Antropov, Alexei Petrovich
(1716-1795)

Alexei Petrovich Antropov - an outstanding Russian painter, portraitist, author of the monumental paintings, academician of the Imperial Academy of Arts in whatever field or working family representatives Antropov, they can be confidently called masters of their craft. father of the family, Peter Y., trained locksmith and instrumental craft from his father , locksmith Armory Savinova James' son Antropov, "served 12 years of a soldier Guards Semenov regiment participated in many military campaigns of Peter I, including at the Battle of Poltava. Returning to civilian life, he worked at the St. Petersburg court of arms, and later in the Office of the buildings, which were received and four of his sons. Senior Stepan followed in the footsteps of his father, Ivan became a watchmaker, and Alex Jr. and Nicholas studied the art of painting. Alexei Antropov with different youth work ethic and integrity - these hereditary qualities were inherent to several generations of artists Antropov. From 1732, he was the teachers, the Frenchman L. Caravaque , who lived for many years in Russia, and later Matveev , Zakharov and I.Vishnyakov , in turn headed "pictorial team" Office of the buildings, which prior to the opening of the Academy of Fine Arts and studied were almost all Russian artists. In 1739, Alexei Antropov joined the staff of the Office with a pretty solid by the time the salary - 120 rubles a year. Vishnjakova The team he played a lot of monumental and decorative painting in the spirit of the Western baroque in the Winter (1744-1745 gg.) Summer (1748), the Tsar (1749) and other palaces, and in 1750 was called back to the Opera House, where the painted decoration under the guidance of Italian masters D.Valeriani and A.Perezinotti. judge the degree of artistic merit of those works it is difficult, as most of them did not survive. However, we can assume that Antropov were satisfied because he was assigned to a very important order  in 1752 Antropov received a tempting offer to go to Kiev for the performance of work at the picturesque






designed by architect Rastrelli I. Michurin Andrew's Cathedral. Produced three years earlier in a journeyman painter hoped thereby to gain some freedom and creativity in the future to claim a honorary post master. Moreover, by this time he has established himself as an experienced and skilled painter, not devoid of organizational skills and persistence in achieving goals. It is still not resolved the issue, brush one or more authors belong to the numerous images that adorn the cathedral. Today we can say with certainty that in addition to the department of painting, domes and images of the Virgin Mary and the Archangel Gabriel of the royal doors Antropov played as an icon of "The Assumption of the Virgin" altarpiece and altar painting "The Last Supper". It is now, as his images of the apostles - "earth", almost folksy, even the solution composition resembles the formal portrait - flowing draperies with tassels and a column in depth. Unfortunately, the church was abandoned immediately after work in it, and consecrated only in 1767, which adversely affected the safety of painting.   Despite the ultimate load, the artist in this period also willingly wrote and portraits from old patterns, honing his artistic skills. Among them are several similarities between a portrait of Empress Elizabeth (1753 - 1755 rr.). Three years, lived in Kiev, strengthened the authority of Alexei Petrovich as an outstanding artist, and allowed him to prove his right to self-determination. Highly rated Antropov was the subsequent work at the end of 1755 an invitation to Moscow for the painting on sketches Graditstsi P. and S. Goryainova lampshades in Golovin Palace, where the Empress was visiting often. 1758 the artist has found in St. Petersburg. Began a new period of creativity Antropov, complete quests and hope, the desire to improve their skills and gain recognition, the heyday of his talent as a portrait painter. Upon returning to the northern capital Alexey again went to the Office of the buildings, which in itself is unlikely to satisfy accustomed to the independent activity of the artist. A six-year absence caused a "gap" Antropov from the metropolitan artists whose skill in this time very, very grown. At that time he was in his forties and he enjoyed the respect and fame. However, he was not listed among the true masters of the first rank. Feeling the urgent need to continue their education, especially in the writings of portraits Antropov appealed to the system of private lessons.