The first monographic exhibition at the State Pushkin Museum has collected about 200 works from major collections in Moscow, St. Petersburg, private collections, including foreign ones. Many portraits were exhibited for the first time. The exhibition was accompanied by a catalog "PF Sokolov. Russian intimate portrait "- the first scientific, beautifully illustrated monograph on the work of masters. The artistic heritage of PF Sokolova enormous. Only the list I.B.Chizhovoy1, but it can not be considered complete and final, but it has more than five hundred works. They are located in major museum stores of the country: State Russian Museum possesses the largest collection of works by the artist, the State Tretyakov Gallery, State Historical Museum, the State Pushkin Museum, the All-Russia Pushkin Museum, the State Literary Museum, the Museum of B. VATropinin and Moscow artists of his time, the State Hermitage Museum, State Museum of Fine Arts. Pushkin and others. Many of them took part in the preparation of the exhibition and catalog. Portraits Sokolova, as a matter of special pride for collectors, kept in private collections in Russia and abroad. Participants of the exhibition and catalog of steel and two Parisian collector - Maurice Baryush, who introduced his wonderful collection, numbering twenty-watercolor and pencil portraits of the artist, and V. Tsarenkov. And how many more portraits from private collections in Russia and abroad are still inaccessible to researchers, how many of them stored in a provincial museum and archives as a work of unknown artists, many have disappeared forever in the fires of revolutions and wars!

The name of Peter Fedorovich Sokolov (1791-1848) literally embodies what we call the Pushkin era. Painted by the artist owned by three lifetime portrait of Alexander Pushkin, without his drawings and watercolors is simply impossible to imagine a contemporary first-hand, acquaintances, friends and enemies of the poet - the inhabitants of Moscow and St. Petersburg, where most have lived and worked as an artist.

The professional fate of PF Sokolov began fairly typically for artists of his circle and the time - he graduated from the Academy of Fine Arts in 1809 on a class of historical painting at the wonderful teachers and unsurpassed draftsmen AE Egorov, and V. K. Shebuyev. For software product "Andromache weeping over the body of Hector" Peter Fedorovich received the second (small) gold medal. Dreaming, like all artists, academics, continuing education in Italy, and this gave the right only the first gold medal, Sokolov remained in the Academy for another year. He again participated in the contest, but the second attempt was not successful. And who knows what would have been his creative life, if fortune accompanied him. How much effort, time, talent would be given to "high" genre - historical, and what place in his work would have taken the genre portrait?

So, in 1810, Peter Sokolov was released from the Academy with the rank of "free artist of the first degree." At first he was in poverty, but pretty soon, writes his son, Paul, "began to live on their own resources, and gave lessons in painting and doing pencil portraits, enjoyed great success. Through these portraits, the circle of acquaintances of my father very soon widened, and he fell into the so-called beau monde »2.

His first drawings 1810-ies are preserved in the pages of family albums, remembering all the images of those with whom the young artist was particularly close, those who played a significant role in his fate. By the earliest portraits are from the album Levashov, in a family where Sokolov, "sitting" drawing teacher in 1810-th year, spent about four years. "Through this family, he had the first orders" - wrote the artist's youngest son, Alexander. In some early drawings Sokolov has not departed from the academic style of hatching. Their author may be able to become any academics. They are usually written in dark brown paper with a pencil using the Italian chalk. This so-called drawings "in three pencil": chalk-marked light, the shadows are made by the Italian pencil, and in half-tones on your own color brown paper.

By mid 1810-ies can be attributed, and portraits of family Peschurovyh from the album, which is stored in the All-Russia Pushkin Museum. It is thanks to the patronage of a retired captain of the Life Guards regiment Semenovski AN Peschurova young Peter Sokolov once accepted at government expense to the Academy of Fine Arts, and after graduation he became a frequent visitor to the house where he was "petted and loved" where "admired his talent and where the artist has found his first customers. To this period belongs, and an album with pictures from the State Historical Museum. On the upper lid covered with red morocco, - bronze mounted profile of Emperor Alexander I. Such an instance is mentioned in the memoirs A.O.Smirnovoy-Rosset, who, going to Europe, brought with them dear to her heart, albums and portraits: "Here was an album with a portrait of Alexander, and does portraits of black and red pencil P. Sokolova" 3 .

Landscape drawings mid 1810-ies the unique safety features: a vision of every detail, every movement of the artist's pencil. In this lies their special aesthetic value. Wonderful and clean execution. It is no exaggeration to say that it was the mid 1810-ies PF Sokolov was found an original, vivid and original manner of hatching a person on which he learned in the formative detail. This characteristic manner, the handwriting wizard will continue in his watercolor portraits, particularly 1820.

Landscape In the early drawings of the artist there was a certain seclusion and intimacy, as if a momentary transfer of experience and apparent incompleteness. In the easel portraits of the second half of 1810-ies he was trying to be more generalized image, the depth and strength of color became more likely to use the feathering. These are portraits SG Volkonsky and DN Bludova, MA Kikin, an unknown man with the Order of St.. Anna 3rd degree (private collection, Moscow), clearly made to order.

Portfolio PF Sokolova late 1810's - early 1820 provide an opportunity to trace the transition from dry Italian technology with sanguine pencil to use in some drawings of a mixed technique with the addition of watercolor, and finally - to transparent watercolor without whitewash. At the same time, Sokolov, since the times of great academic who owned a brush, writing and small portraits in miniature dense watercolor technique with whitewash - NV Stroganov, S. Stroganov, AL Vitberg.

In 1821, on the recommendation of adjutant Count SF Apraksin, with whom PF Sokolov was a friend, the artist invited to work in Anichkov Palace. Successfully performing a three-year portrait of Grand Duke Alexander Nikolaevich, the future emperor, he began to receive orders from the imperial household. With a portrait of the Emperor Nicholas I there was an unexpected incident. As soon as the artist "had time to sketch pencil outline," the Emperor interrupted the session and the brush has drawn a line under the nose loop "with the words:" Take it as a souvenir "4. How is valid this anecdote, passed in the memoirs of the artist's son Paul, is hard to say. But, of course, it is strange that Sokolov, who had served so many orders of the court, with all his extraordinary talent and popularity has never won the title of court painter. However, an academician and a portrait watercolor painting he was given only in 1839. Not having sufficient background information, one can only assume that one of the known causes of this slow career was displeasure, once expressed by the emperor.

Nevertheless, the court orders, of course, contributed to the growth of Fame artist. From the wish to have portraits Sokolova formed a "vital part", and many had to wait for the beginning of the session sometimes for a month. Society has chosen for himself "favorite artist". Moreover, customers sought him out repeatedly. For example, only three known portraits EP Bakunin, in marriage Poltoratskoi - the first of them, an early pencil drawing in 1816, where she shows a young girl. Twelve years later was executed watercolors, which in the guise of Bakunin artist conveyed the elegance and lightness, the "similarities with La Sylphide, which, according to the conception of the time, was supposed to have a secular woman, and the portrait in 1834 he painted Ekaterina Pavlovna had married a lady . Soft delicate color watercolors related to its internal state. The artist, as if in anticipation of its continued good fortune, gave amazingly true state of peace of mind. Many well-known families kept the portraits of several generations, by P. Sokolov.

The extraordinary success enjoyed his "wedding" portraits. Funny is illustrated through the words of one customer: "... We are now without you, Peter Fedorovich, can not do both without a priest, if he will not bless your talented hands, then the marriage is invalid" 5.

Working life in order, in the words of Tchaikovsky, "hurry", Sokolov has always been extremely artistic. In the late watercolors he had reached perfect harmony in the figure, color, composition. They are "pictures and not in the least to lose from an increase to the natural size, if raised accordingly and the power of color to the strength of oil paints 6. In the portraits of women 1840 Sokolov seems especially romantic and in love with nature. Portraits of men distinguished by their great inner strength and realism. "The reality would be the most outstanding feature of his talent, long before the domination of this trend in contemporary portrait painting" 7.


For the first time about the artistic method PF Sokolov wrote his youngest son, watercolor painter academician AP Sokolov. He noted that his father never resorted to the remover, ointments, anti-aliasing or any other tricks out of the actual painting. "With remarkable courage truthful tone of a person dresses, lace accessory or background lay down at once, almost in full force and itemized mixed, mostly grayish tones, with remarkable charm and taste, so that the course of the hand, Eia strikes, sinking of paint on there, remained on the mind, without interfering with the complete finality of all parts. From this in the works he has never been any noticeable tortured and labor were all fresh, easy and at the same time, clearly and effectively in the paint "8.

With inimitable skill Sokolov applied in watercolor and pencil, using it not only as an aid to construction of the shape in the preliminary figure. Pencil often "woven" into the very fabric of the scenic watercolors. His touch it thickens, then thins to "spider", is interrupted, then to re-emerge and to emphasize the form. Human Aleksandr Sokolov, speaking of the amazing lightness, freshness and spontaneity, improvisation works seeming father, where everything was "as if in sight, without interfering with the complete finality of all parts".

And yet - "the best that was in Sokolova - this sense of color" 9. This is based emotion of his works. The artist never abused that "Iridescent Kohler", aptly put by Alexander Ivanov, which was characterized by Karl Briullov. Painting Sokolova thinner, harder, more varied, subtle. The very beauty of the color palette of his portraits is an aesthetic category. Sometimes this reduced color palette based on the convergence of the noble colors, only in some places crowded with bright color spots, and in such portraits as SV Stroganov, AN Zubov, Demidov, KV Nesselrode.

Other series of portraits based on a more vivid, and in the 1840's even catchy colors. This blue, red, green, large color spots. But here Sokolov never alters sense of proportion. All harmonious, harmonious, noble.

To be continued ...

1 Chizhov IB Brilliant Petersburg in watercolors PF Sokolova. SPb., 1999.
2 Sokolov PP Memoirs /Red., Introd. Art. and comment. E. Gollerbakh. L., 1930. P.49.
3 Smirnova-Rosset AA Diary. Memoirs. M., 1989. P.289.
4 Sokolov PP Ordinance. cit. 69.
5 Turchin, VS Portraitist Peter Sokolov //Petr Fedorovich Sokolov. 1791-1848. Russian Chamber portrait. M., 2003. C.8.
6 Sokolov AP Pyotr Fyodorovich Sokolov. Founder portrait watercolor painting in Russia //Russian antiquity. 1882, March. P.638.
7 Ibid
8 Ibid.
9 Sidorov AA Picture of the old masters. 1956. S.338.

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A detailed study of reference signed works PF Sokolova and some watercolors from the State Pushkin Museum, without the signature of the artist, but is traditionally considered to be copyright repetitions allowed to withdraw them from the circle of the artist's works. Research excitement is sometimes too great, and it is difficult to resist the temptation and do not ascribe to another, previously unknown product does not someone, namely PF Sokolov. Must pass some time to look at, it would seem, other reference works of the artist's eyes and from other positions and reasonably dispute his authorship.

Not all the portraits, where the authorship of PF Sokolova was given, it was possible to determine the name of their true author. Professionals and amateurs imitated his watercolors, he imitated, worked in his manner. For example, a portrait SA Bobrinsk repeatedly published as the work of Sokolov, in methods of writing is very different from his famous works. In doubt and a thin fragile paper is yellow, so unlike the slightly rough texture of the drawing paper or smooth, almost velvety Bristol board, which usually enjoyed artist. Reproduction of this portrait in the book of Veselovsky "VA Zhukovsky. Poetry of feelings and imagination of the heart "has confirmed the initial guess. In a footnote, it was stated that the portrait is "a copy made in the of January, 1892 with the original, written, as they say, Sokolov in 1822. In addition, the chemical reaction paper on aniline sulfate showed that she did not rag and wood origin. Watercolor on paper, this could only be written in the second half of the XIX century. Subscription original PF Sokolov was in the album which belonged to Count Grigory Alexandrovich Stroganov, then his daughter Elena Grigorievna, Sheremetev first marriage, and later his granddaughter Sophie Vladimirovna Sheremetev, married Von Den. After the Revolution, he emigrated to Rome, she was able to take away a family relic with him. In 1930 the album was sold in Paris on a separate sheet, some of which were acquired by A. Popov, whose collection inherited gallery owner "Popov and Co., a collector Maurice Boryush. A copy of the same, made in 1892, remained in Russia. Its last owner, Count Alexander Andreyevich Bobrinsky, great grandson of SA and AA Bobrinsky officer guard, was shot in 1919 in the Caucasus. He left no offspring, and the watercolor was in the wrong hands, having lost its main value of family heirlooms.

In the same group found a subscription portraits of Count AA Bobrinsky, the grandson of Empress Catherine II, Count NA Samoilova, a friend of Pushkin, NA Mukhanova (now in the collection "Popov and Co."), IG Poletika, незаконнорожденной дочери графа Г.А.Строганова, его сына барона Г.А.Строганова (местонахождение неизвестно).

Removing questionable works range from works PF Sokolov is a definite step forward in the process of studying his work. It is becoming increasingly evident that only a comprehensive study nepodpisnyh, but attributed to the painter of portraits, including their study of art history and technological analysis will provide a scientific basis for attribution. In this connection necessary is to create a database containing results of analysis of the pulp cartons and pigments in the reference works PF Sokolova. The first studies in this direction taken by the candidate of chemical sciences VN Yarosh.

While working on the catalog and exhibition have been clarified as the old and proposed some new iconographic definitions. The invaluable role played here materials of history and art exhibitions of Russian portraits, organized by SP Diaghilev in 1905 and held in the Tauride Palace in St. Petersburg. She exhibited work 71 PF Sokolova. Photobank Tauria exhibitions are currently in the photo library of the State Tretyakov Gallery. Their study allowed, for example, to restore the once lost the names of two girls in fancy dresses depicted in watercolor, housed in the Museum VATropinin and long considered a portrait of Grand Duchesses Olga and Alexandra, daughter of Emperor Nicholas I.

It was found that Tauria watercolor exhibition was displayed and included in the catalog (№ 1931) as the image of sisters Anne and Catherine Vasilchikova. The portrait was a younger sister AA Vasilchikova, in marriage Baranova, and later in the family of her daughter Catherine Pavlovna. It was her husband, Earl K.A.Hreptovich-butene indicated in the exhibition catalog as the owner of the portrait. Its origin, iconographic similarities depicted portraits of their parents Alexei Vasilyevich Vasilchikova and Alexandra Ivanovna, born Arkharovs give no reason to doubt that they are depicted watercolors. In addition, Tauride exhibition, as is known, often visited by members of the royal family, including a connoisseur of Russian portrait of Grand Duke Nikolai Mikhailovich, who certainly would notice a mistake in the attribution of watercolors, if it had been.

Iconographic definition of an unknown portrait of a young woman with a green scarf was invited TG Dmitrieva. Figure exhibited as a portrait of an unknown even to Tauria exhibition in 1905 and entered into its catalog (№ 1878). Its owner at that time was Count Fyodor A. Kurakin (1842-1914). Studying genealogy princes Kurakins gave grounds to assume that the portrait depicts the owner's grandmother Elizaveta Kurakina (1790-1871). This is confirmed by iconographic similarities with its picturesque portrait of AG Warneke, located in Orel Museum of Fine Arts, as well as a miniature portrait of her father, Prince Boris Galitzine work E.-A.-ZH. A. Gerard (SRM) and water-color portrait of the princess's mother, Anna, born Princess of Georgia, the work of VI Hau.

Definition of a portrait of an unknown with an IOU from the collection of the Moscow Ostankino Estate Museum, the proposed VA Rakin, is an example of art-the accuracy and credibility. In watercolor depicts Baron Alexander von Stieglitz, the court banker, manager of the State Bank. The investigator confirmed that not only the portrait similarity with the other images, but also two important details. First, it is an IOU Rothschild Baron Stieglitz one million pounds sterling, which is shown holding in his hand. Second, the plaque on the wall with the date "24 June", which indicates a very important event in the life of Baron. In 1844, Stieglitz adopted by a childless couple extramarital daughter of Grand Duke Mikhail Pavlovich, which according to legend, was found in the lilac bushes at their dacha in Petrovsky. Happened in late June, so the name of the child gave Iyuneva (Iyunina, Yunina, Yuneva).

Work on the exhibition and catalog revealed another aspect of the study of the creative heritage of PF Sokolova. TG Dmitrieva was compiled an annotated list of portraits, whose whereabouts are currently unknown, but reproduced at one time specialized in pre-revolutionary editions: "Russian Portrait of the XVIII and XIX centuries, Taurian exhibition catalog, 1905, a detailed dictionary of Russian engraved portrait published DA Rovinsky, Dictionary of Russian lithographed portraits VY Adaryukova and NA Obolyaninova. In addition, in preparing the list were used historical studies, memoirs, magazines "Old Years", "Capital and Country".

For the first time were classified and signature PF Sokolova, the manner of application which has changed over four decades. In his early drawings 1810-ies developed a rather large sign in Russian, with a characteristic title "C" and the sweeping stroke of the end, and always with the initials of the name. This signature is often woven into the hatching of the background, making up part of the composition. Less common signature-monogram "FS", manufactured by the same Italian pencil and very restrained in writing letters. Sometimes the artist dated portrait, rarely pointing to the place of its creation.

In 1820-ies in connection with the growing popularity Sokolov signed watercolor only the name, usually graphite, less Italian pencil, pen and ink. Moreover, Latinized signature often varies: «Socoloff», «Sokoloff», Socolof, Socolow, Sokolow. Signed usually small, well-read, without flourishes. Her style is characteristic for the first half of 1830. In the second half of 1830, preserving all the features of writing letters, Sokolov did in the late signature sweeping stroke with a horizontal loop at the bottom. In the early 1840's this version of her remains, but closer to the mid 1840's increased size of the letters seem to correlate with large size portraits of themselves. Increasingly, there is next to the signature date. The artist continued to use pencil, but closer to 1847, a new version of the signature - a red dye with the laying of the shadows.

All major museums and private collections of works of PF Sokolov unique. For each portrait are not only certain stages of the life of the artist and his model, but the fate of the owners of the portrait, and yet - never repeating the history of its existence in the family, the collections until the proceeds to the museum. State Pushkin Museum for the first time at this exhibition fully showed his collection of works by the artist. Start building the collection started before the official opening of the museum in 1959 - early 1960's. For forty years, thanks to tireless energy, knowledge and collecting gamble of his staff, as EV Pavlova, N. S. Nechaev, AZ Crane has developed a truly unique collection of PF Sokolova - more than forty portraits. By this time were mainly formed by the collection of the State Russian Museum, State Tretyakov Gallery, State Historical Museum, the All-Russia Pushkin Museum - the main repositories of works of major masters.

At a meeting in Moscow's Pushkin Museum of all four periods of creativity PF Sokolova. Early pencil drawings of the Italian 1810's, watercolor 1820 and 1830 - the period of blossoming of skill of the artist and the works of the late 1840's, which opened up new features and facets of his talent. The collection's core, its core are watercolors 1820-1830-ies. This is explained not only by the fact that two of these decades - years of enormous creativity of the artist, but the principle of acquisition of the literary collection of the Pushkin Museum, its limited time-frame for the life and work of the poet. But Perhaps therein lies its singular originality and uniqueness. In her portraits a little catchy, bright in color and appearance of spectacular. Watercolor Pushkin Museum collection distinguished primarily by subtle psychology and depth of the artist in nature, the virtuosity and variety of creative methods, not always conspicuous, requiring no surface perception, and research and analysis. These portraits are truly masterpieces of Decembrist wives MN Volkonskaya and PE Annenkov, EP Poltoratskoi, nee Bakunin, Petersburg Beauty SA Urusova, archaeologist and bibliophile AD Chertkov, physician-physician F . I. Bartolomei, diplomat and historian, Baron A. Barclay de Tolly.


Not all the portraits of the Pushkin Museum in the artist's signature is Prechistenka PF Sokolova. Most of them were identified permanent and disinterested advisor to an art museum T. Buevskoy, one of the few experts on the creation of this unrivaled master.

Many of the portraits, and this is particularly valuable, the museum has received from family gatherings, where they are carefully kept hallowed by tradition and legends, not one hundred years. So descendant M.I.Golenischeva-Kutuzov Prince L.Klari-and-Aldringen living in Italy, was presented with a portrait of the daughter of the great commander and close friend of Pushkin Elizaveta Khitrovo. Watercolor depicting Maria Nikolaevna Volkonskaya with his son, a museum, through the indefatigable I. Zilberstein, received a gift from her offspring VN Zvegintsova, who lived in Paris. Ilya Samoilovich also brought to Russia from France, a charming portrait IG Poletika, charming worst enemy of Pushkin.

Leafing through the yellowed pages of old protocols of procurement commissions, you know, as it was not simply buy many portraits of this remarkable masters, who for the literary museum were "no profile". However, contrary to plants over the museum in its time "defended" sketch a female portrait, executed pencil - a rare preparatory drawing PF Sokolova. But five years later managed to get itself watercolor - a portrait of a young woman in a pink coat, one of the gems of our collection. His unconditional iconographic identification made EV Pavlova, was an extraordinary artistic success of the researcher. The portrait depicts YP Sokolov, artist's wife, sister of Charles and Alexander Bryullov. And such examples of good iconography attribution can be given.

As already mentioned, Petr Fedorovich Sokolov was a true witness of Pushkin's era, the artist not only as a mirror to reflect, but glorifying its spirit and its unique aesthetic. Without his work it would be hard to imagine in all its fullness and splendor gallery contemporary poet and his inner circle. In connection with this special value to the collection of its iconographic significance. Besides those already mentioned, the portraits of the poet DV Venevitinov, OS Odoevsky, wife of writer, friend of Pushkin SS Hlyustina, the same infamous IG Poletika, statesman Count DN Bludova, the great Prince Alexander Nikolaevich sister Maria, PA Nashchokin, chief of police LV Dubbelt, AD Chertkov, known in Moscow, his charity and mercy, SG Chernysheva, sister Decembrist Zakhar Chernyshev ...

Well-known art critic N. Wrangel wrote in the "Miniature in Russia, that in his work" Peter Sokolov broke with the Old Testament and raised beauty. Hundreds of enforcement of a watercolor portraits painted with a free and easy. Neat skill of their execution, even people like Nicholas age 10. Pyotr Fyodorovich Sokolov we now rightly called reformers Russian watercolor portrait of the first half of the XIX century. He really reached in the work of its highest craftsmanship, creating a new, full of humanity and always striking individuality of the Russian type of watercolor portrait. During his lifetime his works the artist hardly known abroad, but his chosen path as fully revealed the stylistic evolution from Romanticism to the Biedermeier that his art can be called even more "European" than O. Kiprensky and K. Bryullov already in While familiar to Parisian viewers. "Fame and success - he wrote the memoirs of the artist's son, PP Sokolov, - he was indebted to his talent and work in good faith, without quackery and advertising 11.

10 Op. by: Petr Fedorovich Sokolov. 1791-1848. Russian Chamber portrait. M., 2003. C.12.

11 Ibid. C.6.

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