Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 4 djela Andrej Ivanov u našem katalogu
Ukratko
Selbstporträt (1800) je slika autora Andrej Ivanov koja privlači najviše pogleda; original se nalazi u muzeju Tretyakovljeva galerija, Moskva. Nakon toga, pogled se usmjerava na Tancred and Clorinda (1790) i The Exploit of a Kievan Boy (1810). Među 4 djela umjetnika Andrej Ivanov u našem katalogu, ovih 4 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
In this 1800 oil-on-canvas, we find ourselves in an intimate encounter with Andrey Ivanov. The portrait is a bust-length study, capturing the man in a moment of profound introspection. He is positioned slightly off-center, his body turned toward the right, yet his gaze remains fixed directly upon us, creating an immediate, unmediated connection. There is a certain dignity in his posture, a quiet confidence that suggests a man deeply acquainted…
3 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Andrej Ivanov | Slike iz ovog popisa |
|---|---|---|---|
 Državni ruski muzej |
Sankt Peterburg | 2 | The Exploit of a Kievan Boy, Minerva in the Heavens |
 Tretyakovljeva galerija |
Moskva | 1 | Selbstporträt |
 Yekaterinburg Museum of Fine Arts |
Jekaterinburg | 1 | Tancred and Clorinda |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this 1800 oil-on-canvas, we find ourselves in an intimate encounter with Andrey Ivanov. The portrait is a bust-length study, capturing the man in a moment of profound introspection. He is positioned slightly off-center, his body turned toward the right, yet his gaze remains fixed directly upon us, creating an immediate, unmediated connection. There is a certain dignity in his posture, a quiet confidence that suggests a man deeply acquainted…
Selbstporträt (1800), Tretyakovljeva galerija, Moskva. Nakon njih slijede Tancred and Clorinda (1790) i The Exploit of a Kievan Boy (1810).
25 godina: Selbstporträt datira iz 1800, a Andrej Ivanov je rođen/a 1775.
Naš katalog sadrži 4 djela umjetnika Andrej Ivanov, datiranih od 1790 do 1820.
Većinom u Državni ruski muzej (Sankt Peterburg), Tretyakovljeva galerija (Moskva) i Yekaterinburg Museum of Fine Arts (Jekaterinburg). Gornja tablica muzeja navodi sve njih.
Na ovoj stranici najstarije djelo je iz Tancred and Clorinda (1790), a najnovije iz Minerva in the Heavens (1820).
The Exploit of a Kievan Boy i Minerva in the Heavens: Državni ruski muzej, Sankt Peterburg posjeduje 2 djela s ove stranice.
The story of Andrey Ivanov begins in the quiet, often harsh reality of a Moscow orphanage. Abandoned by his parents, the boy found his first true sanctuary within the walls of the Imperial Academy of Arts in 1782. It was there that a raw talent began to take shape, nurtured by the guidance of Grigory Ugryumov and Gabriel François Doyen. By the time he graduated in 1797, he had already begun to navigate the complex social and artistic hierarchies of the Russian Empire. His early years were spent in the disciplined pursuit of the old masters, copying their works and painting icons, a practice that grounded his hand in the traditions of the past before he sought to define the present.
His ascent within the Academy was steady. He moved from a student to a teacher, and by 1803, he had earned the title of Academician. His skill in capturing the weight of history was recognized when he was appointed a Professor in 1812, following his powerful depiction of Prince Mstislav the Brave and the defeat of Rededya. He was a man of the era, a painter whose brush was deeply entwined with the shifting political tides of the reigns of Tsars Alexander I and Nicholas I.
Artistic ambition often brings a painter into direct conflict with the powers that be. For Ivanov, this friction arrived in 1830 with a painting titled "The Death of General Kulnev." The work portrayed a moment of military tension that struck a nerve with Tsar Nicholas I, leading to a sudden and forced removal from the Academy. This period of professional exile did not silence him; instead, it saw him remain an active presence in various artistic societies, continuing to paint even as his official standing was stripped away. His resilience was noted by his peers, most notably when Karl Bryullov, returning to Russia to great acclaim, chose to place his own laurel wreath upon Ivanov's head in a public gesture of respect.
His life was marked by several significant milestones and personal connections:
In his later years, Ivanov remained a figure of consequence in the Saint Petersburg art scene. He lived through a period of immense change, his Neo-Classical style providing a sense of order and historical gravity to a changing empire. His life ended not through the slow decline of age, but through the sudden strike of cholera. He died in Saint Petersburg, leaving behind a legacy of history paintings that sought to capture the essence of human struggle and classical dignity. His influence lived on through his son and through the many students who passed through the Academy he once helped lead.
