Неизвестный гравированный портрет великого князя Павла Петровича из собрания ГМИИ им. А.С. Пушкина. Опыт интерпретации

Тетермазова Залина Валерьевна

doi:10.7256/2454-0625.2016.6.21405


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Culture and Art

Reference:

Tetermazova Z.V. The Uknown Engraved Portrait of Paul I of Russia from the Collection of the Pushkin State Museum of Fine Arts. Experience of Interpretation // Culture and Art. 2016. № 6. P. 742-748. DOI: 10.7256/2454-0625.2016.6.21405 URL: https://en.nbpublish.com/library_read_article.php?id=21405

Неизвестный гравированный портрет великого князя Павла Петровича из собрания ГМИИ им. А.С. Пушкина. Опыт интерпретации

Tetermazova Zalina Valerievna

junior research fellow, State Historical Museum

109012, Russia, g. Moscow, ul. Krasnaya Ploshchad', 1

zalinnas@list.ru

Article was published in rubric "Fine arts"

DOI:

10.7256/2454-0625.2016.6.21405

Received:

12-12-2016

Published:

19-12-2016

Abstract: The article is devoted to a unique print of a portrait depicting Paul I of Russia. The engraved portrait is stocked in the collection of the Pushkin State Museum of Fine Arts and was made and printed using the calligraphic etching and cutting method by a German craftsman I. Nilson in Augsburg supposedly in the last third of the XVIIIth century and has a complex allegoric program. However, besides associated texts and allegoric images, the engraving has one very interesting feature. Over the entire engraving, there are small cuts that make an individual decorate pattern elegantly completing the general image. This distinguishes the aforesaid portrait from other artwork of the kind and thus provokes special interest. Appealing to the stylistic and iconological research methods, the author makes an attempt to decode the image program, to define circumstances and reasons for making such cuts, and to get an insight about the personality of the one who created them. The cuts are associated with the meaning of the engraving encoded in the image. The name of the owner of the engraving who was so witty to improve the composition in this way is still a mystery. However, based on the evidence, the author of the article tries to create a ‘portrait’ of the owner as well as to describe the cultural and political environment in which the engraving was created. By introducing such a unique piece of art, the author of the article makes a valuable contribution and extends our image of the cultural life of that epoch

Keywords:

engraving, portrait, 18th century, German art, Russian art, freemasonry, Catherine II, Paul I, Dmitry Rovinsky, etching

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