The State Russian Museum formerly the Russian Imperial Museum of his majesty Alexander III is the largest depository of Russian fine art in Spb. It was established in 1895 by Nicolas II in commemoration of his father AIII. Its original collection consisted of art works for the Hermitage, the Alexander palace and the Imperial Academy of Arts. After the revolution of 1917 many private collections were nationalized and relocated to the Russian museum. The main building is the Michael’s palace – a splendid neo-classical residence of Grand Duke Michael Pavlovich. When Grand Duke Michael was born in … Paul I ordered to deposit a certain sum of money annually in the name of his son. After they collected 9 000 000 rubles construction of the palace started, which was after the father’s death. The project was entrusted to Carlo Rossi, who between 1819 and 1825 designed an impressive ensemble in neo-classical/empire style. Contemporaries called it the ‘Triumph of Russian architecture’. The façade of the building preserved remarkably well, while the interiors have later been changed to accommodate the collection. Only 2 surviving interiors – The White Hall and The Grand Staircase; and certain details – ceiling paintings, bas-reliefs. In 1825 Grand Duke Michael moved in with his wife Elena Pavlovna. The palace soon became famous for resplendent balls hosted by the Dukal couple. After M’s death in 1849 Elena continued living in the palace entertaining many Russian and foreign celebrities, politicians, writers, musicians, etc. That period is particularly famous for musical parties which Nicolas I regularly attended. The 1st Russian musical society was established here which later developed into the 1st Russian conservatory. After Elena’s death in 1873 her daughter Ekaterina inherited the palace and later bequeath it to her children. The palace was purchased for the Museum by order of Nicolas II. The State paid 4 million rubles. The owners removed all valuables from the palace including chimney pieces, door frames, and window-sills. The architect Vasily Svin’in proved to be very resourceful and economical – installed new heating and ventilation system, water supply, lights for 540 000 rubles. Some contemporaries criticized Svin’in for changing the original interiors too much. The Museum officially opened in 1898. Initially the collection consisted of paintings, sculpture, graphics and works of applied art – 1500 items in total (at that time). A collection of Christian antiquities is of approximately 5000 pieces. Today the collection consists of almost 400 000 items.
Practically all the paintings from the Hermitage gallery of Russian art, the Academy of Arts was relocated to the new museum. NII bought the collection of Lobanov-Rostovsky and one of the largest acquisitions was ….. thus the collection almost doubled in the 1st ten years. It became a truly comprehensive National Museum of Art by 1909-1910.
In 1917 – early 1920s the museum collection rapidly grew further as many private collections were nationalized. In 1926 the museum acquired many works by Russian vanguard artists from the state institute of artistic culture. The collection was growing so fast that in early 1910s plans were made for extension to the museum. Benois designed the extension, later it was called корпус Бенуа, but because of WWI it was finished in 1919 (planned in 1910). The building started hosting temporary exhibitions, art of early … and soviet art. One more significant change – 1934 – the Museum’s Ethnographic department became an independent Museum of Ethnography. During WWII it (collection too) was not seriously damaged, though 4 bombs actually hit the palace. It was reopened in 1946.
Today the Museum includes 4 branches: 1) Michael’s castle; 2) The Marble palace; 3) The Stroganov Palace; 4) Summer garden with summer palace of Peter I.
Ancient Russian Painting
It consists of 5000 icons and over 1500 church utensils and jewelry. Many of the exhibits from this section were purchased by Nicolas II who often preferred to stay anonymous. The collection we see today was basically completed by 1916. The collection covers 700 years of icon painting. All the leading schools are represented here such as the Novgorod school, the Moscow school, the Pskov school, the Tver school, the Stroganov school; items from some most venerated monasteries – the Belozersk monastery, Alexander-Svirsky monastery, Solovetsky monastery, etc.
The use and making of icons started in Kievan Russ following its conversion to Orthodox Christianity in 988. As a rule these icons strictly followed modals and formulas of Byzantine art in the beginning but with time the number of types and styles in Russia grew larger than anywhere else in the Orthodox world. The personal and creative tradition of Western Europe remained largely unknown in Russia before the 17th century. Russian icons are typically painted on wood to be found in churches and monasteries, though icons can also be found in homes hanging on the wall in the Red corner. The religious symbolism of icons is very rich. In Russian churches the alter is typically separated of the rest of the church by an iconostasis (a wall of icons). Russians consider icons to be the Gospel in paint and therefore much attention is paid to ensure that the Gospel is accurately conveyed. Some of the most venerated icons are known by the name of the town associated with them such as Tihvin, Smolensk, Kazan, etc. Russians often commissioned icons for private use adding figures of specific saints for whom the members of the family were named. Icons were often clad in metal covers of gilt or silvered metal which were sometimes set of artificial semi-precious or even precious stones and pearls. Icons were often given as presents (considered of great value). Because icons in the Orthodoxy must follow traditional standards and are essentially copies Orthodoxy never developed the reputation of individual artist as western Christianity did and the names of icon painters are seldom recognized. Icon painting is a conservative art and in many cases considered a craft in which the painter is essentially nearly a tool for replication. Because of that it was not deemed necessary to sign the icon. Many Russian icons were destroyed or sold abroad by the soviet government; some were hidden to avoid destruction. Since the fall of communism numbers of icon painting studios have again opened and are painting in a variety of styles for the local and international markets. In the late 19th and early 20th century icons started attracting collectors who valued them as examples of Russian traditional art and culture.
Painting an icon was an important task which involved the work of several people. The 1st one is a carpenter. Usually linden or lime wood was used (less branches), but also other types of wood – pine, spruce and larch. First the panel was dried and then a carpenter smoothed the surface with an axe, after that a special rectangular depression was made, the 2nd step – inserting strait pieces of wood in the back of the panel to prevent it from the bending or to keep several pieces of wood together. Then the artist started by the glowing a piece of canvas on the face of the icon which was later covered with grounding. The ready grounding was thick like cream and applied on top of the fabric and polished carefully. Most icons are painted using egg tempera to which natural pigments were added. When paints were ready the artist started work and a good artist was someone deeply religious and before starting a new job they fast, abstain alcohol, went to banya and wear clean shirt. When a whole set of icon was commissioned by the church the artists worked in teams where the headmaster made draft drawings with a piece of coal and then assistants painted landscapes, clothes and hallows, after that the main master would paint the main parts of the icon – face, hands. Gold leaf was frequently used for background areas. Then the image was varnished over with lin-seed oil, this varnish protected the image from dust and moisture, but unfortunately this varnish would dark after 80 years - the image would become indistinguishable and the icon would like a dark piece of wood. And at that point a different artist would paint the image over and that is why paintings by famous Andrey Rublyov couldn’t be seen in the 20th century. When an icon became old or spoiled by conditions it was prohibited to throw it away, instead an icon would buried like a dead body or put into the river. Pre-Mongolian icons didn’t survived.
slat – шпонка
1st room:
The most ancient icon in the Russian Museum is Archangel with Golden Hair (12 century). The author’s name – unknown. The golden strikes symbolizing immortality, greatness … Byzantine/Hellenistic tradition. Such monumental art was typical for pre-Mongol period. The icon was probably intended for the Daces tires of the iconostasis.
Our Lady of Tenderness. There are 3 main types of depicting Virgin Mary – 1) Virgin Mary of Tenderness; 2) Virgin Mary Hodigitria (путеводительница); 3) Virgin Mary in prayer (молящаяся, Oranta). This type emerged in Byzantine in 11th cent as a variation of Hodigitria. Most icons of this type are half-length icons. The one in our collection if Belozersk the 1st half of the 13th century. Comes from the Transfiguration cathedral in the town of Belozersk. This type is the most ancient in Russia. The halos/nimbus of the Virgin and Christ Child merge into one, which symbolizes unity of church and Christ. Angels in the round medallions in the corner are depicting worshiping. Kings and prophets of the Old Testament are depicted on the frame. Red – spilled blood or royal origin. On Virgin – мафорий – большой 4х-угольный плат (традиционно тёмно-красного цвета), cap and tunic. Letters – Mother of God. Archangels St. Gabriel and St. and prophets.
Boris and Gleb. Mid 14th century, Moscow. Boris and Gleb were the first saints canonized by the Russian Orthodox Church. Both were sons of prince Vladimir of Kiev. Murdered by Svyatopolk (he was their brother, and after Vladimir’s death they began they were fighting for dynastic struggle) in 1015. Each has a cross in the hands which means martyrdom (мученичество). Fine example of Moscow school. It’s one of the earliest images of Boris and Gleb. Red color – spilled blood.
2nd room:
Miracle of the icon of Virgin Mary of the Sign/The Battle of Novgorodians and Suzdalians. Novgorodian school, early 14th century. The icon depicts a historic event when Suzdalians invaded the Novgorodian principality in 1170. In the top tier shows the high priests of Novgorod carrying the icon across the bridge (Volhov). Second tier shows Suzdalians shooting arrows at the defenders of Novgorod, and one of the arrow hit the icon. After the arrow hit the icon Virgin Mary began to cry which terrified Suzdalians, they started fighting each other. Novgorodians won very easily. The icon itself – существует на самом деле, она сейчас в Новгороде in St. Sophia’s cathedral. Depicted not only real people but also real historic events and this is a good example.
St. Nicolas the Miracle-Maker. Holy Hierarchs (святители) are members of the church whose Holy life and ministry assisted the church as the body of Christ. One of them – St. Nicolas. He usually depicted in Bishop’s attire which usually consisted of a mitre 
- a special head gear decorated with jewels (symbolizes терновый венец), sakkos (symbolizes багряница) and omophorion which an obligatory detail - без омофора епископ не может совершать никакой службы (it symbolizes the lost sheep which a kind priest is taking home).
Святые: Праотцы, Святители, Преподобные, Юродивые, Благоверные.
Hagiographic – житийная икона
3rd room – Andrey Rublev
In the Russian museum there are 2 icons by Rublev – the greatest medieval Russian painter. It’s very little known about his life. According to some researches he was born in Moscow principality or in Novgorod, in 1360s and died in 1430s. He died in Andronikov monastery in Moscow. The 1st mention of him was in 1405 when he painted icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theothany the Greek. Rublev’s name appears last on the list of masters as the junior by rank and age. Theothany is considered to have trained Rublev. Chronicles further tell us that in 1408 together with Daniil Cherny Rublev painted the Assumption Cathedral in Vladimir. It was built in the 12th century and was a modal for later constructions including the Assumption Cathedral in the Kremlin by Aristotel Fiorovanti. The Cathedral was originally built by Prince Bogolubsky in 1158-1160. It’s still standing. The Russian Museum has 2 icons from the Deesis tier – the images showing apostles Peter and Paul. The artists were aware of the distance from which the icons would be seen, that is why the images are void of details and clearly drawn.
Descending to Hell. One of important subjects depicted by medieval Russian artists was Resurrection. This episode was described in the Apocrypha by Nicodim. This type also emerged in Byzantine in 12th century and usually is a symmetrical composition with the Savior in the centre standing on broken gates of Hell. Christ is surrounded by mandorla (Greek word for glory), which symbolizes light which Christ brought into the darkness of Hell. And on the sides the artists usually depicted prophets and fore-fathers. On the late icons demons appeared.
Dionysius. Hodigitria. Dionysius was the head of the Moscow school of icon painters at the turn of the 15th – 16th centuries. His style of painting is sometimes called the Moscowite mannerism. He painted a series of icons for the Dormition Cathedral in the Kremlin. The figures on his icons are famously elongated. The hands and feet are small and faces serene and peaceful. The Russian museum has several icons by him including Conversion of Thomas, which was commissioned by one of Dionysius’s patron Joseph of Volokolamsk for Pavel Obnorsky monastery. D’s most famous work is in Feropontov Monastery.
Simon Ushakov – the last great Russian icon painter of the late 17th century. It’s known very little about his early years, but his birthday can be deduced from an inscription of one of the icons – 1626. He died in 1686. At the age of 22 he became a paid artist of the Silver Chamber of the Amory. The bright fresh colors and exquisite curving lines of his proto-baroque icons caught the eye of Patriarch Nicon who introduced Simon to Tsar Alexis Mihailovich. He became a great favorite with the royal family, had lots of pupils and even published a short manual on icon painting. Some of the more conservative Russian priests regarded his icons as works of devil for they were too westernized to their tastes. Archpriest Avacum said that Ushakov had painted his fleshy saints after his own portly appearance. Ushakov also executed secular commissions and produced engravings for book illustrations. In other words he was one of the 1st secular painters in Russia.
Уходим из отдела Древней Живописи.
Room with Nikitin.
One of the 1st artist that Peter sent to study abroad was Ivan Nikitin 1690-1741. He was born in Moscow to a family of Orthodox priest. He received his 1st artistic lessons from a Dutch artist at the engraving shop of the Armory. In 1716-1720 Ivan with his brother Roman were sent to Italy to study. The brothers learnt the art of painting in Florence and Venice and after returning to Russia Nikitin became the favorite court painter of Peter the Great of whom Peter was very proud. Nikitin painted Peter many times including his portrait on his death bed. At that time he was rather young (25 years old). His best work in the Russian Museum is the portrait of field Hetman in 1720s. After Peter’s death in 1725 Nikitin continued to work at the court until in 1732 he and his brothers were arrested for distribution of pamphlets against Pheophan Prokopovich, who was the vice procurator of Synod. Ivan was tortured for 5 years imprisoned in the PPF and whipped and exiled to Siberia. Anna Ioanovna signed the amnesty for the brothers in 1741 and the artist seemed to die on his way back from Tobolsk some time around 1740-1742.
Andrey Matveev 1701-1739. He studied in Holland and Flanders. Upon his returned was appointed a head of the painting department of the construction administration which designed interiors, numerous buildings in Spb and other cities and also educated young artists. His best known works are in the P&P Cathedral. He also painted the walls and ceilings in the Winter Palace and in the churches and cathedrals, most of them didn’t survived. His self-portrait with his wife displays the achievements of Russian portraiture of early 18th century. He painted the icons for the church of Simon&Anna.
His successor as the head of the painting department was Ivan Vishnyakov. His best works didn’t survived and his best existing painting – portrait of Sara Eleanor Fairmore who was the daughter of general Fairmore, an Englishman employed in Russia. It was painted in late 1740s. The girl is wearing heavy adult brocade dress but the artist managed to create a vivid and realistic image of a teenage girl trying to look and behave older. Vishnyakov studied under Louis Karavak. He painted the Winter Palace, the Anichkov palace, the Peterhof palace, etc and also portraits and icons.
Alexis Antropov 1716 – 1795. He was active primarily in Spb where he was born to a family of a soldier. Since the age of 16 he studied under Matveev and Vishnyakov and being part of the painting department he took part in frescoing the Summer Palace, the Winter Palace, the Anichkov palace and some other buildings in Spb. He studied portraiture under Pietro Rotari. He painted many good portraits including Portrait of Ataman Krasnoschyokov. Later got a job in Synod where he supervised icon-painting and decoration of churches. He also taught art and one of his apprentices was Dmitry Levitsky. Portrait of Peter III. In 1762 Peter III became a new emperor and Antropov became his favorite painter. During the 6 months of Peter’s rule Antropov painted at least 4 his portraits. One of his portraits is displayed here – thought it has all the traditional features of a formal portrait, it lacks idealization typical for state portraits. The artist sacrificed his only house to the department of education for organization of a free school. He is buried in the Tihvin cemetery of Alexander-Nevsky monastery.
Carlo Bartolommeo Rastrelli Sculpture of Anna Ioanovna (1741). This amazing sculpture has few rivals in the world. The artist managed to capture the very spirit of pomposity and despotism of the Empress Anna Ioanovna whose reign is often called the Age of Minions. The statue displays remarkable several years of hard work of chaises. She was the daughter of Peter’s brother Ivan V and the wife of Duke of Kurland who ruled Russia from 1730 to 1740.
Second half of the 18th century. Fyodor Rokotov. Romanticism. He specialized in portraits. He was born in the family of serfs. He started in Spb Academy of Arts and at the age of 25 became the professor of the Academy. After a brilliant start of his career he moved to Moscow and there he started painting portraits. Most of his portraits are of small size and reflect the desire of enlighten nobility to be portrayed as intellectuals. Portrait of Countess Elisabeth Santi (1785). She was a daughter brigadier Vasily Mahnov. The artist usually focused on the faces of his models who often smile faintly looking directly at the viewer mysteriously.
Anton Losenko. He is Ukrainian neo-classical painter who early lost his parents and at the age of 7 was sent to a court choir in Spb. At the age of 16 he lost his voice and was sent to apprenticeship to the artist Argunov. After he continued to study in the Academy of Arts and upon graduation was sent to France and Italy. Returning in 1769 he became a professor and later a director of the Academy of Arts. His biblical paintings were admired by the public and served as examples for young artists. His classical painting “Vladimir and Rohnida” won him the title of academician and professorship. The episode is taken from the history of Russia by Lomonosov …. Upon ascension to the throne in Novgorod Prince Vladimir sent an embassy to Polotsk to Prince Rohvold requesting the hand of his daughter Rohnida but she refused him. Angry Vladimir attacked the city with his army, killed Rohvold and his 2 sons and forced Rohnida to marry him. The artist depicted the 1st meeting of Vladimir and Rohnida where Vladimir is trying to please Rohnida and win her heart. Though information about 10th century costume dress was very scarce the artist did his best. Certain features such as Rohnida’s dress, Vladimir’s high boots and shirt, maid’s dress and the soldiers actually resemble the style of old Russia.
написать вводный текст об иконах!!!
Dmitry Levitsky. A Russian-Ukrainian portrait painter. 1735-1822. The artist was born in Kiev in a family of clergyman and engraver Gregory Levitsky who became his 1st art-teacher. Later he became a pupil of Antropov. The artist became popular after displaying 6 portraits. The best one of which was a portrait of architect Alexander Kokorinov for which Levitsky was awarded academician title. The architect???spended??? in his study a draft of the Academy of fine arts spread on his desk. Between 1772-1776 the artist painted a series of portraits of students of Smolny Institute of fine ladies. He depicted each girl doing something she was particularly good at. For example, Ekaterina Nelidova is dancing, Hrushyova and Havanskaya are acting in the performance, Molchanova is demonstrating physical experiments, and Olymova is playing music. The artist was very successful portraying charming youthful subjects. Рассказать что-нибудь про Смольный институт. State portrait of Catherine II as legislator (1783). This portrait the artist painted in his mature period and it represents idealistic dream of educated nobility of an enlightened monarch who not only issues laws but also follows these laws along with the ordinary citizens. The artist painted a great number of various portraits skillfully portraying complicated inner world of his subjects. He seldom flattered his subjects which we can see very well in the portrait of Lonskoy, favorite of Catherine II, who looks vein and arrogant (1782).
Fedot Shubin (1740 – 1805). The Russian museum has a large number of sculptural portraits. He was born in Holmogory and started his career as carver. In 1759 he arrived to Spb and was soon enrolled in the Academy of Arts which he graduated with honors and was awarded a study trip to Paris and Rome. The artist managed to convey complexity of personality of his subjects. Good example of that – Bust of Paul I (1800). The portrait is very true to life and the negative features combine with generosity of the Emperor’s nature. If to go round the bust the facial expression changes. His key work on display is a portrait of Catherine II (1789). We can see that the artist was very fond of details.
White Column Room. One of the few surviving interiors of the palace. It was designed by Rossi in 1825. In Empire/Neo-classical style. Beautiful marquetry floor of mahogany and birch end ebony. The furniture and the decoration of the ceiling were also designed by Rossi. The walls are faced with artificial marble (high quality plaster polished by hands). Antonio Viggi painted some scenes on the walls - episodes from Илиада. New fashion in interior design – the room is divided into some parts by the columns. In this room the guests were entertained and some music parties took place.
Vladimir Borovikovsky. He is the 3rd Great Russian portrait painter of 18th century. 1727 – 1825. He was born in Mirgorod and started under his father who was an amateur icon painter. According to the family tradition all 4 sons were enrolled in the Mirgorod Cossack regiment, from which Vladimir was retired early to the rang of poruchik and devoted his life to art mostly paining icons and local churches. He may have remained amateur painter in the provincial town if not for an unexpected event. His friend was preparing accommodation for Catherine II in Kremenchug which she was intending to visit on her trip to newly conquered Crimea. Borovikovsky was asked to paint 2 allegoric paintings “Peter I and Catherine II sowing seeds” and “Catherine II as Minerva” for her rooms. The paintings were so pleased the empress that she requested that the painter move to Spb. After 1788 Borovikovsky lived in Spb where he changed his Cossack surname Borovik to the more aristocratic sounding Borovikovsky. He was too old to attend the Academy of Arts so he took private lessons from Dmitry Levitsky and later from Austrian painter Lampi. He became a popular portrait painter and created around 500 paintings during his lifetime. He had his own studio where he often relied on his assistants to paint less important parts of a portrait. His sitters included: members of the royal family, courtiers, generals, artists, etc. Most of his paintings are intimate in style. Portrait of Catherine Arseneva (1790s). The young girl looks merry and charming and her simple dress and straw hat speak of aristocracy interest in simple rural life. The museum has more than 30 works, other prominent works – Portrait of Catherine II (1794). The Empress is depicted during a walk with her dog in the park in Tsarskoe Selo. The artist was very fond of painting women whom he usually painted more beautiful. He also painted family portraits in which he showed affection of family members. The artist never taught at the Academy but preferred teaching students in his home. And among his students was Alexis Venetsianov. In 1819 the artist became a free Masson and at that time he painted only icons including some icons for the Kazan Cathedral. The artist died suddenly of a heart attack and was buried in the Alexander Nevsky monastery.
Alexis Venetsianov (1780 – 1847). He’s a Russian painter is known for his paintings devoted to peasant life and ordinary people. He was born to a merchant family on Moscow. He entered state service (he was a surveyor землемер). In 1802 he moved to Spb where he started painting lessons from Borovikovsky. He tried as a freelance portraitist but had few customers. In 1820s he quit portraiture for the sake of genre painting. He bought the house in the village of Safonkovo in the Tver region and settled there. There he painted portraits of peasants and scenes of rural life. From that period we have his painting “The thrashing floor/Гумно”. The painting was a great success and the artist presented it to Alexander I. Since the end of 1810s the artist started attracting young people of common origin and even serfs and taught them painting. In mid 1820s he established the 1st private art school in Russia. Nicolas I liked to stimulate the national trends and expressed his approval to the artist and appointed him a court painter which provided the means for running the school where tuition was free or almost free. He died in an accident in 1847 when his horses dashed of and his carriage fell down a steep slope. His painted usually simple subjects and he was interested not in unusual or dramatic episodes but in the people themselves. The artist attempted to convey moral purity and sound spirituality of Russian peasants. He was also a master of conveying Russian landscapes. His teaching methods were dramatically different from the methods adopted by the Academy. He never asked his students to copy works of other artists. Instead his students painted still-lives, interiors (including halls of the Winter Palace) and painted on the open air. While the artist himself painted mostly peasants his students painted city dwellers, soldiers, etc. He and his students depicted people in their natural environment.
Go back to the high-lighted rooms
Carl Bryulov (1799 – 1852). He was the key figure in transition from Russian neo-classicism to romanticism. His friends called him ‘the Great Carl’. The future artist was born in Spb in a family of academician, wood carver and engraver. Upon graduating Imperial Academy of Arts he left for Rome in 1822 where he worked until 1835 as a portraitist and a genre painter, though his fame as an artist came when he displayed his best-known work “The Last day of Pompeii” (1830 – 1833). Pushkin and Gogol compared this vast composition to the best works of Rubens and Van Dyck. It created the sensation in Italy and established Bryulov as one of the finest European painters of his day. In this painting he depicted the eruption of Vesuvius in 79 AD when the cities Pompeii and Herculaneum were damaged. In 1834 the painting was displayed at the Louvre, in 1834 in the Hermitage and the artist was awarded the order of St. Ann and the point of the professor of the Academy of Arts. It was the 1st painting in history of Russian art when people were portraying in the time of disaster. Bryulov tried to depict generosity of human soul where loving parents try to save their children, sons carry elderly father, young artist forgot himself and was fascinated by the beauty of nature. Originally the artist was going to paint a marauder whose snatching jewelry from a lying woman, yet eventually the artist dropped this idea instead painted several families each of which is a manifestation of love and devotion. He also impressed contemporaries by a bold combination of colors – hot red in the background and cold green in the foreground. He also managed to paint human bodies with extreme clarity so that they reach/achieve sculptural monumentality. After such great success the artist decided to paint a heroic episode from Russian history. For some time he was searching for appropriate subject and eventually he chose 2 – The Siege of Pskov (1839 – 1843) and Conquest of Kazan. The artist started working on his new ambitious project with enthusiasm but eventually became disappointed and never managed to repeat his own triumph. While the artist was working with the plafond in the Isaac’s Cathedral he fell ill and left from Russia for Italy (1849) and 3 years later died in a small village in Rome. He’s buried there. “Italian Midday” – commissioned by Nicolas I. “Portrait of Countess Julia Samoilova” with whom the artist had the relationship so close that they were going to get marry (according to some rumors) but it never happened.
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