Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 1 teosta taiteilijalta Nikolay Koshelev luettelossamme
Lyhyesti
Kaikista Nikolay Koshelev jättämistä alkuperäisteoksista kuuluisin on Self-Portrait (1865), joka kuuluu Hermitage-museo -kokoelmaan, Pietari. Katalogissamme on 1 teosta taiteilijalta Nikolay Koshelev; galleria on säilyttänyt 1 maailman ihailluimmista teoksista, ja jokaisesta on esitetty sen päivämäärä, museo sekä tarina.
The oil painting titled Self-Portrait by Nikolay Koshelev presents a single male figure. This work emerged from Russia in 1865. The artist captures his own likeness, fixing a gaze that meets the viewer through the stillness of the canvas. It is a quiet confrontation between the painter and the painted.
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Nikolay Koshelev teokset | Tämän listan maalaukset |
|---|---|---|---|
 Hermitage-museo |
Pietari | 1 | Self-Portrait |
1865 on jokaisen tässä valikoimassa olevan päivätyn Nikolay Koshelev teoksen vuosi: tässä ne ovat, järjestettynä suosion mukaan.
Valitse vuosi nähdäksesi alkuperäisteokset.
The oil painting titled Self-Portrait by Nikolay Koshelev presents a single male figure. This work emerged from Russia in 1865. The artist captures his own likeness, fixing a gaze that meets the viewer through the stillness of the canvas. It is a quiet confrontation between the painter and the painted.
Self-Portrait (1865)
25 vuotta vanha: Self-Portrait on peräisin vuodelta 1865, ja Nikolay Koshelev on syntynyt vuonna 1840.
Katalogissamme on 1 teosta taiteilijalta Nikolay Koshelev.
Pääasiassa Hermitage-museo (Pietari). Yllä oleva museotaulukko listaa ne kaikki.
Born to a peasant family of serfs, Nikolay Koshelev began his artistic path in the city of Arzamas. His early years were marked by a self-taught determination; after an unsuccessful apprenticeship to a decorative painter in Nizhni-Novgorod, he taught himself to paint while in the service of a local landowner. His talent eventually led him to the art school in Kazan, where he studied under an expatriate Italian artist named Botelli. This period of development, which included independent work on a monastery wall and an iconostasis, paved the way for his acceptance at the Imperial Academy of Arts in 1860.
As his career progressed, Koshelev became a versatile figure in the Russian art world, specializing in portraits, genre scenes, and icon painting. He was a member of the Artel of Artists and worked alongside Ivan Kramskoi. His technical skill was recognized through various honors, including a gold medal in 1864 and being named an "Academician" in 1873, followed by the title of Professor in 1878. His monumental contributions included painting the main dome at the Cathedral of Christ the Saviour and creating sketches for the mosaics and murals in the Church of the Savior on Blood.
Koshelev's reach extended far beyond Russia. He traveled to Rome in 1880 and later undertook an extended trip to create icons for the new Cathedral of the Most Holy Trinity in Buenos Aires. His professional life was also defined by his involvement in institutional art history; he was one of the founders of the Nizhni-Novgorod Art and Historical Museum and served as an "Inspector" at the Stroganov Moscow State Academy of Arts and Industry. His work can be found in several significant collections, including:
His mural work also left a lasting mark on religious architecture, with frescoes from a cathedral in Warsaw being moved to the Intercession Cathedral in Baranavichy, Belarus.
