Martos Ivan Petrovich biography. Ivan Petrovich Martos

Martos Ivan Petrovich(1754-1835), Russian sculptor and artist. Born in Ichna (now Chernihiv region, Ukraine) in 1754 in a Cossack family. He studied at the St. Petersburg Academy of Arts (1764-1773). As a "pensioner" of the Academy, he visited Rome (1774-1779), where he copied works of ancient plastic art. Returning to Russia, he lived in St. Petersburg. His creative maturity is evidenced by the tombstones, which are rightfully considered to be perhaps the best examples of Russian memorial art of modern times. Varying compositions (in various combinations of allegories and emblems of sadness and death, or allegories and portraits), Martos created images in this genre that expressed a feeling of light elegiac sadness. Such are the tombstones (mostly marble) of S.S. Volkonskaya (1782, Tretyakov Gallery), M.P. Sobakina (1782, Donskoy Monastery, Moscow), P.A. Bruce (1786-1790, ibid.), N.I. Panin (1788), E. S. Kurakina (1792), E. I. Gagarina (bronze, 1803, all in the Museum of City Sculpture, St. Petersburg), Paul I (1807, Pavlovsk). The master also performed, mainly in the 1800s, a lot of monumental and decorative works (plastic decoration of the “Green Dining Room” of the Catherine Palace in Tsarskoye Selo, the Throne Hall of the Pavlovsk Palace, etc.; special mention should be made of the relief of Moses flowing water in the desert on the attic of the Kazan Cathedral (limestone, 1804-1807), as well as a number of garden sculptures (Monument to parents in Pavlovsky Park, marble, after 1798; statue of Actaeon for the fountains of Peterhof, gilded bronze, 1801).

The most famous city monument of Martos is the famous monument to K. Minin and D. Pozharsky on Red Square in Moscow (1804-1818). The monumental poetics of civil prowess is expressed here by the powerful language of gestures and postures of the two main characters; more modest scale reliefs on the pedestal (on the front relief among the Nizhny Novgorod people bringing gifts to the altar of the fatherland, the artist also depicted himself with his two sons) emotionally complement the main theme. In terms of composition and plot, the monument is linked with its historical environment (originally it stood opposite the Kremlin wall). If the tombstones of Martos are pre-romantic in their own way, then here classicism appears in crystal clear form. Of his later works, the most significant monument to the governor E. Richelieu in Odessa (1823-1828) - spectacularly placed over the descent to the sea, and the monument to M.V. Lomonosov in Arkhangelsk (1826-1829, installed in 1832; all three works - bronze, granite). Martos also made a great contribution to art as a teacher, being a professor (since 1794) and rector (since 1814) of the Academy of Arts.

Kovalenskaya N. Martos. M. - L., 1938
Hoffman I.N. I.P. Martos. L., 1970
2001-2009 Online encyclopedia "Circumnavigation".

) - Russian sculptor, representative of classicism. The son of a small Ukrainian nobleman Ivan Martos studied at the St. Petersburg Academy of Arts in 1764-1773 under N.F. Gillet, A.P. Losenko, and in 1773-1779 he trained at the Academy of Arts in Rome. In 1779, upon returning to St. Petersburg, he began teaching, in 1782 he received the title of academician, in 1814 he became the rector of sculpture at the St. Petersburg Academy of Arts. In 1780-1800 I.P. Martos made tomb sculptures, turning this craft into an art. The memorial sculpture of Martos is represented by masterpieces of compositionally complex sculptural tombstones by S.S. Volkonskaya (Tretyakov Gallery), M.P. Sobakina (1782), E.S. Kurakina (1792), E.I. Gagarina (1803). Early tombstones are marked by lyricism, later ones - by monumentality and pathos. The sculptor made a number of portraits: busts of N.I. Panin in antique style (1780) and A.V. Panina (1782; both in marble, Tretyakov Gallery).

On the project of the monument to K. Minin and D. Pozharsky, who brought fame to the sculptor, Martos began working as early as 1804, from the moment the idea of ​​such a monument was voiced in the Free Society of Lovers of Literature, Sciences and Arts. In the first sketches, the figures turned out to be somewhat overly pathetic and theatrical. In subsequent sketches, the importance of Minin, his decisive activity, is emphasized. Martos' project won a competition announced in 1808, in which well-known sculptors also took part: F. F. Shchedrin, I. P. Prokofiev, V. I. Demut-Malinovsky, S. S. Pimenov. The monument was built to raise funds by public subscription. Work on it coincided with the Patriotic War of 1812, a patriotic upsurge in the country, and the growth of national consciousness. Bronze figures are sustained in the tone of civil pathos, severe solemnity. The role of the townspeople is reflected in bronze reliefs on a granite pedestal. The finished monument was transported for installation by water from St. Petersburg to Moscow in 1818.
The sculptor, contrary to the will of Alexander I, insisted on the place he had chosen - in the center of Red Square, turned to the Kremlin wall, closer to the classic building of the Trade Rows, so that the sculpture looked like a clear silhouette against the background of its main portico; Minin's gesture is directed towards the Kremlin. Later, the monument was moved to St. Basil's Cathedral. For its creation, Martos received the title of a real state councilor and an annual pension. Major works of Martos are the monument to Paul I (1807) in Pavlovsk, E. Richelieu in Odessa (bronze, granite, 1823-1828), the monument to Alexander I in Taganrog (bronze, granite, 1828-1831), Lomonosov in Arkhangelsk (1826-1829 ). Martos is known as a major master of monumental and decorative sculpture: the statue "Akteon" for the large cascade of Peterhof, gilded bronze, 1801; relief "Moses exudes water from a stone" on the attic of the Kazan Cathedral in St. Petersburg (1804-1807, limestone), a bronze statue of John the Baptist adorning the portico of the Kazan Cathedral, as well as the figures of the four evangelists.

Ivan Petrovich Martos

MARTOS Ivan Petrovich (1754-1835) - sculptor. Descended from small estate nobles. representative of classicism. He became famous as a master of tombstones. Among the monuments he created: K. Minin and D. Pozharsky in Moscow (1818), M. V. Lomonosov in Arkhangelsk, E. Richelieu in Odessa, Alexander I in Taganrog, etc.

Orlov A.S., Georgiev N.G., Georgiev V.A. Historical dictionary. 2nd ed. M., 2012, p. 301-302.

Martos Ivan Petrovich (1754-04/05/1835), sculptor, one of the most significant representatives of Russian classicism in art. Descended from small landed Little Russian nobles. Studied at Petersburg Academy of Arts(1764-73), boarder (scholarship) of the Academy in Rome (1773-79).

In n. In the 1780s, Martos created a series of sculptural portraits (of which the most famous are N. I. Panina (1780) and A. V. Panina (1782). In the last decades of the 18th century, Martos was mainly occupied with tomb sculpture, which at that time acquired He began with marble reliefs, moving on to sculptural compositions, conveying in them an intimate world of experiences and sorrow, but at the same time a feeling of enlightenment, acceptance of death as a necessary completion of life's journey.Such are the wonderful tombstones of S. S. Volkonskaya and M. P. Sobakina (1782).In the gravestone of Gagarina, Martos embodied the idea of ​​strict perfection, sublime heroic beauty.By this time, the formation of strict monumentalism in the work of Martos was completed.

The further development of the sculptor was already in the creation of monumental genres, monuments and bas-reliefs. The central place in this genre belongs to the monument Minin And Pozharsky in Moscow (1804-1818). Martos achieves high purity of style and harmony in the creation of monuments by E. Richelieu in Odessa (1823-28), Alexander I in Taganrog (1831) and in a bas-relief on the eastern attic Kazan Cathedral In Petersburg“Moses cutting the water in the desert”, the creation of the Acteon fountain in Peterhof.

Martos taught at the St. Petersburg Academy of Arts (1779-35, from 1814 - its rector). He had a great influence on the work of many Russian sculptors of the 1st third of the 19th century.

L. N. Vdovina

Ivan Petrovich Martos (1752-1835). Ivan Petrovich Martos was born in 1752 in Ukraine in the town of Ichne, Chernigov province. At the age of twelve, he was sent to the Academy of Arts, where for eight years he studied "sculptural art" with N. Gillet and drawing with A. Losenko.

After graduating from the Academy with a gold medal, he goes to Rome to continue his education. Here, the young artist carefully studies ancient art, paying particular attention to ancient sculpture and architectural monuments.

Upon returning to St. Petersburg, Martos becomes a teacher at the Academy, successfully moving up the career ladder: he receives the title of academician, then professor, and later is appointed rector.

Already the first works of the young sculptor testified to artistic maturity. Among the early works is a marble bust of N.I. Panin (1780, State Tretyakov Gallery). Striving for significance and majesty in the transfer of the image, Martos depicted Panin in antique clothes, successfully using the frontal setting of the figure.

In the same years, Martos began to work in tomb sculpture - a completely new field of Russian fine art. It was here that he achieved the greatest success. The tombstones created by Martos in 1782 - S. S. Volkonskaya (TG) and M. P. Sobakina (Museum of Architecture of the Academy of Construction and Architecture of the USSR) - are truly masterpieces of Russian sculpture. In the tombstone of M. P. Sobakina, the master achieves the musicality of the line, the beauty of the rhythms, the expressiveness of the compositional solution. Placed at the base of the pyramid, the figures of the mourner and the genius of death are filled with sincere sadness. Despite the complex setting of the figures, the abundance of draperies, the composition is perceived as integral and harmonious.

The tombstone of S. S. Volkonskaya depicts a lonely figure of a mourner, permeated with restrained and courageous grief. The laconicism and clarity of the figurative solution, the low relief of the figure, closely connected with the plane of the tombstone, as well as the fine processing of marble make this monument one of the most perfect works of Russian plastic art. The success was so great that Martos began to receive numerous orders. This is how tombstones were created: N. A. Bruce (1786-1790, Museum of Architecture of the Academy of Construction and Architecture of the USSR), N. I. Panin (1790), E. S. Kurakina (1792), A. F. Turchaninov (1796) , A. I. Lazarev (1803), E. I. Gagarina (1803; all in the Leningrad Museum of Urban Sculpture). The tombstones are different in compositional structure, the nature of execution: early tombstones are distinguished by intimacy, lyricism, later ones - monumentality, sometimes pathos.

An outstanding place among the later works of the sculptor belongs to the tombstone of E. Kurakina. Lying on the sarcophagus, the mourner seemed to fall asleep in tears, resting her head on her crossed arms. The complex angle, the tense restless rhythm of the heavy folds of clothing reinforce the impression of tragedy. The sincerity of suffering, the depth and humanity of experiences conquer in this statue. At the same time, the image of the mourner is distinguished by majestic strength, internal energy. In this work, Martos rose to the heights of genuine monumentality. The sculptor, according to one of his contemporaries, could make marble "weep". Martos' skill and enormous creative activity put him among the greatest artists of his time. Almost no significant order for sculptural work is complete without his participation. He created decorative moldings for the palaces in Tsarskoye Selo (Pushkin) and Pavlovsk, he made a statue of Actaeon for the Great Cascade of Peterhof.

At the beginning of the 19th century, the construction of the Kazan Cathedral began in St. Petersburg, and Martos also took part in decorating it. He owns a bas-relief on the theme of the biblical legend about the long-term wanderings of the Jewish people “The outflow of water by Moses in the desert” (on the attic of the eastern wing of the colonnade of the cathedral) and the statue of John the Baptist, installed in the niche of the portico. The bas-relief clearly showed Martos' understanding of the connection between decorative relief and architecture. The long length of the composition required skill in building figures. The sculptor successfully coped with the difficult task of conveying various human feelings and the state of mind of thirsty people. This relief is distinguished by the clear arrangement of groups, a strictly thought-out and at the same time complex rhythm.

Martos achieved the greatest fame and fame when creating a monument to Minin and Pozharsky in Moscow. Work on it coincided with the Patriotic War of 1812, a patriotic upsurge in the country, and the growth of national consciousness. The idea of ​​the need to erect a monument to two outstanding heroes of Russian history originated much earlier. In 1803, one of the active members of the Free Society of Lovers of Literature, Sciences and Arts, the most progressive educational organization of that time, Vasily Popugaev proposed to hold a nationwide subscription and use the money raised to erect a monument to the “Russian plebeian” Minin and Prince Pozharsky. Martos set to work enthusiastically. “Which of the famous heroes of antiquity,” he wrote, “surpassed the courage and exploits of Minin and Pozharsky?” According to I. Martos, expressed already in the first sketches, Minin and Pozharsky represented a single group, united by a commonality of feelings, a patriotic impulse. True, their standing figures in fluttering cloaks, with somewhat pathetic gestures, were still theatrical and unnecessarily showy. In subsequent sketches, the importance of Minin, his activity and strong-willed composure are emphasized. “Here he was the first active force,” wrote S. Bobrovsky, one of the members of the Free Society of Lovers of Literature, Sciences and Arts, about Minin.

In 1808, the government announced a competition in which, in addition to Martos, the sculptors Shchedrin, Prokofiev, Demut-Malinovsky, Pimenov participated. The first place was won by the project of Martos. Compared to the sketches, where traces of melodrama remained in the images of the heroes, and the composition lacked composure, the monument captivates with severe solemnity. Martos's group is distinguished by exceptional integrity, the figures in it are united not only emotionally, but also closely related compositionally. Minin immediately captures the viewer's attention with purposefulness and impulse. His image is full of great inner strength, activity and at the same time restraint. This is achieved by powerful sculpting of the figure. A wide free gesture of the right hand pointing to the Kremlin, a clearly expressed vertical body confirm the dominant position of Minin in the composition. Pozharsky is also full of determination and readiness for a feat. Taking the sword from Minin's hands, he seems to rise from his bed, ready to follow him. Pozharsky's face is inspired. It keeps traces of recently experienced suffering and at the same time it is courageous and courageous. In the guise of heroes, Martos emphasizes typically Russian national features, successfully combining elements of antique and Russian attire in their costumes. “Russian clothes,” contemporaries wrote, “were almost the same, and at the same time, what we now call Russian; they were somewhat similar to Greek and Roman ... in a word, they were almost the same as depicted in this monument.

Initially, the monument was erected near the Trading Rows, against the Kremlin wall. The opening took place in 1818 and was a great and important artistic event. “During this solemn ceremony,” the Moskovskie Vedomosti newspaper wrote about the opening of the monument, “the crowd of residents was incredible: all the shops, the roofs of Gostiny Dvor ... and the very towers of the Kremlin were strewn with people eager to enjoy this new and unusual spectacle.”

The artist managed to embody in his work the thoughts and feelings that worried the general public of Russia. The images of the heroes of Russian history, marked by great civic pathos, were perceived as modern. Their exploits were reminiscent of the recent events of the Patriotic War.

In the same years, Martos also performed a number of other works, the most diverse in purpose. So, in 1812 he created a statue of Catherine II, in 1813 - sketches of the figures of the four evangelists for the Kazan Cathedral and many others. The creative activity of Martos is manifested in subsequent years. Along with teaching at the Academy of Arts, in the 1920s he performed several major monumental works: a monument to Paul I in Georgia, Alexander I in Taganrog (1828-1831), Richelieu in Odessa (1823-1828), Lomonosov in Arkhangelsk (1826 -1829). From the documents it is known that Martos also worked on the creation of a monument to Dmitry Donskoy, which, unfortunately, he failed to implement.

The performance of the artist was amazing. “I cannot be idle,” he wrote. All contemporaries who knew Martos noted his industriousness, disinterestedness and the greatest modesty. In a report to the Minister of Public Education, President of the Academy Olenin wrote about the artist: “In his modesty, Martos never burdened the government with requests for himself and has the same content from the treasury that some of his students use.”

Martos lived a long, labor-filled life, entirely devoted to the service of art. He died in 1835.

Materials from the book: Dmitrienko A.F., Kuznetsova E.V., Petrova O.F., Fedorova N.A. 50 short biographies of masters of Russian art. Leningrad, 1971, p. 59-63.

Read further:

Martos Alexei Ivanovich (1790-1842), real state councilor, son of Ivan Petrovich.

(1754-1835) Russian sculptor

In Moscow, St. Petersburg, Odessa and other cities, there are still monuments that Ivan Petrovich Martos created more than a century and a half ago. They are familiar to everyone, but few people remember the name of the author of the monument to Minin and Pozharsky in Moscow or the majestic monument to the Duke of Richelieu in Odessa. Meanwhile, IP Martos owns not only these, but also other wonderful creations that are the pride of Russian culture.

Ivan Petrovich Martos was born in Ukraine, in the town of Ichnya, Chernigov province, in the family of an impoverished landowner, cornet Peter Martos. Noticing the artistic inclinations of his son, his father assigned him to the St. Petersburg Academy of Arts when the boy was ten years old. Martos first studied in the class of ornamental sculpture, where Louis Rolland was his mentor, and then moved on to Nicolas Gillet, a wonderful teacher who trained many outstanding Russian sculptors.

Martos graduated from the Academy at the age of nineteen and, as a reward for brilliant success, was sent to continue his studies in Rome. Five years spent in this ancient city played a huge role in shaping the creative personality of the sculptor. Martos studied in the classes of the Roman Academy, drew a lot, using the advice of the famous artist, theorist of classical painting Raphael Mengs. But even more he was fascinated by sculpture, and Martos began to study the technique of cutting marble under the guidance of the Italian sculptor Carlo Albacini, who was a specialist in the restoration of ancient sculpture. Since then, the antique spirit has appeared in the work of Martos, which is noticeable in all his works.

He did not limit himself only to the fact that he adopted from the ancient masters external techniques, plots and methods of processing material. The artist was imbued with the very essence of ancient plastic arts, a sense of the harmony of the world, which at one time gave rise to the perfect forms of ancient sculpture. On this basis, Martos began to form his own style, which was dominated by civic pathos and sublime heroism.

His work developed at the turn of the 18th and 19th centuries. This period is called the golden age in the history of Russian sculpture. It was then that the grandiose architectural and sculptural ensembles of the Admiralty, Kazan and St. Isaac's Cathedrals were created, Peterhof fountains, Pavlovsk and Tsarskoye Selo palaces were decorated with sculpture, many monuments appeared on the squares of all major cities of Russia.

During these years, special development was given to memorial plastic, figured tombstones. Russian cemeteries are becoming real museums of sculpture. Many tombstones of those years were works of art. The sculptors reflected in them the worldview characteristic of that time, full of harmony, when death was perceived not as a ruthless fate or tragedy, but as a completely natural transition to another world. Therefore, it was not supposed to cause fear or horror, but only quite natural sadness.

Tombstones were made by many famous sculptors, but even among them Martos knew no equal. This type of sculpture became the main field of his activity for many years. With rare exceptions, he worked on tombstones for twenty years of his creative life.

His earliest works appeared in 1782, when the sculptor created two wonderful tombstones - S. S. Volkonskaya and M. P. Sobakina. Their shape is reminiscent of antique tombstones - marble slabs with bas-reliefs. Experts call these creations true pearls of Russian memorial sculpture of the 18th century.

These early works brought fame and recognition to the young sculptor. He began to receive many orders, and in 1801 the sculptor was commissioned to make the tombstone of Emperor Paul I.

In addition to tomb sculptures, Martos also performed other works that soon supplanted everything else. One of his most famous works was the monument to Minin and Pozharsky in Moscow.

The history of its creation fully reflected the mood of Russian society at that time, when in Russia there was an interest in the events of the national past, the heroic history of the Russian state.

In 1803, one of the members of the St. Petersburg Free Society of Lovers of Literature, Sciences and Arts offered to organize a collection of donations for this monument. This idea began to be embodied only in 1808, and at the same time a competition was announced for the best design of the monument. In addition to Martos, other famous sculptors took part in it - Demut-Malinovsky, Pimenov, Prokofiev, Shchedrin. Martos won the competition, and his project was "rewarded with the highest approval."

But work on the monument did not begin for a long time due to lack of money. The solution to this issue was accelerated by the Patriotic War of 1812, when the need arose "to save the Fatherland again, just as Minin and Pozharsky saved Russia exactly two hundred years ago." And Martos finally begins work on the monument.

He decided to reflect in it the moment when Minin appeals to the wounded Prince Pozharsky with an appeal to lead the Russian army and expel the Poles from Moscow. The sculptural composition is made in the antique spirit, but at the same time, national originality is felt in it. Minin's head looks like the majestic head of Zeus, dressed in an antique tunic that looks like a Russian embroidered shirt. The Savior is depicted on Pozharsky's shield. But these details are not the most important. Martos was able to reveal in his heroes the Russian national character, their courage and determination to defend their homeland at any cost.

The bas-reliefs placed on the pedestal of the monument depict the collection of donations. Among the citizens of Nizhny Novgorod, who donate whatever they can to save the Fatherland, there is also the figure of the sculptor himself. He portrayed himself in the guise of a Roman patrician, who pushes forward his sons, giving away the most precious thing he has. The face of Martos was performed by his student S. Galberg and retained in him a portrait resemblance to his teacher.

The opening of the monument took place on February 20, 1818 and turned into a real celebration. The monument to Minin and Pozharsky was the first monument in Moscow, which was erected not in honor of the sovereign, but in honor of the people's heroes.

In the same years, Martos also worked a lot in the field of monumental and decorative plastics. He owns the mighty caryatids of the Throne Hall in Pavlovsk, the fine modeling of Cameron's "Green Dining Room" in the Grand Palace in Pushkin, individual figures of Peterhof fountains, and more. Particularly interesting are the works of Martos for the Kazan Cathedral, which was built from 1801 to 1811. Martos made for the cathedral the figure of John the Baptist, which stands in the niche of the central portico, small bas-reliefs above the windows and a frieze above the eastern portico of the main colonnade.

One of the bas-reliefs - “Moses flowing water in the desert” - is a scene in which thirsty people rush to Moses from all sides. Among them are old people, young men, children, adult men and women, whose faces are full of suffering. They all behave differently: some impatiently demand water, others ask, others are already drinking greedily. Each figure differs from the rest in some expressive details in movements, postures, gestures. The composition consists of twelve separate scenes, and yet they are a single whole.

During this period, the sculptor created many more beautiful works, but he also had some that, obviously, did not touch his heart. These are spectacular, but cold and lifeless monuments to Alexander I in Taganrog and to Prince Potemkin-Tauride in Kherson. His monument to Lomonosov in Arkhangelsk cannot be called successful either, although the aging master worked hard on it.

However, Martos in his late period of creativity also has simply wonderful works, such as, for example, the monument to Richelieu in Odessa, made in bronze, on which the sculptor worked from 1823 to 1828. This monument was ordered to him by the city authorities in order to "honor the merits of the former head of the Novorossiysk Territory." The French emigrant Duke Richelieu, who was imbued with the Russian spirit, had the right to such a grateful memory. During his reign, Odessa became one of the most beautiful cities on the Black Sea coast and one of the busiest seaports. Therefore, Martos depicts Richelieu as a wise ruler. His figure, like a Roman in a long toga and a laurel wreath, radiates calm dignity. Richelieu's hand is directed towards the port stretched out in front of him. On the pedestal, the sculptor depicted the allegorical figures of Justice, Trade and Agriculture.

Ivan Petrovich Martos lived a long and quiet life. A professor at the Academy of Arts, he was surrounded by fame and recognition, he brought up many students who, in their work, developed the artistic ideas of their teacher in the following decades. Ivan Petrovich Martos died in 1835 at a ripe old age.

(1835-04-17 )

Ivan Petrovich Martos(1754-1835) - Russian monumental sculptor, academician of the Imperial Academy of Arts.

Biography

The grave of Martos at the Lazarevsky cemetery of the Alexander Nevsky Lavra in St. Petersburg

Ivan Martos was born in 1754 in the town of Ichnya, Poltava province (now the Chernihiv region of Ukraine) in the family of a small estate nobleman.

Martos died in Petersburg. He was buried at the Smolensk Orthodox Cemetery. In the 1930s, the burial was moved to the Lazarevskoye Cemetery.

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Artworks

• a bronze statue of John the Baptist adorning the portico of the Kazan Cathedral in St. Petersburg .;
• a bas-relief "Moses spouts water from a stone", above one of the passages in the colonnade of this temple;
• a monument to Grand Duchess Alexandra Pavlovna, in the palace park of Pavlovsk;
• a sculpture in the pavilion "To Dear Parents" in Pavlovsky Park;
• monument to Minin and Pozharsky on Red Square in Moscow (1804-1818);
• a marble statue of Catherine II, in the hall of the Moscow noble assembly;
• a bust of Emperor Alexander I, sculpted for the St. Petersburg stock exchange;
• a monument to Alexander I in Taganrog;
• a monument to the Duke de Richelieu in Odessa (1823-1828);
• a monument to Prince Potemkin in Kherson;
• a monument to Lomonosov in Kholmogory;
• gravestone of Praskovya Bruce;
• tombstone of Turchaninov;
• monument to Prince Gagarina, in the Alexander Nevsky Lavra;
• a monument to Privy Councilor Karneeva (Lashkareva) Elena Sergeevna, in the Alexander Nevsky Lavra;
• "Acteon";
• Monument to Lomonosov in Arkhangelsk in front of the ASTU building;
• tombstone of S. S. Volkonskaya (1782)
• tombstone of M. P. Sobakina (1782)
• tombstone of E. S. Kurakina (1792)
• tombstone of K. G. Razumovsky in the Resurrection Church of Baturin
• tombstone of N. I. Panin (1788)

Tombstone of M. P. Sobakina (1782)



Gravestone of S. S. Volkonskaya (1782)

Family

Martos has been married twice. First time on a very beautiful noblewoman Matryona Lvovna, whose last name is unknown. She died on January 6, 1807 from consumption at the age of 43. The widower turned out to be a caring father, he managed to raise and educate children.

Ivan Petrovich had a kind, sincere heart, he was a hospitable person and a great benefactor. In his spacious professorial apartment, many poor relatives whom he supported constantly lived. His sincere beneficence is evidenced by the fact that even when he became a widow, his wife's relatives continued to live in his apartment. Among them was the niece of the late wife, the poorest orphan noblewoman Avdotya Afanasievna Spiridonova, sweet and kind girl. Somehow Martos witnessed when one of his daughters treated her much older Avdotya incorrectly and slapped her. The unjustly offended orphan, with bitter sobs, began to put her things into a trunk woven from twigs in order to get away from the Martos forever and get a job somewhere as a governess. Ivan Petrovich began to sincerely persuade the girl to stay. And so that she no longer considered herself a freeloader, the noble owner offered her a hand and a heart. So unexpectedly for all relatives and even for himself, already in years, Martos married a second time. Immediately after the wedding, he sternly warned his children to respect Avdotya Afanasyevna like their own mother. It should be noted that his children and stepmother constantly lived in mutual respect. Martos really wanted his daughters to marry artists or people of related professions.

Children from first marriage:

From second marriage:

• Ekaterina Ivanovna(1815 - 18 ..), married to the architect, professor of the Academy of Arts Vasily Alekseevich Glinka. Glinka died of cholera. Martos arranged a magnificent funeral, buried him at the Smolensk cemetery and erected a rich monument on the grave. Soon, the sculptor and foundry master Baron Peter Klodt von Jurinsburg wooed the wealthy widow. Martos was not opposed to Klodt marrying Catherine, but Avdotya Afanasievna did not like the groom, and she persuaded her daughter to refuse Klodt. Avdotya Afanasievna invited Klodt to marry her niece Ulyana Spiridonova(1815-1859), which soon happened.
• Alexander Ivanovich (1817-1819)