Aktualizováno říjen 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 3 děl umělce Pyotr Basin v našem katalogu
Stručně řečeno
Z pohledu galerie je nejslavnějším dílem Pyotr Basin obrazem Portrait of Count I.I.Dibich-Zabalkansky (1833), jehož originál je vystaven v Státní Ermitáž v obci Sankt-Petěrburg. Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834) a Portrait of Empress Dowager Yelizaveta Alekseevna (1831) doplňují trio, které každé oko okamžitě pozná. Z 3 děl umělce Pyotr Basin v našem katalogu představuje galerie níže 3 nejznámějších děl, z nichž každé je originálem s uvedením roku vzniku, muzea a toho, co jej činí jedinečným.
The artwork is the Portrait of Count I.I.Dibich-Zabalkansky, executed by the artist Pyotr Basin. This oil on canvas work dates to 1833. The subject of the portrait is Count I.I.Dibich-Zabalkansky, a man who held the rank of Russian field marshal. His full name was Hans Karl Friedrich Anton Graf von Diebitsch-Sabalkanski.
The Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov emerges from the canvas as a powerful encounter with history. Painted by Pyotr Basin between 1833 and 1834, the work captures the likeness of Mikhail Kutuzov, known formally as Prince Mikhail Ilarionovich Golenishchev-Kutuzov. He exists here not merely as a figure of the past, but as a presence defined by his immense responsibility. As a Russian soldier, General, and field marshal,…
The Portrait of Empress Dowager Yelizaveta Alekseevna is a significant work by the Russian artist Pyotr Basin. Painted in 1831, this oil on canvas portrait captures a moment of quietude and formal dignity. It is currently held within the collection of the State Hermitage in Saint Petersburg, Russia.
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
Muzeum, které má v této kolekci nejvíce obrazů.
| Muzea | Město | Díla autora Pyotr Basin | Obrazy z tohoto seznamu |
|---|---|---|---|
 Státní Ermitáž |
Sankt-Petěrburg | 3 | Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov, Portrait of Empress Dowager Yelizaveta Alekseevna |
4 let, od 1831 do 1834, zachycuje na této stránce celou časopisevnou tvorbu umělce Pyotr Basin: krátký přehled, který zde uvidíte rok po roce prostřednictvím jeho nejslavnějších originálů.
Vyberte rok a prohlédněte si originály.
The Portrait of Empress Dowager Yelizaveta Alekseevna is a significant work by the Russian artist Pyotr Basin. Painted in 1831, this oil on canvas portrait captures a moment of quietude and formal dignity. It is currently held within the collection of the State Hermitage in Saint Petersburg, Russia.
The artwork is the Portrait of Count I.I.Dibich-Zabalkansky, executed by the artist Pyotr Basin. This oil on canvas work dates to 1833. The subject of the portrait is Count I.I.Dibich-Zabalkansky, a man who held the rank of Russian field marshal. His full name was Hans Karl Friedrich Anton Graf von Diebitsch-Sabalkanski.
The Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov emerges from the canvas as a powerful encounter with history. Painted by Pyotr Basin between 1833 and 1834, the work captures the likeness of Mikhail Kutuzov, known formally as Prince Mikhail Ilarionovich Golenishchev-Kutuzov. He exists here not merely as a figure of the past, but as a presence defined by his immense responsibility. As a Russian soldier, General, and field marshal,…
Portrait of Count I.I.Dibich-Zabalkansky (1833), Státní Ermitáž, Sankt-Petěrburg. Následují Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834) a Portrait of Empress Dowager Yelizaveta Alekseevna (1831).
40 let: dílo Portrait of Count I.I.Dibich-Zabalkansky pochází z roku 1833 a Pyotr Basin se narodil/a v roce 1793.
Náš katalog obsahuje 3 děl umělce Pyotr Basin z let 1831 až 1834.
Většinou v Státní Ermitáž (Sankt-Petěrburg). V tabulce muzeí výše jsou vypsány všechny.
Na této stránce je nejstarší dílo z Portrait of Empress Dowager Yelizaveta Alekseevna (1831) a nejnovější z Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834).
Man (2), Military uniform (2) a Medals (2) napříč 3 díly na této stránce.
Oil On Canvas, u 3 z 3 děl na této stránce.
Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov a Portrait of Empress Dowager Yelizaveta Alekseevna: muzeum Státní Ermitáž, Sankt-Petěrburg má v obsluze 3 děl z této stránky.
Pyotr Vasilievich Basin entered the world in Saint Petersburg in 1793, born into the family of a local civil servant. His path toward the brush began in earnest around 1811, when he attended drawing classes at the Imperial Academy of Arts. Under the guidance of Vasily Shebuyev, he refined his understanding of history painting and classical form. The Academy recognized his early promise with silver medals in 1813, followed by a major gold medal in 1818.
A decade of profound development awaited him in Italy. Between 1819 and 1830, a fellowship allowed Basin to live in Rome, where he immersed himself in the study of Old Masters and the works of Raphael. This period was not merely one of observation but of intense production; he created nearly one hundred paintings during his European residency. His talent for religious subject matter was solidified by his work Christ driving the money changers from the Temple, a piece that secured his grant.
Upon returning to Saint Petersburg in 1830, Basin transitioned from student to influential figure within the Russian art establishment. He was named an Academician in 1831 and eventually rose through the ranks to become a professor at the Imperial Academy of Arts. His career was marked by significant institutional responsibilities, including serving as a second-class professor in 1836 and a first-class professor in 1846. He held the title of Professor Emeritus from 1856.
His hand was visible in the very fabric of the city's most sacred spaces. Basin contributed to the restoration of the Winter Palace following the fire of 1837, painting over forty mythological and allegorical figures for its halls. His religious output remained his most enduring contribution, with large-scale works appearing in several major cathedrals:
The later years of Basin's life were defined by a physical struggle that eventually silenced his creative output. A progressive eye disease began to take hold in the 1870s, stripping him of the vision required for his meticulous work. By the end of 1870, he was entirely blind. This loss forced an early retirement from the active practice of painting, though his earlier sketches continued to provide models for others, such as Nikolay Koshelev, in decorating the Cathedral of Christ the Saviour.
He remained in Saint Petersburg until his death in 1877. He was laid to rest in the Novodevichy Cemetery, leaving behind a body of work that bridged the gap between classical tradition and the emerging Romantic period. His legacy is found in the quiet corners of Russian cathedrals and the academic lineage he helped establish through students like Nikolai Ge.
