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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