Page 1 / 2
Vladimir Lukich Borovikovsky is considered one of the last important representatives of Russian portrait painting. Born in the Ukrainian city of Mirgorod as Vladimir Borovik, his acknowledged artistic career only began at the age of about 30 when, in 1787, through the mediation of the poet and noble marshal of Kiev Gubernia, V. Kapnist, he was commissioned to decorate two rooms that were to be occupied by Empress Catherine II in Kremenchug. Borovik decorated them with two large allegorical paintings, which met with Catherine's approval and paved the painter's way to Petersburg. So far, he had only attracted attention with some hand painted icons, which he had made during his military service. In Russia's capital, which he was never to leave for a long time, he changed his surname to the more aristocratic sounding Borovikovsky. By spending his first Petersburg years living with the artist N. Lvov, who was interested in poetry, music and archaeology and who often sought out the surroundings of poets who cultivated sentimentalism, the resulting influences were reflected in the future painting of Borovikovsky. In order to further develop his skills, he took private lessons with famous painters such as the Russian Levitzki and the Austrian Lampi. In 1795 he achieved the academic degree of a portrait painter. This was followed by 30 busy years until his death in 1825, during which Borovikovsky created about 500 portraits in his henceforth cultivated light and transparent style. In the years around the turn of the century, numerous miniature portraits were among them. In the last five years of his life, during which he was a member of a Masonic Lodge, he turned again increasingly to painting icons, ten of which decorate Kazan Cathedral.
Almost all of Borovikovsky's portraits subordinate the pose, the posture of the hands and possibly visible landscapes to the face of the person portrayed. This expresses the painter's talent for placing the unique individuality of each person at the centre of his portraits. In many portraits, such as that of Maria Lopuchina, who shows herself relaxed and at the same time refined and elegant, or that of the Russian Emperor Paul I, this is particularly striking. Often mother-of-pearl shades and smooth surfaces support his precise drawings. Borovikovsky was also successful in creating his double portraits such as that of the Countesses E.A. and A.A. Kurakin.
A final remark should be made to the man Vladimir Borovikovsky. He was considered sociable and charming, supported several of his students morally and materially, and shortly before his death asked to be buried "without ceremony". Most of his works of art only gained public recognition in the 20th century and have since found their deserved attention in museums and galleries.
Vladimir Lukich Borovikovsky is considered one of the last important representatives of Russian portrait painting. Born in the Ukrainian city of Mirgorod as Vladimir Borovik, his acknowledged artistic career only began at the age of about 30 when, in 1787, through the mediation of the poet and noble marshal of Kiev Gubernia, V. Kapnist, he was commissioned to decorate two rooms that were to be occupied by Empress Catherine II in Kremenchug. Borovik decorated them with two large allegorical paintings, which met with Catherine's approval and paved the painter's way to Petersburg. So far, he had only attracted attention with some hand painted icons, which he had made during his military service. In Russia's capital, which he was never to leave for a long time, he changed his surname to the more aristocratic sounding Borovikovsky. By spending his first Petersburg years living with the artist N. Lvov, who was interested in poetry, music and archaeology and who often sought out the surroundings of poets who cultivated sentimentalism, the resulting influences were reflected in the future painting of Borovikovsky. In order to further develop his skills, he took private lessons with famous painters such as the Russian Levitzki and the Austrian Lampi. In 1795 he achieved the academic degree of a portrait painter. This was followed by 30 busy years until his death in 1825, during which Borovikovsky created about 500 portraits in his henceforth cultivated light and transparent style. In the years around the turn of the century, numerous miniature portraits were among them. In the last five years of his life, during which he was a member of a Masonic Lodge, he turned again increasingly to painting icons, ten of which decorate Kazan Cathedral.
Almost all of Borovikovsky's portraits subordinate the pose, the posture of the hands and possibly visible landscapes to the face of the person portrayed. This expresses the painter's talent for placing the unique individuality of each person at the centre of his portraits. In many portraits, such as that of Maria Lopuchina, who shows herself relaxed and at the same time refined and elegant, or that of the Russian Emperor Paul I, this is particularly striking. Often mother-of-pearl shades and smooth surfaces support his precise drawings. Borovikovsky was also successful in creating his double portraits such as that of the Countesses E.A. and A.A. Kurakin.
A final remark should be made to the man Vladimir Borovikovsky. He was considered sociable and charming, supported several of his students morally and materially, and shortly before his death asked to be buried "without ceremony". Most of his works of art only gained public recognition in the 20th century and have since found their deserved attention in museums and galleries.