Borovikovsky and his famous painting. IN

Coming from a poor Cossack family, Borovikovsky Vladimir Lukich(1757-1825) was born in Ukraine. Both his brothers and father were engaged in religious painting - they painted icons for local churches. Vladimir's considerable talent was already noticeable then, and in addition to icons, Vladimir himself was also popular as a talented portrait painter.

Real luck brought him two allegorical portraits painted for the "travel palace" - one of the small but luxurious estates erected on the way of Empress Catherine II to the Crimea. Architect, artist and musician N.A. Lvov, who was in the retinue of the empress, drew attention to the paintings of Vladimir Borovikovsky and found the artist. A year later, Vladimir moved to St. Petersburg and at first found himself in the house of Lvov and his family.

Having quickly gained popularity and clientele in St. Petersburg, Borovikovsky was never conceited. He worked very hard. He also took on ceremonial portraits, and for "home scenes", and for illustrations for books and novels, and for copies, using a beautiful baguette for paintings. "Portrait of M. I. Lopukhina", written in 1797, is considered one of the canonical for Borovikovsky's style. Reproductions of Vladimir Borovikovsky's paintings are distinguished by soft colors, lyrical mood and the ability to express the character of the person depicted on them, while emphasizing precisely his best features.

Vladimir Borovikovsky worked until old age. Gradually, his popularity began to decline, the artist became gloomy and gloomy, ceased to maintain correspondence with friends, delved into mysticism and the last series of his paintings, albums with sketches, is a kind of “summary” of the mythology and mysticism that he studied. His very last work was the iconostasis in the church of the Smolensk cemetery in St. Petersburg, where the artist Vladimir Lukich Borovikovsky is buried.

Borovikovsky famous paintings

Portrait of Grand Duchess Alexandra Pavlovna

Portrait of Grand Duchess Elena Pavlovna

Vladimir Borovikovsky (1757-1825) - Russian artist of Ukrainian origin, portrait master.

Biography of Vladimir Borovikovsky

Vladimir Borovikovsky was born on July 24 (August 4, according to a new style) in 1757 in the Hetmanate in Mirgorod in the family of the Cossack Luka Ivanovich Borovikovsky (1720-1775). The father, uncle and brothers of the future artist were icon painters. In his youth, VL Borovikovsky studied icon painting under the guidance of his father.

From 1774 he served in the Mirgorod Cossack regiment, at the same time painting. In the first half of the 1780s, Borovikovsky, with the rank of lieutenant, retired and devoted himself to painting. He paints icons for local churches.

In the 1770s, Borovikovsky became closely acquainted with V.V. Kapnist and carried out his instructions for painting the interior of a house in Kremenchug, which was intended for the reception of the empress. Catherine II noted the work of the artist and ordered him to move to St. Petersburg.

In 1788 Borovikovsky settled in St. Petersburg. In the capital, at first he lived in the house of N. A. Lvov and met his friends - G. R. Derzhavin, I. I. Khemnitser, E. I. Fomin, and also D. G. Levitsky, who became his teacher.

In 1795, V. L. Borovikovsky was awarded the title of academician of painting. From 1798 to 1820 lived in a tenement house at 12, Millionnaya Street.

Borovikovsky died on April 6 (18), 1825 in St. Petersburg, and was buried at the St. Petersburg Smolensk cemetery. In 1931, the ashes were reburied in the Alexander Nevsky Lavra. The monument remained the same - a granite sarcophagus on lion's feet.

He bequeathed to distribute his property to those in need.

Creativity Borovikovsky

Relatively late, in the late 1790s, Borovikovsky gained fame as a famous portrait painter.

His work is dominated by a chamber portrait. V. L. Borovikovsky embodies the ideal of beauty of his era in female images.

In the double portrait "Lizonka and Dashenka" (1794), the portrait painter captured the maids of the Lvov family with love and reverent attention: soft curls of hair, whiteness of faces, a slight blush.

The artist subtly conveys the inner world of the people he depicts. In a chamber sentimental portrait, which has a certain limited emotional expression, the master is able to convey the variety of intimate feelings and experiences of the models depicted. An example of this is the “Portrait of E. A. Naryshkina” made in 1799.

Borovikovsky seeks to affirm the self-worth and moral purity of a person (portrait of E. N. Arsenyeva, 1796). In 1795, V. L. Borovikovsky wrote “Portrait of the Torzhkovskaya peasant woman Khristinya”, we will find echoes of this work in the work of the master’s student - A. G. Venetsianov.

In the 1810s, Borovikovsky was attracted by strong, energetic personalities; he focuses on citizenship, nobility, and the dignity of those portrayed. The appearance of his models becomes more restrained, the landscape background is replaced by the image of the interior (portraits of A. A. Dolgorukov, 1811, M. I. Dolgoruky, 1811, etc.).

VL Borovikovsky is the author of a number of ceremonial portraits. Ceremonial portraits of Borovikovsky most clearly demonstrate the artist's mastery of the brush in conveying the texture of the material: the softness of velvet, the brilliance of gilded and satin robes, the radiance of precious stones.

Borovikovsky is also a recognized master of portrait miniatures. The artist often used tin as the basis for his miniatures.

The work of V. L. Borovikovsky is a fusion of the styles of classicism and sentimentalism that developed at the same time.

In his last years, Borovikovsky returned to religious painting, in particular, he painted several icons for the Kazan Cathedral under construction, the iconostasis of the church of the Smolensk cemetery in St. Petersburg.

He gave painting lessons to then beginner artist Alexei Venetsianov.

Artist's work

• Portrait of M. I. Lopukhina.
• Murtaza Kuli Khan.
• Catherine II for a walk in Tsarskoye Selo Park
• Lizonka and Dashenka
• Portrait of Major General F. A. Borovsky, 1799
• Portrait of Vice-Chancellor Prince A. B. Kurakin (1801-1802) (Tretyakov Gallery, Moscow)
• Portrait of the sisters A. G. and V. G. Gagarin, 1802 (Tretyakov Gallery, Moscow)
• Portrait of A. G. and A. A. Lobanov-Rostovsky, 1814

Borovikovsky Vladimir Lukich (1757-1826)

Vladimir Lukich Borovikovsky was born on July 24, 1757 in the small Ukrainian town of Mirgorod. His father, Luka Borovik, belonged to the local Cossack foreman, owned a house and two small plots of land. Following tradition, four of his sons served in the Mirgorod regiment, but Vladimir, with the rank of lieutenant, retired and devoted himself to painting.

The father, who painted icons for rural churches, taught icon painting to children, and the Borovik dynasty was famous in the local art artel. The Kiev Museum of Ukrainian Art and the Russian Museum keep icons painted by the young painter. In addition to icons, he also painted portraits, in the spirit of that naive semi-professional painting that was common in Ukraine.

The case helped him to part with the remote province. The fate of Vladimir Lukich was radically changed by two allegorical paintings made to decorate the Kremenchug Palace, one of the "travel palaces" erected on the route of Catherine II to the Crimea.

He was attracted to this work by a friend, the poet V.V. Kapnist (who was exiled for bold works from St. Petersburg to his native Ukraine), as the leader of the nobility of the Kiev province, who drafted the "Potemkin villages" for the solemn meetings of Catherine II.

The empress liked the pictures and flattered her vanity. One of them depicted Peter I in the guise of a farmer and Catherine II sowing the field, and on the other, the Empress in the guise of Minerva, surrounded by the sages of ancient Greece. The royal praise opened the way for Borovik to Petersburg.

Someone from the retinue of the empress drew attention to these paintings and their author. Most likely, it was N.A. Lvov (architect, musician, poet and artist), because already in September 1788 Borovikovsky ended up in St. Petersburg (where he changed his surname to Borovikovsky), and it was in Lvov's house.

The 30-year-old painter could no longer enter the Academy of Arts and therefore received private lessons from his illustrious countryman D. G. Levitsky, and from 1772 - from the famous Austrian painter who worked at the court of Catherine II, I. B. Lampi, and also copied the best examples of European painting and the work of his mentors.

This was enough for him to master professional skills to perfection.

Around December 4, 1794, Lampi addressed the Council of the Academy of Arts with a letter in which he asked to award his student V.L. Borovikovsky the title of academician. Obviously, “Portrait of Catherine II on a walk” was presented. This request indicates a high appreciation of the talents of a Russian student, which is given to him by a foreign artist. After his four-year stay in the northern capital, Lampi gave Borovikovsky his workshop, which speaks of the teacher's good attitude towards the student.

From his teachers, he adopted a brilliant technique, ease of writing, compositional skill and the ability to flatter the person being portrayed. In the circle of the famous architect, poet and musician N.A. Lvov, in whose house he lived for ten years, Borovikovsky found himself among the prominent figures of artistic Russia, imbued with the ideas of symbolism. The new trend was in tune with the calm, elegiac-minded artist, whose simple lifestyle was not influenced by either fame or money. Vladimir Lukich was completely absorbed in art, and his mastery was quickly appreciated by the customers.

By 1790 he became one of the most famous portrait painters, in 1795 he received the title of academician, and seven years later he became an adviser to the Academy of Arts. He became a well-known and even fashionable portrait painter, orders from the most senior persons, up to members of the imperial family, rained down on him.

The third great Russian portrait painter, who came after F. S. Rokotov and D. G. Levitsky, Borovikovsky worked very hard, and his legacy is extensive and varied. He excelled in the formal portrait (many of his works in this genre were revered as models), and in the intimate, and in the miniature.

He was conscientious and industrious, and did everything perfectly: the numerous copies that he was ordered more than once, and even those portraits in which he was required to follow some fashionable model.

The heyday of his art was short-lived - just over a dozen years at the turn of the 18th - 19th centuries - but wonderful. It was then that he created a portrait of Paul I, Secretary of State D.P. Troshchinsky, conveying the inner strength of this outstanding person who had come out of the bottom, as well as ceremonial portraits - an amazingly beautiful and exotic portrait of Murtaza Kuli-khan, a magnificent portrait of A.B. Kurakin, expressively representing a man who was called the “diamond prince” for his love of luxury, and the “peacock” for his rare arrogance, a portrait of Derzhavin sitting in an armchair at a desk littered with manuscripts.

Nevertheless, his talent was most clearly revealed in a series of female portraits executed in the same years. They are not as spectacular as men's, small in size, sometimes similar in compositional solution, but they are distinguished by exceptional subtlety in the transfer of characters, elusive movements of mental life and are united by a gentle poetic feeling.

For beautiful female images, Borovikovsky created a certain style of portrait: a half-length image, a figure immersed in thought, leaning on a stand with his hand, and a quiet landscape serves as a background for the languid curve of the body in light, light clothes. But how individual the features of his heroines are and how marvelously good each one is!

The artist retained his brilliant skill and vigilance of the eye for a long time. By 1810, Borovikovsky's work began to turn towards the romantic direction, but his activity weakened. Fatigue and indifference settled in the soul of the artist. He yearned for his homeland, provided his home to fellow countrymen who came to St. Petersburg and provided them with assistance. Introverted, not loving the hustle and bustle, Borovikovsky did not teach at the academy and did not open his own school, although it is known that students always lived with him.

The brush of one of them, I. V. Bugaevsky-Blagodarny, belongs to the portrait of Vladimir Lukich, and A. G. Venetsianov, the future “father of everyday painting”, wrote the first biography of his teacher.

The old age of Borovikovsky was sad. The old tastes were replaced by new ones, and the name of Borovikovsky fades into the shadows, giving way to young names: O. A. Kiprensky was already shining. A lonely man, he used to be content with a narrow circle of friends, but now he has become completely unsociable, he even avoided writing letters.

Voluntary hermitage of the artist increasingly took on a painful character. He suffered from the injustice that he observed around him. He was also looking for a cure for it, in the Masonic lodge "The Dying Sphinx", and in philanthropy, and of course in art. Always inclined towards religiosity (the iconostasis of the church of the Smolensk cemetery, icons for the Kazan Cathedral), Borovikovsky in 1819 became interested in mysticism, sectarianism and joined the "Spiritual Union". But here, too, bitter disappointment awaited him - the lack of sincerity and window dressing.

Rare custom-made portraits of that time are executed dryly and prosaically harshly, their colors have faded. It was as if something had broken in the man: he began to combine faith with drinking and repentance. Only his father's harp, to the quiet enumeration of which he sang Ukrainian songs, sometimes enlivened the artist. On April 6, 1825, VL Borovikovsky died suddenly from a heart attack. He was buried at the Smolensk cemetery.

The subtlest poet of the sentimental female image has passed away, but the greatest examples of his skill opened the way for the creative achievements of the artists of romanticism.

Artist's paintings

Allegorical image of winter in the form of an old man warming his hands by the fire

God the Father contemplating the dead Christ (sketch)

Children with lamb

Catherine II in Tsarskoye Selo Park

Catherine II on a walk in Tsarskoye Selo park (with the Rumyantsev obelisk in the background)

Female portrait

Lizonka and Dashenka

Portrait of A. B. Kurakin in the attire of a Knight of the Order of Malta

Portrait of A. G. Gagarina and V. G. Gagarina

Portrait of A. I. Bezborodko with his daughters

Portrait of A.A. Dolgoruky

Portrait of A.E. Labzina with a pupil

Portrait of Alexander Vasilyevich Polikarpov

Portrait of Ambrose Podobedov

Portrait of V.A. Shidlovskaya

Portrait of G. R. Derzhavin

Portrait of D. P. Troshchinskoro

Portrait of D.A. Derzhavina

Portrait of Dolgorukova, Margarita Ivanovna

Portrait of Dubovitsky, Alexander Petrovich

Portrait of Dubovitsky, Peter Nikolaevich

Portrait of E.G. Tyomkina

Portrait of E.N. Arsenyeva, later the wife of P.F. Kozlov

Portrait of Ekaterina Alexandrovna Arkharova

Portrait of Elena Alexandrovna Naryshkina

Portrait of Louise Germain de Stael

Portrait of M.D.Dunina

Portrait of M.I. Lopukhina

Portrait of Mikhail Desnitsky

Portrait of Murtaza Kuli Khan

Biography of Vladimir Borovikovsky

Borovikovsky Vladimir Lukich, Russian artist of historical, church and portrait painting. A native of the Cossack family.

Born in Mirgorod on July 24, 1757, in the family of the Cossack Luka Borovik. Father and two brothers, Vasily and Ivan, were icon painters who worked in the surrounding churches. Under the guidance of his father, he studied icon painting. After military service, he was engaged in church painting in the spirit of Ukrainian baroque.

In 1787, he executed two allegorical paintings to decorate one of the "travel palaces" of Catherine II, erected on her route to the Crimea.

These paintings drew special attention of the Empress. One of the paintings depicted Catherine II, explaining her Order to the Greek sages, the other - Peter I - a plowman and Catherine II - a sower. The Empress wished to see the author of the paintings, spoke to him and advised him to go to St. Petersburg, to the Academy of Arts.

In 1788, Borovikovsky moved to St. Petersburg, but his path to the Academy of Arts was closed due to his age. For some time he lives in the house of N. A. Lvov, gets acquainted with his friends - G. R. Derzhavin, I. I. Khemnitser, E. I. Fomin and other intellectuals of his time. From 1792 he took lessons from the Austrian painter I.B. Lampi, who worked at the court of Catherine II.

It is assumed that he used the advice of the famous portrait painter D. G. Levitsky, who later became his teacher. From his teacher, Borovikovsky adopted a brilliant technique, ease of writing, compositional skill and the ability to flatter the person being portrayed.

In 1795, Borovikovsky was awarded the title of academician, and in 1802 - advisor to the Academy of Arts.

In the early Petersburg period, Borovikovsky painted miniature portraits, painted in oils, but imitating miniatures on enamel. He also succeeded in formal portraiture, many of his works in this genre were revered as models.

Among his works - a magnificent portrait of Catherine II, strolling in the Tsarskoye Selo garden, portraits of Derzhavin, Metropolitan Mikhail, Prince Lopukhin-Troshchinsky and a huge portrait of Fet - Ali Murza Kuli-Khan, brother of the Persian Shah, painted by order of the Empress when the prince was an envoy in St. Petersburg . Two copies of this portrait are in the art gallery of the Hermitage, and the other in the Academy of Arts.

From the 2nd half of the 1790s. Borovikovsky finds a vivid expression of the traits of sentimentalism in his portraits. As opposed to the official estate portrait, he develops a type of depiction of a “private” person with his simple, natural feelings, which manifest themselves most fully in the bosom of nature. Delicate, faded coloring, light, transparent writing, smooth, melodic rhythms create a lyrical atmosphere of dreamy elegiacity.

For example, a portrait of O. K. Filippova, the wife of a friend of Borovikovsky - an architect who participated in the construction of the Kazan Cathedral. She is depicted in a white morning dress against the backdrop of a garden, with a pale rose in her hand. The image of a young woman is devoid of any hint of affectation, coquetry. The almond-shaped cut of the eyes, the pattern of the nostrils, the mole above the upper lip - everything gives an inexplicable charm to the face, in the expression of which there is almost childish tenderness and dreamy thoughtfulness.

The artist's talent was most clearly revealed in a series of female portraits: O. K. Filippova, E. N. Arsenyeva, E. A. Naryshkina, V. A. Shidlovskaya and others. They are not as spectacular as men's, small in size, sometimes similar in compositional solution, but they are distinguished by exceptional subtlety in the transfer of characters, elusive movements of spiritual life and are united by a tender poetic feeling.

Portrait of M.I. painted by Borovikovsky in 1797 Lopukhina is one of the landmark works in the development of Russian portraiture. The portrait of Lopukhina is marked by features of deep and genuine vitality. The main idea is the fusion of man with nature.

Borovikovsky reproduces in the portrait the typical features of the national Russian landscape - white trunks of birches, cornflowers and daisies, golden ears of rye. The national spirit is also emphasized in the image of Lopukhina, which is given an expression of tender sensitivity.

Borovikovsky was also engaged in religious painting, in the period from 1804 to 1811, he participated in the painting of the Kazan Cathedral in St. Petersburg (“Annunciation”, “Konstantin and Elena”, “Great Martyr Catherine”, “Anthony and Theodosius”).

Borovikovsky retained his brilliant skill and keen eye for a long time, but in the 1810s. his activity has waned. The old tastes were replaced by new ones, and the name of Borovikovsky stepped aside, giving way to young talents.

He was lonely in his old age, avoided all communication, refused to answer letters. He became interested in mysticism, but even here he did not find what he was looking for.

At the end of his life, Borovikovsky no longer painted portraits, but was engaged only in religious painting. His last work was the iconostasis for the church at the Smolensk cemetery in St. Petersburg.

In the last years of his life, Borovikovsky worked actively as a teacher, setting up a private school at his home. He raised two students, one of whom was Alexei Venetsianov, who adopted a poetic perception of the world from his mentor.

Borovikovsky Vladimir 1825

Borovikovsky Vladimir Lukich-, Russian and Ukrainian portrait painter. Until 1788 he lived in Mirgorod, studied with his father and uncle - icon painters, performed icons and portraits, in many respects still close to the traditions of Ukrainian art of the pre-Petrine time. From the end of 1788 - in St. Petersburg, where at first he used the advice of D. G. Levitsky, and from 1792 he studied with I. B. Lampi. The worldview and aesthetic views of B. were also influenced by closeness with V. V. Kapnist, G. R. Derzhavin, and especially N. A. Lvov. In the early 1790s. along with compositions on religious subjects, he began to paint miniatures (portrait of V. V. Kapnist, Russian Museum, Leningrad) and mainly intimate portraits close to them in terms of the nature of execution ("Lizinka and Dashinka", 1794, "Torzhkovskaya peasant woman Khristinia", about 1795 , - both in the Tretyakov Gallery).
For portraits in 1795 he received the title of academician, and in 1802 - adviser to the St. Petersburg Academy of Arts. From the 2nd half of the 1790s. in the portraits of B. find a vivid expression of the features of sentimentalism. B. develops, in contrast to the official class portrait, the type of image of a "private" person with his simple, natural feelings, which manifest themselves most fully away from the "light", in the bosom of nature. Delicate, faded coloring, light, transparent writing, smooth, melodic rhythms create a lyrical atmosphere of dreamy elegiacity. The images of B., especially in female portraits, for all the difference in the freshly and vividly captured individual appearance of the model, are marked by a common idyllic mood. B. paints his characters (portraits of M. I. Lopukhina, 1797, Tretyakov Gallery, V. I. Arsenyeva, 1795, Russian Museum) in a slight turn, with his head bowed, immersed in gentle thought against the background of a park landscape shrouded in haze. The Russian Empress ("Catherine II on a walk in Tsarskoye Selo Park", 1794, Tretyakov Gallery; early 19th century variant - Russian Museum) B. depicted walking along the alley, in a fur coat and with a greyhound. From the beginning of the 19th century in the works of B. (especially in the ceremonial portraits of A. B. Kurakin, 1801-02, the Tretyakov Gallery, Paul I, 1800, the Russian Museum), the characterization becomes more and more prosaic, and the pictorial manner (under the influence of classicism) becomes energetic and clear [portrait unknown woman in a turban (probably by the writer A. L. J. de Stael), 1812, Tretyakov Gallery].

Alexander Fedorovich Bestuzhev	Anna Sergeyevna Bezobrazova		archangel Michael 1815 Tretyakovskaya gallery Moscow	Archangel Michael 1794
Varvara Andreevna Tomilova	Grand Duchess Elena Pavlovna 1799 Hermitage	Countess Vera Nikolaevna Zavadovskaya	Countess Ekaterina Mikhailovna Ribopierre	Daria Alexandrovna Valuev	Daria Semyonovna Baratov
Children with lamb	Ekaterina Gavrilovna Gagarin	Ekaterina Nikolaevna Davydov 1796 Pushkinsky museum Moscow	Bishop of Russia Orthodox Church	Germain de Stael 1812 68x88cm Tretyakovskaya gallery Moscow	Ivan Dunin 1801
Ivan Mikhailovich Yakovlev	Ivan Mikhailovich Yakovlev	Jesus in the tomb	Jesus	Cleopatra Ilyinichna Lobanova-Rostovskaya	Princess Lopukhin
Labzina Anna Evdokimovna	Lazarev Minas Lazarevich	Lizanka and Dashenka 1794 26x31cm Tretyakovskaya gallery Moscow	Lopukhin Ekaterina Nikolaevna	Maria Nikolaevna Yakovlev 1796	Martha (Mary) Dmitrievna Dunina 1799 Tretyakovskaya gallery Moscow

Mikhailovsky lock	Naryshkin Elena Alexandrovna 1790 Russian Museum Saint Petersburg	Natalya Petrovna Golitsyn	Venison Elizaveta Markovna	Russian portrait poet Evgenia Baratynsky 1820	1800 Russian Museum Saint Petersburg
Pyotr Andreevich Kikin 1815	Cover Holy Mother of God	Portrait A. and V. Gagarin 1802 69x75cm Tretyakovskaya gallery Moscow	Portrait A. I. Bezborodko with daughters 1803	Portrait A.G. and A.A. Lobanovs -Rostov 1814 Russian Museum Saint Petersburg
Portrait Adam Adamovich Menelas	Portrait Alexander Dmitrievich Arseniev 1797 58x74cm Hermitage	Portrait Alexander Semenovich Khvostova 1801 56x71cm	Portrait Alexey Alekseevich Konstantinov 1806	Portrait Alexey Ivanovich Vasiliev 1800	Portrait Grand Duke Konstantin Pavlovich 1795 52x67cm

Portrait Grand Duchess Alexandra Pavlovna 67x76cm	Portrait Grand Duchess Maria Pavlovna 1800	Portrait G.S. Volkonsky 1806	Portrait Gavrila Romanovich Derzhavin 1811 Pushkinsky museum Moscow	Portrait adjutant general count Peter Tolstoy 1799 59x72cm	Portrait count Alexandra Kurakina 1802 259x175cm Tretyakovskaya gallery Moscow
Portrait of a Count G.G. Kushelev 1801	Portrait of a Count Razumovsky 1800g 63x49cm	Portrait YES. Derzhavina 1813 284x284cm Tretyakovskaya gallery Moscow	Portrait D.P. Troshchinsky 1899 Russian Museum Saint Petersburg	Portrait Dmitry Levitsky 1796 Russian Museum Saint Petersburg	Portrait E. Temkina 1798
Portrait E.A. Arkharova 1820 Russian Museum Saint Petersburg	Portrait E.I. Neklyudova 1798	Portrait E.N. Arseneva 1796 Russian Museum Saint Petersburg	Portrait Ekaterina Alexandrovna Novosiltseva	Portrait Ekaterina Vasilievna Torsukova 1795	Portrait Ekaterina Kropotova
Portrait Elena Alexandrovna Naryshkina 1799	Portrait Elena Pavlovna	Portrait Emperor Paul I 1800g 33x49cm Tretyakovskaya gallery Moscow	Portrait empresses Catherine II 1794 Tretyakovskaya gallery Moscow	Portrait empresses Elizabeth Alekseevna 1795	Portrait empresses Elizabeth Alekseevna 1814

Portrait empresses Maria Feodorovna 71x82cm	Portrait Karageorgia 1816	Portrait Princesses N.I. Kurakina 1795 Russian Museum Saint Petersburg	Portrait Prince A.B. Kurakina 1799 Russian Museum St. Petersburg	Portrait Koshelev	Portrait M.I. Lopukhina 1797 Tretyakovskaya gallery Moscow
Portrait Martha Arbeneva 1798	Portrait Murtaza-Kuli Khan, brother Agha Mukhomed, Persian Shah 1796 189x284cm Tretyakovskaya gallery Moscow	Portrait unknown with child	Portrait Nikolai Sheremetev	Portrait Olga Kuzminichna Filippova	Portrait Paul I 1796
Portrait Pavel Semenovich Masyukov	Portrait writer Alexander Labzina 1805 65x79cm Tretyakovskaya gallery Moscow	Portrait Russian poet Gavrila Derzhavin 1795 Tretyakovskaya gallery Moscow	Portrait S.A. Raevskaya 1813 Pushkinsky museum Moscow	Portrait F. Borovsky 1799 Russian Museum Saint Petersburg	Portrait Christopher background Benckendorff 1797g 68x56cm
Portrait Yuri Lisyansky 1810	Portrait princesses Margarita Ivanovna Dolgoruky	Praskovya Bestuzhev 1806	Rodzianko Ekaterina Vladimirovna		Samborsky Andrey Afanasyevich 1790

St. blgv. led. book. Alexander Nevskiy Tretyakovskaya gallery Moscow		Torsukov Ardalyon Alexandrovich 1795	christina, peasant women from Torzhok 1795 Tretyakovskaya gallery Moscow	Queen Alexandra and archdeacon Stephen 1815	Yakovlev Nikolai Mikhailovich

From Wikipedia, the free encyclopedia:
Relatively late, in the late 1790s, Borovikovsky gained fame as a famous portrait painter. His work is dominated by a chamber portrait. V. L. Borovikovsky embodies the ideal of beauty of his era in female images. In the double portrait "Lizonka and Dashenka" (1794), the portrait painter captured the maids of the Lvov family with love and reverent attention: soft curls of hair, whiteness of faces, a slight blush. The artist subtly conveys the inner world of the people he depicts. In a chamber sentimental portrait, which has a certain limited emotional expression, the master is able to convey the variety of intimate feelings and experiences of the models depicted. An example of this is the “Portrait of E. A. Naryshkina” made in 1799. Borovikovsky seeks to affirm the self-worth and moral purity of a person (portrait of E. N. Arsenyeva, 1796). In 1795, V. L. Borovikovsky wrote “Portrait of the Torzhkovskaya peasant woman Khristinya”, we will find echoes of this work in the work of the master’s student - A. G. Venetsianov. In the 1810s, Borovikovsky was attracted by strong, energetic personalities; he focuses on citizenship, nobility, and the dignity of those portrayed. The appearance of his models becomes more restrained, the landscape background is replaced by the image of the interior (portraits of A. A. Dolgorukov, 1811, M. I. Dolgoruky, 1811, etc.). VL Borovikovsky is the author of a number of ceremonial portraits. The most famous of them are "Portrait of Paul I in a white dalmatic", "Portrait of Prince A. B. Kurakin, Vice-Chancellor" (1801-1802). Ceremonial portraits of Borovikovsky most clearly demonstrate the artist's mastery of the brush in conveying the texture of the material: the softness of velvet, the brilliance of gilded and satin robes, the radiance of precious stones. Borovikovsky is also a recognized master of portrait miniatures. The collection of the Russian Museum contains works belonging to his brush - portraits of A. A. Menelas, V. V. Kapnist, N. I. Lvova and others. The artist often used tin as the basis for his miniatures. The work of V. L. Borovikovsky is a fusion of the styles of classicism and sentimentalism that developed at the same time. In his last years, Borovikovsky returned to religious painting, in particular, he painted several icons for the Kazan Cathedral under construction, the iconostasis of the church of the Smolensk cemetery in St. Petersburg. He gave painting lessons to then beginner artist Alexei Venetsianov.