Portrait of Prince 54x42
The work of Alexei Petrovich Antropov developed in the middle of the XVIII century. The team's tasks included decorative painting of walls and shades of buildings under construction, writing icons for iconostases and other works. Large painters led such teams. Antropov first worked under the guidance of the famous portrait painter A. Matveev, who was then replaced by another Russian artist, I. Ya. Vishnyakov, who also paid a lot of attention to portraiture. Antropov also worked with the talented decorator of a foreigner D. Valeriani, studied with foreign portrait painters L. Karavakka and P. Rotari. The artist participated in the painting erected by the famous V. Rastrelli of the Winter and Tsarskoye Selo palaces in St. Petersburg, his brush belongs to a number of paintings in the St. Andrew's Church in Kiev, palace buildings and temporary coronation structures in Moscow. But the true talent of Antropov was revealed in the portrait. It was in this genre that his most significant works were created.
The heyday of portrait work Antropov falls on the 1750-1760-ies. At the royal court during this period, many foreign portrait painters worked - Toke, P. Rotary, and somewhat earlier Groot. The art of these masters, distinguished by subtlety and grace of manner, was very popular.
Antropov’s picturesque manner is close to the traditions of old Russian writing; it also has the features of Parsun painting with the inherent final flatness and some dryness of the drawing. The artist's art is marked by features of national identity. It attracts with truthfulness and simplicity.
Portraits of Antropov are plainly constructed, painted with frank, bright colors; they do not contain the tenderness and beauty of foreign masters inherent in the works. But on the other hand, they attract accuracy and strength characteristics, a healthy popular perception of the world.
“Without further ado,” depicts Antropov, middle-aged and heavy, brightly painted court ladies, with all frankness, describes the completely unattractive appearance of Emperor Peter III. He accurately conveys the appearance, clothes, jewelry, insignia, but behind all this you can always feel the true and lively image of a person.
It is these features that are remarkable and portrait of Prince Tatyana Alekseevna Trubetskoy. Brightly painted cheeks, beaded eyebrows, a white wig decorated with a rose, not only do not hide, but even enhance, emphasize the lively charm of the round rustic face of a Russian woman with a perky upturned nose and cheerful, lively eyes.
Antropov’s work was an important stage in the formation of a realistic school of Russian portraiture.