Atualizado em Outubro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 3 obras de Pyotr Basin em nosso catálogo
Em resumo
Aos olhos da galeria, a pintura mais famosa de Pyotr Basin é Portrait of Count I.I.Dibich-Zabalkansky (1833), cuja obra original está exposta no Museu Hermitage, em São Petersburgo. Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834) e Portrait of Empress Dowager Yelizaveta Alekseevna (1831) completam o trio que todos reconhecem. Dos 3 trabalhos de Pyotr Basin em nosso catálogo, a galeria apresenta abaixo as 3 obras mais famosas, cada uma original, com seu ano, seu museu e o que a torna única.
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.
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
O museu que detém a maioria das pinturas desta página.
| Museus | Cidade | Obras de Pyotr Basin | Pinturas desta lista |
|---|---|---|---|
 Museu Hermitage |
São Petersburgo | 3 | Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov, Portrait of Empress Dowager Yelizaveta Alekseevna |
4 anos, de 1831 a 1834, apresentam toda a carreira datada de Pyotr Basin nesta página: uma trajetória breve, vista aqui ano a ano através das suas originais mais famosas.
Escolha um ano para ver as obras originais.
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), Museu Hermitage, São Petersburgo. Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834) e Portrait of Empress Dowager Yelizaveta Alekseevna (1831) vêm a seguir.
40 anos: Portrait of Count I.I.Dibich-Zabalkansky data de 1833, e Pyotr Basin nasceu em 1793.
Nosso catálogo contém 3 obras de Pyotr Basin, datadas de 1831 a 1834.
Principalmente em Museu Hermitage (São Petersburgo). A tabela de museus acima lista todos eles.
Nesta página, a mais antiga é Portrait of Empress Dowager Yelizaveta Alekseevna (1831) e a mais recente é Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834).
Man (2), Military uniform (2) e Medals (2), entre as 3 obras nesta página.
Oil On Canvas, para 3 das 3 obras nesta página.
Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov e Portrait of Empress Dowager Yelizaveta Alekseevna: o Museu Hermitage, São Petersburgo detém 3 das obras desta página.
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.
