede public opinion: in May 1823, as an Easter gift, he presented Tropinin with a certificate of freedom. Now he could start a new free life, but it was necessary to decide on his status, place of work and residence. Morkov, who still had Tropinin’s wife and son as serfs (they received their freedom only after five years), invited Vasily Andreevich to stay in his count’s house and promised to work for him for a place in the military department. However, the artist, who had dreamed of complete independence for so long, decided to live independently and do what he loved most.
Tropinin turned to the Imperial Academy of Arts with a request to award him the title of artist. In September 1823, for submissions to the Academy paintings: portrait of E.O. Skotnikov, the paintings “The Lacemaker” and “The Old Beggar”, he received the title of “appointed” to academician. In the painting “The Lacemaker,” the problems of conveying the illusion of space and light-tonal painting are convincingly resolved. The cuteness of the model and the picturesque beauty of the canvas made the viewer forget that in reality the girl’s work is very difficult. According to the rules of the Academy, to receive the title of academician, an artist must perform a large generational image of one of the members of the Academy Council. In the spring of 1824, he arrived in St. Petersburg, where he painted a portrait of medalist professor K.A. Leberecht and was awarded the title of academician portrait painting. At the same time, the master showed his paintings at an academic exhibition. Having received recognition from colleagues and art lovers, Tropinin painted his self-portrait. The status of a free man and artist Vasily Andreevich Tropinin in society increased: the title of academician and the rank of 10th grade according to the Table of Ranks made it possible to enter the public service.
From 1824 until the end of his life (year of death 1857), Vasily Tropinin lived and worked in Moscow. Tireless portraiture made the artist the most famous and leading portrait painter of the ancient capital. In the 1820s, the artist worked on portraits of university professors and other notable persons of Moscow. The images of prominent city dignitaries he made decorated the halls of the Council of Guardians, the Racing Hunt Society, the Agricultural Society and others. His brush captured a number of victorious heroes of the Patriotic War of 1812. They were used as iconographic material by the English artist Doe when creating the Military Gallery of the Winter Palace. Among private commissioned works, in 1827 a portrait of Alexander Sergeevich Pushkin was painted at the request of a friend of the great poet, Sobolevsky. Contemporaries noted the striking resemblance of the poet depicted in the portrait to the living Pushkin.
In addition to commissioned portraits, the artist painted his friends, acquaintances and acquaintances. These friendly works of the artist include portraits: engraver E.O. Skotnikov, owner of the framing workshop P.V. Kartashev, sculptor I.P. Vitali, amateur guitarist P.M. Vasiliev, engraver N.I. Utkina. At the beginning of 1836, in winter, Muscovites solemnly welcomed K.P. Bryullov. An acquaintance took place between the author of the painting “The Last Day of Pompeii” and the portrait painter Tropinin. In his modest workshop, Vasily Andreevich painted a portrait of Karl Pavlovich Bryullov as a sign of friendship and recognition of talent.
In the early 1850s, the unprecedented popularity of Vasily Tropinin began to fade. Many out-of-town and foreign portrait painters frequented wealthy Moscow to earn money, offering their services cheaper and working faster than the older artist. But the habit of daily work did not allow Vasily Andreevich Tropinin to leave his brush. He continued to paint, try different versions of portrait compositions, trying to compete with the masters of the salon style. Therefore, in a fashionable spirit, “Portrait of the spouses Nikolai Ivanovich and Nadezhda Mikhailovna Ber” (1850, National Art Museum Republic of Belarus, Minsk).
Noble gentlemen are presented in luxurious clothes and free poses against the backdrop of the rich surroundings of their own home. Marble sculpture of a plump angel, vase of flowers, velvet drapery, oriental rug on the floor - all these elements of the ceremonial setting are intended not so much to show the wealth of the customers, but to demonstrate the skill of the artist, who so realistically conveyed the decoration of the room. Tropinin, even in his declining years, wanted to remain true to his principles of depiction happy life portrayed. The painting “Girl with a Pot of Roses” (1850, Museum of V.A. Tropinin and Moscow artists of his time, Moscow) is a genre scene. A young maid, clutching a pot of blooming roses, takes a pallet from the table and playfully looks at the viewer. A sweet, slightly embarrassed face, an open look, smoothly combed hair and a stately figure of the girl, as well as large pink buds against the background of the dark color of the room convey the spontaneity and liveliness of the young lady and, of course, the romantically upbeat mood of the entire canvas.
Tropinin created a series of paintings that reflected the images of the “inconspicuous” residents of Moscow. These are poor people, retired veteran soldiers, old men and women. The artist wrote them mainly for himself. However, in the respect with which they are captured on the canvas, one can feel the genuine, unostentatious democracy and humanism of a wonderful master painter. Servant boys and boys with books, seamstresses and laundresses, goldsmiths and lacemakers, guitarists and girls with flowers - in each of these images you can feel a unique personality. No less significant is that all these works are distinguished by nobility color range, subtle understanding of shades of color, integrity of color solutions. Even in European painting of those times, it is difficult to find a master who would preserve the taste and quality of impeccable handicraft for many years of his creative life.
In 1855, after the death of his wife, the artist moved to Zamoskvorechye. He bought a house on Nalivkovsky Lane. In it, the outstanding Russian portrait painter died on May 3, 1857. Tropinin was buried at the Vagankovskoye cemetery in Moscow. The painter lived a long time creative life and created more than 3,000 portraits, in which he strives for a living, spiritual characterization of a person as a unique personality with a romantic sense of the moving elements of life. In portraits he is often great importance have expressive details, a landscape background, and the composition becomes more complex. Portraits of his son (1818), (1827), composer P.P. are widely known. Bulakhov (1827), artist (1836), self-portrait (1846), paintings “Lacemaker”, “Gold Seamstress”, “Guitar Player”.
An important part of Tropinin's legacy is his drawings, especially his pencil portrait sketches, which stand out for their sharp observations. The soulful sincerity and poetic, everyday, harmonic harmony of his images were more than once perceived as a specific feature of the Old Moscow art school.
At the end of his life, Vasily Tropinin’s paintings showed fidelity to nature and an analytical view of the world, as a result of which the artist found himself at the origins of a movement in Russian art called critical realism, which was subsequently developed by graduates of the Moscow School of Painting, Sculpture and Architecture - Vasily Grigorievich Perov and Nikolai Vasilyevich Nevrev. Thus, Tropinin had a huge influence on the work of all subsequent generations of great Russian painters. Memory of the greatest master The Russian portrait of Vasily Andreevich Tropinin is carefully preserved at the present time. At the corner of Volkhonka and Lenivka streets, on the wall of the Moscow house where Vasily Andreevich Tropinin lived and worked for thirty years, a memorial plaque was installed. Since 1969, there has been a Museum of Tropinin and Moscow artists of his time in Zamoskvorechye. Numerous works outstanding master decorate the halls of the State Tretyakov Gallery in Moscow and the State Russian Museum in St. Petersburg. The works of Vasily Andreevich Tropinin are kept in the collections of many museums and art galleries Russian Federation.
