10월 2026 업데이트 · 인기 점수 기준 순위 (각 작품의 검색, 방문 및 주문 수) · 3점의 Pyotr Basin 작품 (당사 카탈로그 기준)
요약하자면
갤러리가 선정한 Pyotr Basin의 가장 유명한 작품은 Portrait of Count I.I.Dibich-Zabalkansky (1833)이며, 원작은 상트페테르부르크의 에르미타주 박물관에 전시되어 있습니다. Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)와 Portrait of Empress Dowager Yelizaveta Alekseevna (1831)가 더해져 누구나 한눈에 알아볼 수 있는 완벽한 트리오를 완성합니다. Pyotr Basin의 작품 3점 중, 갤러리는 가장 유명한 3점을 아래와 같이 소개합니다. 각 작품은 제작 연도, 소장 미술관 및 작품의 특징을 포함한 독창적인 원작입니다.
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.
이 오리지널 작품들에서 가장 자주 등장하는 네 가지 주제와 그 정수를 보여주는 대표작들.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 1개의 미술관
| 소장 미술관 | 도시 | Pyotr Basin의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 에르미타주 박물관 |
상트페테르부르크 | 3 | Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov, Portrait of Empress Dowager Yelizaveta Alekseevna |
4년 동안, 1831년부터 1834년까지, Pyotr Basin의 연대기적 경력을 이 페이지에서 확인해 보세요. 가장 유명한 원작들을 통해 연도별로 정리된 짧은 여정을 만나보실 수 있습니다.
연도를 선택하여 원작을 확인해 보세요.
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), 에르미타주 박물관, 상트페테르부르크. 다음은 Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)와 Portrait of Empress Dowager Yelizaveta Alekseevna (1831)입니다.
40세: Portrait of Count I.I.Dibich-Zabalkansky은(는) 1833년 작품이며, Pyotr Basin은(는) 1793년에 태어났습니다.
저희 카탈로그에는 1831년부터 1834년 사이의 Pyotr Basin 작가의 작품 3점이 수록되어 있습니다.
대부분 에르미타주 박물관 (상트페테르부르크)에 소장되어 있습니다. 위의 박물관 목록에서 전체 목록을 확인하실 수 있습니다.
이 페이지에서 가장 오래된 작품은 Portrait of Empress Dowager Yelizaveta Alekseevna (1831)이며, 가장 최근 작품은 Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)입니다.
이 페이지의 3점의 작품에 걸쳐 있는 Man (2), Military uniform (2) 및 Medals (2)
이 페이지의 총 3점의 작품 중 3점의 Oil On Canvas
Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov 및 Portrait of Empress Dowager Yelizaveta Alekseevna: 에르미타주 박물관, 상트페테르부르크은(는) 이 페이지에 있는 작품 중 3점을 소장하고 있습니다.
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.
