10月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 3点の Pyotr Basinの作品がカタログにあります
要約すると
ギャラリーの視点では、Pyotr Basinの最も有名な作品はPortrait of Count I.I.Dibich-Zabalkansky (1833)であり、その原画はサンクトペテルブルクのエルミタージュ美術館に展示されています。 Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)とPortrait of Empress Dowager Yelizaveta Alekseevna (1831)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるPyotr Basinの作品3点の中から、特に有名な3点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
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.
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Pyotr Basinの作品 | このリストの絵画 |
|---|---|---|---|
 エルミタージュ美術館 |
サンクトペテルブルク | 3 | Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov, Portrait of Empress Dowager Yelizaveta Alekseevna |
4年間にわたる1831年から1834年までのPyotr Basinの全キャリアがこのページに集約されています。最も有名なオリジナル作品を通じて、その歩みを年ごとに辿ることができます。
年代を選択して、当時のオリジナル作品を見る
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)（エルミタージュ美術館, サンクトペテルブルク）。次いでPortrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)、Portrait of Empress Dowager Yelizaveta Alekseevna (1831)が続きます。
40歳：Portrait of Count I.I.Dibich-Zabalkanskyは1833年の作品で、Pyotr Basinの生年は1793年です。
当カタログには、1831年から1834年にかけて制作されたPyotr Basinによる3点の作品が収められています。
主にエルミタージュ美術館 (サンクトペテルブルク)に所蔵されています。上記の美術館一覧にすべて記載されています。
このページでは、最も古い作品はPortrait of Empress Dowager Yelizaveta Alekseevna (1831)、最新の作品はPortrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)です。
このページに掲載されている3点の作品におけるMan (2), Military uniform (2) と Medals (2)
このページに掲載されている全3作品のうち、3作品のOil On Canvas
Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov と Portrait of Empress Dowager Yelizaveta Alekseevna：エルミタージュ美術館, サンクトペテルブルクには、このページに掲載されている作品のうち3点が所蔵されています。
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.
