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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22.10.2009, 13:50
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