The artist is Tropinin
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To imagine the history of the Russian portrait without the works of Vasily Andreevich Tropinin, who anticipated the development of the realistic portrait of the second half of the 19th century, the painting of Kramsky, Perov, Repin, Surikov, you must admit, is completely impossible. At the exhibition, the famous gallery of Tropinin female images is represented by “Portrait of a writer in.And.Lizogub “.
The image of Barbara Ippolitovna Lizogub (nee Petrovskaya), the author of a small story in the verses of Zuleik, published in August 1845, is classical for the mature period of Tropinin’s work, in which he masterfully connects the material persuasiveness of the solution with the idealization of the image. The figure of the model is given to the waist, almost in full size, and occupies a whole space of the canvas. Focusing all the attention on the heroine itself, the artist places it on a neutral background, completely excluding the interior, but very carefully prescribes the smallest details of her exotic outfit. Such documentary helps to give the image persuasiveness and materiality. The line-plastic interpretation of the form, the combination of clarity of the contour with dense masonry of freely fused strokes also contributes to the same. But at the same time, for some reason, the portrait does not impress the image of a particular lady. He, like all the Tropin “lace” and “malosweigs” is a collective image that embodied the artist’s idea of the best qualities of the national female type.
E.AT.Amphilokhiev, e.AT.Stankevich and N.AND.Fedorova. Materials for a virtual tour of the exhibition "Diaghilev. Start". 2009
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Lizogub Varvara Ippolitovna (in the girlishness of Petrovskaya, the dates of life are unknown) – the Russian poetess and the writer of the 19th century. ). Wife of Colonel Vasily Ivanovich Lizogub (1801–1870), daughter of captain Ippolit Petrovsky Petrovsky.
Image in. And. Lizogub, the author of a small story in the verses of Zuleika, published in August 1845, is classic for the mature period of Tropinin’s work, in which he masterfully connects the material conviction of the solution with the idealization of the image. The figure of the model is given to the waist, almost in full size, and occupies a whole space of the canvas. Focusing all the attention on the heroine itself, the artist places it on a neutral background, completely excluding the interior, but very carefully prescribes the smallest details of her exotic outfit. Such documentary helps to give the image persuasiveness and materiality. The line-plastic interpretation of the form, the combination of clarity of the contour with dense masonry of freely fused strokes also contributes to the same. But at the same time, for some reason, the portrait does not impress the image of a particular lady. He, like all the Tropin “lace” and “malosweigs” is a collective image that embodied the artist’s idea of the best qualities of the national female type.
