Lifetime portraits of Peter the Great. Lifetime portraits of Peter the Great Portrait of Johann Gottfried Tannauer

Lifetime portraits of Peter I

PETER I

Peter I the Great (1672-1725), founder Russian Empire, occupies a unique place in the history of the country. His deeds, both great and terrible, are well known and there is no point in listing them. I wanted to write about the lifetime images of the first emperor, and which of them can be considered reliable.

First of famous portraits Peter I is placed in the so-called. "Tsar's Titular Book" or "The Root of Russian Sovereigns", a richly illustrated manuscript created by the embassy order, as a reference book on history, diplomacy and heraldry and containing many watercolor portraits. Peter is depicted as a child, even before ascending the throne, apparently at the end. 1670s - early 1680s. The history of this portrait and its authenticity are unknown.

Portraits of Peter I by Western European masters:

1685- engraving from an unknown original; created in Paris by Larmessen and depicts Tsars Ivan and Peter Alekseevich. The original was brought from Moscow by ambassadors - Prince. Ya.F. Dolgoruky and Prince. Myshetsky. The only known reliable image of Peter I before the coup of 1689.

1697- Portrait of work Sir Godfrey Kneller (1648-1723), the court painter of the English king, was undoubtedly painted from life. The portrait is in the English royal collection of paintings, at Hampton Court Palace. The catalog notes that the background of the painting was painted by Wilhelm van de Velde, a marine painter. According to contemporaries, the portrait was very similar; several copies were made from it; the most famous, the work of A. Belli, is in the Hermitage. This portrait served as the basis for the creation of a huge number of very different images of the king (sometimes faintly similar to the original).

OK. 1697- Portrait of work Pieter van der Werff (1665-1718), the history of its writing is unknown, but most likely it happened during Peter’s first stay in Holland. Purchased by Baron Budberg in Berlin and presented as a gift to Emperor Alexander II. Was in the Tsarskoye Selo Palace, now in State Hermitage.

OK. 1700-1704 engraving by Adrian Schonebeck from a portrait of the work unknown artist. Original unknown.

1711- Portrait by Johann Kupetsky (1667-1740), painted from life in Carlsbad. According to D. Rovinsky, the original was in the Braunschweig Museum. Vasilchikov writes that the location of the original is unknown. I reproduce the famous engraving from this portrait - the work of Bernard Vogel, 1737.

A reworked version of this type of portrait depicted the king in full height and was in the hall of the General Assembly of the Governing Senate. Now located in the Mikhailovsky Castle in St. Petersburg.

1716- portrait of work Benedicta Cofra, court painter of the Danish king. It was most likely written in the summer or autumn of 1716, when the Tsar was on a long visit to Copenhagen. Peter is depicted wearing St. Andrew's ribbon and the Danish Order of the Elephant around his neck. Until 1917 it was in Peter's Palace in the Summer Garden, now in the Peterhof Palace.

1717- portrait of work Carla Moora, who wrote to the king during his stay in The Hague, where he arrived for treatment. From the correspondence of Peter and his wife Catherine, it is known that the Tsar really liked the portrait of Moor and was bought by the prince. B. Kurakin and sent from France to St. Petersburg. I will reproduce the most famous engraving - the work of Jacob Houbraken. According to some reports, Moore's original is now in a private collection in France.

1717- portrait of work Arnold de Gelder (1685-1727), Dutch artist, student of Rembrandt. Written during Peter's stay in Holland, but there is no information that it was painted from life. The original is in the Amsterdam Museum.

1717 - Portrait of the work Jean-Marc Nattier (1686-1766), a famous French artist, was written during Peter’s visit to Paris, undoubtedly from life. It was purchased and sent to St. Petersburg, and later hung in the Tsarskoye Selo Palace. Now it is in the Hermitage, however, there is no complete certainty that this is an original painting and not a copy.

At the same time (in 1717 in Paris), the famous portrait painter Hyacinthe Rigaud painted Peter, but this portrait disappeared without a trace.

Portraits of Peter, painted by his court artists:

Johann Gottfried Tannauer (1680-c1737), Saxon, studied painting in Venice, court artist from 1711. According to entries in the "Jurnal" it is known that Peter posed for him in 1714 and 1722.

1714(?) - The original has not survived, only the engraving made by Wortmann exists.

A very similar portrait was recently discovered in the German city of Bad Pyrmont.

L. Markina writes: “The author of these lines introduced into scientific circulation an image of Peter from the collection of the palace in Bad Pyrmont (Germany), which recalls the visit of this resort town by the Russian emperor. Ceremonial portrait, which bore the features of a natural image, was considered the work of an unknown artist of the 18th century. At the same time, the expression of the image, the interpretation of details, and the baroque pathos revealed the hand of a skilled craftsman.

Peter I spent June 1716 undergoing hydrotherapy in Bad Pyrmont, which had a beneficial effect on his health. As a token of gratitude, the Russian Tsar presented Prince Anton Ulrich Waldeck-Pyrmont with his portrait, which had been in private possession for a long time. Therefore, the work was not known to Russian specialists. Documentary evidence detailing all the important meetings during the treatment of Peter I in Bad Pyrmont did not mention the fact of his posing for any local or visiting painter. The Russian Tsar's retinue numbered 23 people and was quite representative. However, in the list of persons accompanying Peter, where the confessor and cook were indicated, the Hofmaler was not listed. It is logical to assume that Peter brought with him a finished image that he liked and reflected his idea of the ideal monarch. Comparison of engravings by H.A. Wortman, which was based on the original brush by I.G. Tannauer 1714, allowed us to attribute the portrait from Bad Pyrmont to this German artist. Our attribution was accepted by our German colleagues, and the portrait of Peter the Great as the work of I. G. Tannauer was included in the exhibition catalogue."

1716- The history of creation is unknown. By order of Nicholas I, it was sent from St. Petersburg to Moscow in 1835, and was kept rolled up for a long time. A fragment of Tannauer's signature has survived. Located in the Moscow Kremlin Museum.

1710s Profile portrait, previously mistakenly considered to be the work of Kupetsky. The portrait was damaged by an unsuccessful attempt to renew the eyes. Located in the State Hermitage.

1724(?), Equestrian portrait, called "Peter I in the Battle of Poltava", purchased in the 1860s by Prince. A.B. Lobanov-Rostovsky from the family of the deceased chamber-fourier in a neglected state. After cleaning, Tannauer's signature was discovered. Now located in the State Russian Museum.

Louis Caravaque (1684-1754), a Frenchman, studied painting in Marseille, became a court painter in 1716. According to contemporaries, his portraits were very similar. According to the entries in the "Journal", Peter painted from life in 1716 and in 1723. Unfortunately, the indisputable original portraits of Peter painted by Caravaque have not survived; only copies and engravings from his works have reached us.

1716- According to some information, it was written during Peter’s stay in Prussia. The original has not survived, but there is an engraving by Afanasyev, from a drawing by F. Kinel.

A not very successful (added by ships of the allied fleet) copy from this portrait, created by an unknown person. artist, is now in the collection of the Central Naval Museum of St. Petersburg. (D. Rovinsky considered this painting to be original).

A version of the same portrait, which came to the Hermitage in 1880 from the Velika Remeta monastery in Croatia, probably created by an unknown German artist. The king's face is very similar to that painted by Caravaque, but the costume and pose are different. The origin of this portrait is unknown.

1723- the original has not survived, only an engraving by Soubeyran exists. According to "Jurnal", written during the stay of Peter I in Astrakhan. The last lifetime portrait of the Tsar.

This portrait of Caravacca served as the basis for a painting by Jacopo Amiconi (1675-1758), written around 1733 for the prince. Antioch Cantemir, which is located in the Peter's throne room of the Winter Palace.

* * *

Ivan Nikitich Nikitin (1680-1742), the first Russian portrait painter, studied in Florence, became the tsar's court artist around 1715. There is still no complete certainty about which portraits of Peter were painted by Nikitin. From "Jurnale" it is known that the tsar posed for Nikitin at least twice - in 1715 and 1721.

S. Moiseeva writes: “There was a special order from Peter, which ordered persons from the royal entourage to have his portrait by Ivan Nikitin in their house, and to charge the artist one hundred rubles for the execution of the portrait. However, royal portraits that could be compared with the creative handwriting I. Nikitin, almost did not survive. On April 30, 1715, the following was written in the “Journal of Peter”: “Ivan Nikitin painted His Majesty’s half persona. Based on this, art historians were looking for a half-length portrait of Peter I. In the end, it was suggested that this was it.” The portrait should be considered “Portrait of Peter against the backdrop of a naval battle” (Tsarskoye Selo Museum-Reserve). For a long time, this work was attributed to either Caravaque or Tannauer. When studying the portrait, A. M. Kuchumov found out that the canvas has three later bindings - two on top and one on the bottom, thanks to which the portrait became generational. A. M. Kuchumov cited the surviving account of the painter I. Ya. Vishnyakov about the addition to the portrait of His Imperial Majesty “against the portrait of Her Imperial Majesty.” Apparently, in the middle of the 18th century, the need arose to rehang the portraits, and I.Ya. Vishnyakov was given the task of increasing the size of the portrait of Peter I in accordance with the size of the portrait of Catherine. “Portrait of Peter I against the backdrop of a naval battle” is stylistically very close - here we can already talk about the iconographic type of I. N. Nikitin - the relatively recently discovered portrait of Peter from a Florentine private collection, painted in 1717. Peter is depicted in the same pose; noteworthy is the similarity in the writing of the folds and the landscape background."

Unfortunately, I could not find a good reproduction of “Peter against the backdrop of a naval battle” from Tsarskoe Selo (before 1917 in the Romanov Gallery of the Winter Palace). I will reproduce what I managed to get. Vasilchikov considered this portrait to be the work of Tannauer.

1717 - Portrait attributed to I. Nikitin and located in the collection of the Financial Department of Florence, Italy.

Portrait presented to Emperor Nicholas I c. S.S. Uvarov, who inherited it from his father-in-law, Gr. A.K. Razumovsky. Vasilchikov writes: “The legend of the Razumovsky family said that Peter, during his stay in Paris, went into the studio of Rigaud, who was painting a portrait of him, did not find him at home, saw his unfinished portrait, cut out his head from a large canvas with a knife and took it with him. gave it to his daughter Elizaveta Petrovna, and she, in turn, presented it to Count Alexei Grigorievich Razumovsky. Some researchers consider this portrait to be the work of I. Nikitin. Until 1917 it was kept in the Romanov Gallery of the Winter Palace; now in the Russian Museum.

Received from the Strogonov collection. In the Hermitage catalogs compiled in the mid-19th century, the authorship of this portrait is attributed to A.M. Matveev (1701-1739), however, he returned to Russia only in 1727 and could not paint Peter from life and, most likely, only made a copy from Moore's original for bar.S.G. Stroganov. Vasilchikov considered this portrait to be Moor’s original. This is contradicted by the fact that according to all surviving engravings from Moora, Peter is depicted in armor. Rovinsky considered this portrait to be Rigaud’s missing work.

Used literature:

V. Stasov "Gallery of Peter the Great" St. Petersburg 1903
D. Rovinsky "Detailed dictionary of Russian engraved portraits" vol. 3 St. Petersburg, 1888
D. Rovinsky “Materials for Russian iconography” vol.1.
A. Vasilchikov "On portraits of Peter the Great" M 1872
S. Moiseev "On the history of the iconography of Peter I" (article).
L.Markin "RUSSIA of Peter's time" (article)

Let us ask ourselves: what kind of tribe were the first all-Russian autocrats: Tatars, Mongols, Germans, Slavs, Jews, Vepsians, Meryas, Khazars...? What was the genetic background of the Moscow kings?

Take a closer look at the lifetime portraits of Peter I and his wife Catherine I.

Catherine I (Marta Samuilovna Skavronskaya (Kruse) - Russian empress from 1721 as the wife of the reigning emperor, from 1725 as the reigning empress, second wife of Peter I the Great, mother of Empress Elizabeth Petrovna. In her honor, Peter I established the Order of St. Catherine (in 1713 ) and the city of Yekaterinburg in the Urals was named (in 1723).

Portraits of Peter I

Peter I the Great (1672-1725), founder of the Russian Empire, occupies a unique place in the history of the country. His deeds, both great and terrible, are well known and there is no point in listing them. I wanted to write about the lifetime images of the first emperor, and which of them can be considered reliable.

The first known portrait of Peter I is placed in the so-called. "Tsar's Titular Book" or "The Root of Russian Sovereigns", a richly illustrated manuscript created by the embassy order as a reference book on history, diplomacy and heraldry and containing many watercolor portraits. Peter is depicted as a child, even before ascending the throne, apparently at the end. 1670s - early 1680s. The history of this portrait and its authenticity are unknown.

Portraits of Peter I by Western European masters:

OK. 1697- Portrait of work Pieter van der Werff (1665-1718), the history of its writing is unknown, but most likely it happened during Peter’s first stay in Holland. Purchased by Baron Budberg in Berlin and presented as a gift to Emperor Alexander II. It was located in the Tsarskoye Selo Palace, now in the State Hermitage.

OK. 1700-1704 engraving by Adrian Schonebeck from a portrait by an unknown artist. Original unknown.

A converted version of a portrait of this type depicted the king in full growth and was located in the hall of the General Assembly of the Governing Senate. Now located in the Mikhailovsky Castle in St. Petersburg.

At the same time (in 1717 in Paris), the famous portrait painter Hyacinthe Rigaud painted Peter, but this portrait disappeared without a trace.

Portraits of Peter, painted by his court artists:

Johann Gottfried Tannauer (1680-c1737), Saxon, studied painting in Venice, court artist from 1711. According to entries in the "Jurnal" it is known that Peter posed for him in 1714 and 1722.

1714(?) - The original has not survived, only the engraving made by Wortmann exists.

A very similar portrait was recently discovered in the German city of Bad Pyrmont.

L. Markina writes: “The author of these lines introduced into scientific circulation an image of Peter from the collection of the palace in Bad Pyrmont (Germany), which recalls the visit of this resort town by the Russian emperor. The ceremonial portrait, which bore the features of a natural image, was considered the work of an unknown artist XVIII century. At the same time, the expression of the image, the interpretation of details, and baroque pathos betrayed the hand of a skilled craftsman.

1710s Profile portrait, previously mistakenly considered to be the work of Kupetsky. The portrait was damaged by an unsuccessful attempt to renew the eyes. Located in the State Hermitage.

1716- According to some information, it was written during Peter’s stay in Prussia. The original has not survived, but there is an engraving by Afanasyev, from a drawing by F. Kinel.

1723- the original has not survived, only an engraving by Soubeyran exists. According to "Jurnal", written during the stay of Peter I in Astrakhan. The last lifetime portrait of the Tsar.

S. Moiseeva writes: “There was a special order from Peter, which ordered persons from the royal entourage to have his portrait by Ivan Nikitin in their house, and to charge the artist one hundred rubles for the execution of the portrait. However, royal portraits that could be compared with the creative handwriting I. Nikitin, almost did not survive. On April 30, 1715, the following was written in the “Journal of Peter”: “Ivan Nikitin painted His Majesty’s half persona. Based on this, art historians were looking for a half-length portrait of Peter I. In the end, it was suggested that this was it.” The portrait should be considered “Portrait of Peter against the backdrop of a naval battle” (Tsarskoe Selo Museum-Reserve). For a long time, this work was attributed to either Caravaque or Tannauer. When studying the portrait, A. M. Kuchumov found out that the canvas has three later binders - two on top and one on the bottom, thanks to which the portrait became generational. A. M. Kuchumov cited the surviving account of the painter I. Ya. Vishnyakov about the addition to the portrait of His Imperial Majesty “against the portrait of Her Imperial Majesty.” Apparently, in the middle of the 18th century, the need arose to rehang the portraits, and I.Ya. Vishnyakov was given the task of increasing the size of the portrait of Peter I in accordance with the size of the portrait of Catherine. “Portrait of Peter I against the backdrop of a naval battle” is stylistically very close - here we can already talk about the iconographic type of I. N. Nikitin - the relatively recently discovered portrait of Peter from a Florentine private collection, painted in 1717. Peter is depicted in the same pose; noteworthy is the similarity in the writing of the folds and the landscape background."

1717 - Portrait attributed to I. Nikitin and located in the collection of the Financial Department of Florence, Italy.

Literature used: V. Stasov "Gallery of Peter the Great" St. Petersburg 1903

Tsar Fyodor Alekseevich, the son of Alexei Mikhailovich, dying childless, did not appoint an heir for himself. His elder brother John was weak both physically and mentally. All that remained, as the people also wished, was “to be in the kingdom for Peter Alekseevich,” the son from the second wife of Alexei Mikhailovich.

But Ioann’s sister, Princess Sofya Alekseevna, seized power, and ten-year-old Peter, despite the fact that he was married to his brother Ioann and was called Tsar, was a disgraced Tsar. They did not care about his upbringing, and he was completely left to himself; but, being gifted with all the gifts of nature, he himself found himself a teacher and friend in the person of a Geneva native, Franz Lefort.

To learn arithmetic, geometry, fortification and artillery, Peter found himself a teacher, the Dutchman Timmerman. The previous Moscow princes did not receive a scientific education, Peter was the first to turn to Western foreigners for science. The conspiracy against his life failed, Sophia was forced to retire to the Novodevichy Convent, and on September 12, 1689, the reign of Peter the Great began, when he was just over 17 years old. It is impossible to list here all the glorious deeds and reforms of Peter, which gave him the nickname of the Great; Let's just say that he transformed and educated Russia according to the model Western states and the first gave impetus to it becoming a powerful power at the present time. In his hard work and worries about his state, Peter did not spare himself and his health. Our capital St. Petersburg, founded in 1703, on May 16, on the island of Lust-Eyland, taken from the Swedes, owes its existence to him. Peter the Great was the founder of the Russian navy and regular army. He died in St. Petersburg on January 28, 1725.

Krivoshlyk's story

Peter 1 themed pictures

Lifetime portraits of Peter I
PETER I
Peter I the Great (1672-1725), founder of the Russian Empire, occupies a unique place in the history of the country. His deeds, both great and terrible, are well known and there is no point in listing them. I wanted to write about the lifetime images of the first emperor, and which of them can be considered reliable.
The first known portrait of Peter I is placed in the so-called. "Tsar's Titular Book" or "The Root of Russian Sovereigns", a richly illustrated manuscript created by the embassy order as a reference book on history, diplomacy and heraldry and containing many watercolor portraits. Peter is depicted as a child, even before ascending the throne, apparently at the end. 1670s - early 1680s. The history of this portrait and its authenticity are unknown.
✂…">
Portraits of Peter I by Western European masters:
1685- engraving from an unknown original; created in Paris by Larmessen and depicts Tsars Ivan and Peter Alekseevich. The original was brought from Moscow by ambassadors - Prince. Ya.F. Dolgoruky and Prince. Myshetsky. The only known reliable image of Peter I before the coup of 1689.
1697- Portrait of work Sir Godfrey Kneller (1648-1723), the court painter of the English king, was undoubtedly painted from life. The portrait is in the English royal collection of paintings, at Hampton Court Palace. The catalog notes that the background of the painting was painted by Wilhelm van de Velde, a marine painter. According to contemporaries, the portrait was very similar; several copies were made from it; the most famous, the work of A. Belli, is in the Hermitage. This portrait served as the basis for the creation of a huge number of very different images of the king (sometimes faintly similar to the original).
OK. 1697- Portrait of work Pieter van der Werff (1665-1718), the history of its writing is unknown, but most likely it happened during Peter’s first stay in Holland. Purchased by Baron Budberg in Berlin and presented as a gift to Emperor Alexander II. It was located in the Tsarskoye Selo Palace, now in the State Hermitage.
OK. 1700-1704 engraving by Adrian Schonebeck from a portrait by an unknown artist. Original unknown.
1711- Portrait by Johann Kupetsky (1667-1740), painted from life in Carlsbad. According to D. Rovinsky, the original was in the Braunschweig Museum. Vasilchikov writes that the location of the original is unknown. I reproduce the famous engraving from this portrait - the work of Bernard Vogel, 1737.
A converted version of a portrait of this type depicted the king in full growth and was located in the hall of the General Assembly of the Governing Senate. Now located in the Mikhailovsky Castle in St. Petersburg.
1716- portrait of work Benedicta Cofra, court painter of the Danish king. It was most likely written in the summer or autumn of 1716, when the Tsar was on a long visit to Copenhagen. Peter is depicted wearing St. Andrew's ribbon and the Danish Order of the Elephant around his neck. Until 1917 it was in Peter's Palace in the Summer Garden, now in the Peterhof Palace.
1717- portrait of work Carla Moora, who wrote to the king during his stay in The Hague, where he arrived for treatment. From the correspondence of Peter and his wife Catherine, it is known that the Tsar really liked the portrait of Moor and was bought by the prince. B. Kurakin and sent from France to St. Petersburg. I will reproduce the most famous engraving - the work of Jacob Houbraken. According to some reports, Moore's original is now in a private collection in France.
1717- portrait of work Arnold de Gelder (1685-1727), Dutch artist, student of Rembrandt. Written during Peter's stay in Holland, but there is no information that it was painted from life. The original is in the Amsterdam Museum.
1717 - Portrait of the work Jean-Marc Nattier (1686-1766), a famous French artist, was written during Peter’s visit to Paris, undoubtedly from life. It was purchased and sent to St. Petersburg, and later hung in the Tsarskoye Selo Palace. Now it is in the Hermitage, however, there is no complete certainty that this is an original painting and not a copy.
At the same time (in 1717 in Paris), the famous portrait painter Hyacinthe Rigaud painted Peter, but this portrait disappeared without a trace.
Portraits of Peter, painted by his court artists:
Johann Gottfried Tannauer (1680-c1737), Saxon, studied painting in Venice, court artist from 1711. According to entries in the "Jurnal" it is known that Peter posed for him in 1714 and 1722.
1714(?) - The original has not survived, only the engraving made by Wortmann exists.
A very similar portrait was recently discovered in the German city of Bad Pyrmont.
L. Markina writes: “The author of these lines introduced into scientific circulation an image of Peter from the collection of the palace in Bad Pyrmont (Germany), which recalls the visit of this resort town by the Russian emperor. The ceremonial portrait, which bore the features of a natural image, was considered the work of an unknown artist XVIII century. At the same time, the expression of the image, the interpretation of details, and baroque pathos betrayed the hand of a skilled craftsman.
Peter I spent June 1716 undergoing hydrotherapy in Bad Pyrmont, which had a beneficial effect on his health. As a token of gratitude, the Russian Tsar presented Prince Anton Ulrich Waldeck-Pyrmont with his portrait, which had been in private possession for a long time. Therefore, the work was not known to Russian specialists. Documentary evidence detailing all the important meetings during the treatment of Peter I in Bad Pyrmont did not mention the fact of his posing for any local or visiting painter. The Russian Tsar's retinue numbered 23 people and was quite representative. However, in the list of persons accompanying Peter, where the confessor and cook were indicated, the Hofmaler was not listed. It is logical to assume that Peter brought with him a finished image that he liked and reflected his idea of the ideal monarch. Comparison of engravings by H.A. Wortman, which was based on the original brush by I.G. Tannauer 1714, allowed us to attribute the portrait from Bad Pyrmont to this German artist. Our attribution was accepted by our German colleagues, and the portrait of Peter the Great as the work of I. G. Tannauer was included in the exhibition catalogue."
1716- The history of creation is unknown. By order of Nicholas I, it was sent from St. Petersburg to Moscow in 1835, and was kept rolled up for a long time. A fragment of Tannauer's signature has survived. Located in the Moscow Kremlin Museum.
1710s Profile portrait, previously mistakenly considered to be the work of Kupetsky. The portrait was damaged by an unsuccessful attempt to renew the eyes. Located in the State Hermitage.
1724(?), Equestrian portrait, called "Peter I in the Battle of Poltava", purchased in the 1860s by Prince. A.B. Lobanov-Rostovsky from the family of the deceased chamber-fourier in a neglected state. After cleaning, Tannauer's signature was discovered. Now located in the State Russian Museum.
Louis Caravaque (1684-1754), a Frenchman, studied painting in Marseille, became a court painter in 1716. According to contemporaries, his portraits were very similar. According to the entries in the "Journal", Peter painted from life in 1716 and in 1723. Unfortunately, the indisputable original portraits of Peter painted by Caravaque have not survived; only copies and engravings from his works have reached us.
1716- According to some information, it was written during Peter’s stay in Prussia. The original has not survived, but there is an engraving by Afanasyev, from a drawing by F. Kinel.
A not very successful (added by ships of the allied fleet) copy from this portrait, created by an unknown person. artist, is now in the collection of the Central Naval Museum of St. Petersburg. (D. Rovinsky considered this painting to be original).
A version of the same portrait, which came to the Hermitage in 1880 from the Velika Remeta monastery in Croatia, probably created by an unknown German artist. The king's face is very similar to that painted by Caravaque, but the costume and pose are different. The origin of this portrait is unknown.
1723- the original has not survived, only an engraving by Soubeyran exists. According to "Jurnal", written during the stay of Peter I in Astrakhan. The last lifetime portrait of the Tsar.
This portrait of Caravacca served as the basis for a painting by Jacopo Amiconi (1675-1758), written around 1733 for the prince. Antioch Cantemir, which is located in the Peter's throne room of the Winter Palace.
* * *
Ivan Nikitich Nikitin (1680-1742), the first Russian portrait painter, studied in Florence, became the tsar's court artist around 1715. There is still no complete certainty about which portraits of Peter were painted by Nikitin. From "Jurnale" it is known that the tsar posed for Nikitin at least twice - in 1715 and 1721.
S. Moiseeva writes: “There was a special order from Peter, which ordered persons from the royal entourage to have his portrait by Ivan Nikitin in their house, and to charge the artist one hundred rubles for the execution of the portrait. However, royal portraits that could be compared with the creative handwriting I. Nikitin, almost did not survive. On April 30, 1715, the following was written in the “Journal of Peter”: “Ivan Nikitin painted His Majesty’s half persona. Based on this, art historians were looking for a half-length portrait of Peter I. In the end, it was suggested that this was it.” The portrait should be considered “Portrait of Peter against the backdrop of a naval battle” (Tsarskoye Selo Museum-Reserve). For a long time, this work was attributed to either Caravaque or Tannauer. When studying the portrait, A. M. Kuchumov found out that the canvas has three later bindings - two on top and one on the bottom, thanks to which the portrait became generational. A. M. Kuchumov cited the surviving account of the painter I. Ya. Vishnyakov about the addition to the portrait of His Imperial Majesty “against the portrait of Her Imperial Majesty.” Apparently, in the middle of the 18th century, the need arose to rehang the portraits, and I.Ya. Vishnyakov was given the task of increasing the size of the portrait of Peter I in accordance with the size of the portrait of Catherine. “Portrait of Peter I against the backdrop of a naval battle” is stylistically very close - here we can already talk about the iconographic type of I. N. Nikitin - the relatively recently discovered portrait of Peter from a Florentine private collection, painted in 1717. Peter is depicted in the same pose; noteworthy is the similarity in the writing of the folds and the landscape background."
Unfortunately, I could not find a good reproduction of “Peter against the backdrop of a naval battle” from Tsarskoe Selo (before 1917 in the Romanov Gallery of the Winter Palace). I will reproduce what I managed to get. Vasilchikov considered this portrait to be the work of Tannauer.
1717 - Portrait attributed to I. Nikitin and located in the collection of the Financial Department of Florence, Italy.
Portrait presented to Emperor Nicholas I c. S.S. Uvarov, who inherited it from his father-in-law, Gr. A.K. Razumovsky. Vasilchikov writes: “The legend of the Razumovsky family said that Peter, during his stay in Paris, went into the studio of Rigaud, who was painting a portrait of him, did not find him at home, saw his unfinished portrait, cut out his head from a large canvas with a knife and took it with him. gave it to his daughter Elizaveta Petrovna, and she, in turn, presented it to Count Alexei Grigorievich Razumovsky. Some researchers consider this portrait to be the work of I. Nikitin. Until 1917 it was kept in the Romanov Gallery of the Winter Palace; now in the Russian Museum.
Received from the Strogonov collection. In the Hermitage catalogs compiled in the mid-19th century, the authorship of this portrait is attributed to A.M. Matveev (1701-1739), however, he returned to Russia only in 1727 and could not paint Peter from life and, most likely, only made a copy from Moore's original for bar.S.G. Stroganov. Vasilchikov considered this portrait to be Moor’s original. This is contradicted by the fact that according to all surviving engravings from Moora, Peter is depicted in armor. Rovinsky considered this portrait to be Rigaud’s missing work.
Used literature:
V. Stasov "Gallery of Peter the Great" St. Petersburg 1903
D. Rovinsky "Detailed dictionary of Russian engraved portraits" vol. 3 St. Petersburg, 1888
D. Rovinsky “Materials for Russian iconography” vol.1.
A. Vasilchikov "On portraits of Peter the Great" M 1872
S. Moiseev "On the history of the iconography of Peter I" (article).
L.Markin "RUSSIA of Peter's time" (article)

Publications in the Museums section
Peter I: biography in portraits
Soviet painting began to develop in Russia precisely under Peter I, and paintings in the European style replaced the ancient parsuns. How artists depicted the emperor at different periods of his life - material from the portal “Culture.RF” will tell you..
Portrait from the Tsar's Title Book
Unknown artist. Portrait of Peter I. “The Tsar’s Titular”

Peter I was born on June 9, 1672 into the large family of Tsar Alexei Mikhailovich. Peter was the fourteenth child, which, however, did not prevent him from subsequently taking the Russian throne: the Tsar’s eldest sons died, Fyodor Alekseevich ruled only for six years, and Ivan Alekseevich in the future became only Peter’s co-ruler. After the death of his father, the boy lived in the village of Preobrazhenskoye near Moscow, where he played soldiers, commanded “amusing troops” consisting of his peers, and studied literacy, military affairs and history. At this age, even before his early accession to the throne, he was depicted in the “Tsar's Titular Book” - a historical reference book of those years. The “Tsar's Titular Book” was created by the Ambassadorial Prikaz, the predecessor of the Ministry of Foreign Affairs, as a gift to Tsar Alexei Mikhailovich.
Together with the authors - diplomat Nikolai Milescu-Spafaria and clerk Pyotr Dolgiy - leading artists of their time who painted portraits of Russian and foreign rulers - Ivan Maximov, Dmitry Lvov, Makariy Mitin-Potapov - worked on the creation of the titular book. However, which of them became the author of the portrait of Peter is not known for certain.

Engraving by Larmessen
Larmessen. Engraving of Peter I and his brother Ivan

This French engraving depicts two young Russian tsars ruling simultaneously - Peter I and his older brother Ivan. Unique to Russian history the case became possible after the Streletsky riot. Then Sophia, the boys’ older sister, with the support of the Streltsy army, opposed the decision to transfer the throne after the death of Tsar Fyodor Alekseevich to Peter, bypassing the sickly Tsarevich Ivan (who, as historians suggest, suffered from dementia). As a result, both boys, 16-year-old Ivan and 10-year-old Peter, were married to the kingdom. A special throne was even made for them with two seats and a window in the back, through which their regent, Princess Sophia, gave various instructions.

Portrait of Pieter van der Werf
Pieter van der Werf. Portrait of Peter I. Approx. 1697. Hermitage

After the removal of Princess Sophia from the role of regent in 1689, Peter became the sole ruler. His brother Ivan voluntarily renounced the throne, although he was nominally considered the tsar. In the first years of his reign, Peter I focused on foreign policy- war with the Ottoman Empire. In 1697–1698, he even assembled a Grand Embassy to travel to Europe to find allies in the fight against his main enemy. But a trip to Holland, England and other countries gave other results - Peter I was inspired in a European way life and technical achievements and changed Russia’s foreign policy course to strengthening relations with the Western world. When Peter was in Holland, his portrait was painted by local artist Pieter van der Werf.

Engraving by Andrian Schonebeck
Andrian Schonebeck. Peter I. Ok. 1703

After returning to Russia, Peter I launched reforms aimed at Europeanizing the country. To achieve this, he took various measures: he banned the wearing of beards, made the transition to the Julian calendar, and moved the New Year to January 1. In 1700, Russia declared war on Sweden in order to return lands that previously belonged to Russia and access the Baltic Sea. In 1703, on the conquered territory, Peter founded St. Petersburg, which subsequently served as the capital of the Russian Empire for more than 200 years.

Portrait of Ivan Nikitin
Ivan Nikitin. Portrait of Peter I. 1721. State Russian Museum

Peter continued active work on large-scale changes in the country. He carried out army reforms, created a navy, and reduced the role of the church in the life of the state. Under Peter I, the first newspaper in Russia, St. Petersburg Vedomosti, appeared, the first museum, the Kunstkamera, was opened, the first gymnasium, the University and the Academy of Sciences were founded. Architects, engineers, artists and other specialists invited from Europe came to the country, who not only created on the territory of Russia, but also passed on their experience to their Russian colleagues.
Also, under Peter I, many scientists and artists went to study abroad - such as Ivan Nikitin, the first court artist to be educated in Florence. Peter liked the portrait by Nikitin so much that the emperor ordered the artist to make copies of it for the royal entourage. The potential owners of the portraits themselves had to pay for Nikitin’s work.

Portrait of Louis Caravaque
Louis Caravaque. Portrait of Peter I. 1722. State Russian Museum

In 1718, one of the most dramatic events in the life of Peter I took place: his possible heir Tsarevich Alexei was sentenced to death by the court as a traitor. According to the investigation, Alexey was preparing a coup d'etat in order to subsequently take the throne. The court's decision was not carried out - the prince died in a cell in the Peter and Paul Fortress. In total, Peter I had 10 children from two wives - Evdokia Lopukhina (Peter forcibly tonsured her as a nun a few years after the wedding) and Martha Skavronskaya (the future Empress Catherine I). True, almost all of them died in infancy, except for Anna and Elizabeth, who became empress in 1742.

Portrait of Johann Gottfried Tannauer
Johann Gottfried Tannauer. Portrait of Peter I. 1716. Moscow Kremlin Museum

In Tannauer's painting, Peter I is depicted in full height, and the emperor's height was outstanding - 2 meters 4 centimeters. The French Duke Saint-Simon, with whom Peter I was visiting in Paris, described the emperor as follows: “He was very tall, well-built, rather thin, with a round face, high forehead, beautiful eyebrows; his nose is quite short, but not too short and somewhat thick towards the end; the lips are quite large, the complexion is reddish and dark, beautiful black eyes, large, lively, penetrating, beautifully shaped; the look is majestic and welcoming when he watches himself and restrains himself, otherwise stern and wild, with convulsions on the face that are not repeated often, but distort both the eyes and the whole face, frightening everyone present. The spasm usually lasted one moment, and then his gaze became strange, as if confused, then everything immediately took on its normal appearance. His whole appearance showed intelligence, reflection and greatness and was not without charm.”.

Ivan Nikitin. "Peter I on his deathbed"
Ivan Nikitin. Peter I on his deathbed. 1725. State Russian Museum

IN recent years Peter I continued to lead an active lifestyle, despite serious problems with health. In November 1724, he became seriously ill after standing waist-deep in water while pulling out a ship that had run aground. On February 8, 1725, Peter I died in terrible agony in the Winter Palace. The same Ivan Nikitin was invited to paint the posthumous portrait of the emperor. He had plenty of time to create the picture: Peter I was buried only a month later, and before that his body remained in Winter Palace so that everyone can say goodbye to the emperor.