And Pryanishnikov biography

Pryanishnikov Fyodor Ivanovich - a relatively small meeting of Pryanishnikov was a serious phenomenon in the history of the collections of Russian art and museums in Russia. Most of the meeting in its finally established form: a picture of from are a work of painting by Russian artists. She was also the third in a row after A. Ivanov’s painting “The appearance of Christ the people” and the collection of paintings from the Hermitage by the tsarist gift to the museum.

The transfer of the meeting precisely to the Rumyantsev Museum corresponded to the will of the collector, who nevertheless did not bequeath the picture to the museum directly, but wished to be repaired from his heirs. Of course, the modest means of the young Moscow museum would not have been enough for such a purchase, but they did not require them. Alexander II acquired a meeting from the widow of the collector and gave it to the museum in the city of Enlightened Moscow found out about the meeting of Pryanishnikov during the life of the collector, five years before the house was transported to Pashkov.

Among them there were 9 "Pryanishnikov" paintings. The identity of the owner of the meeting is almost the whole life of Fedor Ivanovich Pryanishnikov-passed in St. Petersburg, but at the same time he remained the Moscow landowner. He owned the village of Vladimirov and the village of Slashchevovo in the Podolsk district. It is known that Fedor Ivanovich studied at the boarding house of Moscow University.

Fyodor Ivanovich devoted most of his successful activities to the Russian mail, and he studied the postal business in England. As the director of the postal department of Russia, Pryanishnikov, apparently, enjoyed international authority, as evidenced by the orders of Austria, Prussia, Sweden, Norway, and Greece. The biographer writes about Fyodor Ivanovich: “The secret adviser Pryanishnikov was a prominent person, sat in the committees, was in the company of encouraging artists, was a member of the Imperial Academy of Arts.

A noticeable place in his life was occupied by Russian painting and Russian artists. Contemporaries, biographers and researchers noted first of all not even the gift of Pryanishnikov to see and choose works of painting, but his kindness, responsiveness, the desire to support a person of art. In the memoirs of F. Lvov, the secretary of the Society and the artist, the landscape of his work was in the meeting of Pryanishnikov, Fedor Ivanovich is characterized as "a good and kind person", "well -understood people and who knew how to get along with them." Many artists counted on the support and patronage of the dignity collector.

In Pryanishnikov, he helped the artist S. Zaryanko become an inspector and teacher of the school of painting, sculpture and architecture. Fyodor Ivanovich was essentially a representative of the school in the capital. In thanks to Pryanishnikov, the portraits of the Duke of Leichtenberg, Prince P. Volkonsky and Grand Duchess Maria Nikolaevna were copied for the school - T. Pryanishnikov’s work conducted negotiations with artists, paid for the work, organized copies of portraits to Moscow.

In his youth, while as a Muscovite, Fyodor Ivanovich was familiar with P. many years later, in, taking part in the fate of one of the “gifts” expression of Pryanishnikov Russian artists - P. Fedotov, he asked Chaadaev to help Fedotov. However, not all contemporaries of Pryanishnikov clearly considered him a benefactor of the great Fedotov. In the memoirs of a contemporary, there is evidence that the poor artist was inferior to his things to an omnipotent collector at almost symbolic prices.

Although Pryanishnikov, according to F. Lvov, “was never a connoisseur of painting,” undoubtedly, Fedor Ivanovich had a natural gift of a connoisseur of painting. As later P. Tretyakov in Moscow, as even later, S. Schukin in Paris, Pryanishnikov was the first to find, opened true talents. Most of Pryanishnikov’s things, like Tretyakov, bought from still unknown authors.

The collector often visited artists' workshops and acquired unfinished things, which was cheaper. And where the intuition of the artistic ended and the commercial began, now it is already unclear. Pryanishnikov’s name remained in the history of Russian cultural treasures not only thanks to the picturesque meeting. In G., 22 autographs I. Krylov and the rare edition of the Bible G.

Mr. Brisheshnikov’s Bible subsidized the edition of the Old Testament for children with illustrations - perhaps one of the first in Russia. The history of the meeting is the source of the receipt of paintings in the meeting of Pryanishnikov in most cases cannot be established. It can be assumed that Pryanishnikov’s collective activity began very early. It is known that already in the years when Fedor Ivanovich was not even twenty years old, by his order V.

Shebuev created a reduced author’s repetition of the image of St. Vasily the Great Original, the original was executed by him in the year for the Kazan Cathedral. In the publications of the Rumyantsev Museum, the meeting of Pryanishnikov is called the first collection of Russian painting. However, he had, if not his predecessor, then the senior contemporary - the “Russian museum” by P.

Pvinin, the journalist, the traveler, the artist, the contemporary and the good acquaintance of Pushkin.The collection of Pig Pigs was sold out in the year, and the famous “lace” of Tropinin, about whom they say that they could see that Pushkin himself could see her with Pryanishnikov.

Another picture in the meeting of Pryanishnikov, who reliably belonged to Svinin, is P. Diana and Actheon, therefore, the Pryanishnikov came to the Society for the Promotion of Artists in the Year of Pryanishnikov as a novice collector, owning at least the Shebuevsky copy of Vasily the Great and two paintings from the collection of pig. Undoubtedly, the fate of Pryanishnikov and his assembly at the beginning of the 19th century was associated with the Masonic part of his biography.

The first acquaintance with the Masons even as a visitor to the box occurred in the year. Pryanishnikov not only participated in the well -known bed of the “dying Sphinx”, but also held leading positions up to a year, when the Masonic associations began to persecute and close. In those lodges where Pryanishnikov consisted or visited, both Svinin and his beloved and gathering artists - Bryullov, Borovikovsky, Levitsky, P.

Volkov, A. Vitberg, A. Orlovsky, A. Egorov, as well as I. Oleshkevich, whose work under the year was also in the meeting of Pryanishnikov. He also had a portrait of A. Labzin written by Borovikovsky - one of the ideologists of Freemasonry, who headed the Academy of Arts. Another prominent Mason was Prince A. Golitsyn, the immediate boss of Pryanishnikov, who is connected with him by many years of friendship.

The portrait of A. Freemasonry was part of the collector’s life, and the creations and portraits of Masons were part, moreover, the early and most valuable part, the collection of paintings. Therefore, despite the lack of direct documentary evidence, it can be assumed that communication in the Masonic lodges was one of the ways to replenish the picturesque collection. The meeting of Pryanishnikov was well known to collectors of Russia.

Among his first visitors was Pavel Mikhailovich Tretyakov, who met her during a trip to St. Petersburg in an inspection of the Pryanishnikov collection, along with visiting the Hermitage, finally formed his desire to collect Russian painting. Later, Tretyakov wanted to purchase a collection and make it the core of his meeting, but the price of 70 thousand rubles was too large for him.

The chief postmaster of Russia was able to create an extremely whole and harmonious meeting. Among the best things in the collection are five works of Borovikovsky, five - Levitsky, eleven - Bryullov. Together with the works of Kiprensky, Tropinin, F. Bruni, P. Basin, A. Egorov, V. Shebuev, the landscapes of the brothers G. Chernetsovs, father and son M.

Vorobyov, F. Matveyev, M. Lebedev, S. But they never spoke about the uniqueness of this meeting precisely in connection with the fame, accessibility or popularity of the paintings included in it. Pryanishnikov’s name is currently often unknown even to connoisseurs of the exposition of the Tretyakov Gallery, not aware of the origin of the paintings. The first description of the Pryanishnikovsky Assembly, printed in the year1, contains paintings.

The meeting is mentioned in the famous monograph by H. Andreev “Picture Gallery of Europe”-a detailed description of the paintings of the meeting with information about artists is given in the book of A. Ivanovsky2, published in St. Petersburg in the city of this publication in copies, by V. Pryanishnikova, Rumyantsevsky museum in the city, suggested that books, except for the library funds, would be in the library funds.

sold, and the proceeds were used as a prize to the author of the best biography of N. The Truly famous mass audience, the Pryanishnikov Gallery became after nine paintings, as mentioned above, visited the World Exhibition in London in the city of the European audience, showed the works of Bryullov-the famous self-portrait and a portrait of the fabulizer Krylov, “compatrilation of the dying” Venetianov, “Portrait of the Priest” presumably, the father of the artist Levitsky, the work of A.

Chernyshev “Sharmaker”, “Matchmaking of the Major” and “Widow” by P.