Vasily Andreevich Tropinin, “The Lacemaker”

Vasily Andreevich Tropinin was a serf of Count Minich from birth. As a thing, together with the dowry of Minikh’s daughter, it passed to Count Morkov. It was the latter who recognized the artist’s talent in the young man and sent him to St. Petersburg, where Tropinin, at the age of 21, became an “outsider student” of the Academy of Arts.

Despite the fact that training at the academy, as a rule, began from childhood, considering that drawing and painting require training from infancy, Tropinin, who entered it relatively late, studied successfully, and within a few years one of his first paintings had a large exhibition at the exhibition. success. But by this time the master had called him back to the estate, where he became a serf painter. Only at the age of 47 did the artist receive his freedom certificate.

Together with the serf artist Tropinin, images of people who, according to representatives of official art, could not serve as a “captivating model” entered Russian art. These are “Servant with Damask”, “Old Woman with Chicken”, “Spinner”, “Peasant Planing a Crutch”.

These and many other pictures are evidence that the working man is truly a “captivating model.” It was in 1823, the year when he became free, that Tropinin created one of his best paintings, “The Lacemaker.”

Tropinin strove for truthful canvases, devoid of official pomp; the painting “The Lacemaker” was especially successful for him. The girl “forgot” that she was posing for a portrait: she was working. The lacemaker only glanced at the painter for a second, but her hands continued their work. One hand holds a bobbin, the other sticks a pin. At the bottom of the picture we see a small part of the work - the edge of that delicate, lush, beautiful lace, which was used for tens of meters on the costumes of the ladies of the court and over which the serfs spoiled their eyesight.

The lacemaker herself is dressed in a modest dress, with a poor scarf on her shoulders. But this familiar clothing softly fits the body and reveals its plasticity better than the ladies’ dresses that are stiff with gold embroidery and starch, and the more clearly the beauty and freshness of the girl, her elastic, healthy skin are visible.

The clear and joyful spiritual world of the girl is easily read on her face, her sly gaze glows with youthful enthusiasm. The artist drew in great detail the hands of the craftswoman, the hands of a working person since childhood. They seem to live their own lives, habitually continuing to work, although the girl looks away. The nails on the lacemaker’s hands are neatly trimmed so that (God forbid!) they do not touch the lace thread or spoil it. Spoiled work threatened the lord's anger, and sometimes even physical violence.

Tropinin worked a lot to order, creating paintings of varying artistic value. Among these works one can find official portraits, cold, painted by an artist with a closed soul. But the master’s best paintings stand out for their special sincerity: they include portraits of his wife, son and a magnificent portrait of A.S. Pushkin. The portrait, painted in 1827, was commissioned by Tropinin by Pushkin himself for his friend S.A. Sobolevsky, who, according to a contemporary, “wanted to preserve the image of the poet as he was, as he was more often.” Pushkin on Tropinin’s canvas is not a classic and a romantic, but rather the author of “Boris Godunov” and the village chapters of “Eugene Onegin” - sociable and witty, caustic and gentle, a thinker and writer.

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V.A. Tropinin “The Lacemaker”:
History of the painting

“The best teacher is nature; you need to surrender to it with all your soul, love it with all your heart, and then man himself will become purer, more moral... I owe everything to nature.”
These innermost words were spoken by one of the most integral and charming, spiritually pure people of that time, the wonderful Russian painter Vasily Andreevich Tropinin. He also worked in the first half of the 19th century.
His fate bears traces of those adversities, that yoke that was called serfdom.
The right to own the life of another, perhaps a hundred times better and naturally gifted person.

The son of a serf peasant, Vasily Tropinin, experienced many of the “delights” of the then way of life. His owner, the landowner Count Morkov, portrayed a philanthropist.
He “patronized” the fine arts... He early noticed Vasily’s remarkable artistic abilities and decided to send him to study in St. Petersburg at the Academy of Arts.
Young Tropinin ends up in the studio of portrait painter S. Shchukin, where he undergoes a fundamental school of drawing and painting. It seemed like a miracle was happening...
But Vasily’s illusory happiness did not last so long, only a few years.
Its owner, Count Morkov, orders the return of his ward. There, on a remote estate in Little Russia, he appoints Vasily Tropinin as a house painter. Which, as you know, was common... But, so that the serf knew his place, the count orders that Vasily, at the same time as practicing art, bear the most common, everyday duties of a courtyard man. Simply put, servants.
However, this personal drama did not break the talented, already established master. He seems oblivious to the difficult realities... and writes diligently.

V.A. Tropinin had never been abroad and developed his talent by studying nature, living mainly in Little Russia. And his talent and artistic skill were such that many mistook V. Tropinin’s portraits for works by Rembrandt, they had so much amazing color and power of lighting. The graceful female heads brought him the fame of the “Russian Dream”. The artist did not correct the nature of the model or embellish it with artificial effects; with all possible care he conveyed the almost elusive features of the face of the person depicted. The poses of people in V. Tropinin are natural and varied, the execution is impeccable, and the picturesque effect comes from the striking resemblance to the nature of the model.

In 1823, an event of great importance occurred in the life of V. Tropinin: a serf of Count Morkov, he finally received freedom from slavery. This happened on Easter, when “Count Morkov, instead of a red egg, gave V. Tropinin a vacation package.” But alone, without a son... Then V. Tropinin was 47 years old, and in the same year he presented three of his canvases to the Council of the Academy of Arts (for the title of artist), including the famous “Lacemaker”.

His “Lacemaker” was written in 1823, in that cherished year when he left the estate of Count Morkov.
And, filled with the expectation of happiness, the artist creates a picture that is included, as a classic, in all the best publications dedicated to Russian art. It is a masterpiece.
It was she who was especially warmly received by the public at the exhibition at the Academy of Arts and immediately became widely known.

Having become a free man, V. Tropinin could settle in St. Petersburg, but a metropolitan career did not tempt him. “I was all under the command, but again I will have to obey... first one, then another. No, to Moscow,” the artist often said and settled forever in his long-loved city.

With the resettlement to Moscow, a new period of V. Tropinin’s work begins, and the most poetic group of paintings here consists of images of young women at needlework (“Gold Sewing”, “For Stitching”, etc.).

Who were all these “Seamstresses”, “Lacemakers”, “Goldseammakers”? Probably not noble ladies who took up needlework out of boredom. Were they street girls or Moscow needlewomen? In any case, they all go back to the artist’s Ukrainian impressions, and perhaps on his canvases he depicted serf needlewomen working in the landowner’s workshops.

Such is the “Lacemaker”, which became a new phenomenon in the pictorial art of that time. V.A. Tropinin created in this work a certain type of genre portrait-painting.

Perhaps a modern viewer will find in the canvas features of some sentimentality or a peaceful idealization of reality, but Tropinin’s muse was characterized by gentle thoughtfulness. He was not a fighter. His sensitive and pure soul may have put up with a lot.
He honored the beauty of a working man. “The Lacemaker” touchingly extols the feeling of inner dignity, preserved despite any obstacles in an ugly way of life.

The pretty face of the “Lacemaker” with a slight smile is warmly addressed to the viewer, as if she had only stopped for a moment, pinning the pattern with her small hand... Everything about this girl is elastic: her face, her head, and her hands... Elastic and the movement of these little ones hands, especially the left one, not supported by anything, but stopped in the air with complete certainty. An enchanting charm shines through in these forms - nothing vague, unsaid, indefinite, foggy. “The Lacemaker” slyly and shyly casts a glance at us from a century and a half away. In this image of an oppressed but beautiful peasant woman there is the perfection of a harmonious sense of human personality, fluid, changeable, fluctuating like a candle flame, but beautiful.

Tropinin reflected only a moment of existence. The dramaturgy of complex and sometimes difficult everyday life, the prose of life - behind the canvas. She is only slightly discernible in the certain stiffness of the woman’s posture, in the elusive movement of this sweet girl’s shoulders.

By this time, V. Tropinin’s shyness and uncertainty in drawing had already disappeared; now only conscious deviations from nature, and not student errors, were possible for him. He lovingly hands over the objects of his heroine's craftsmanship - bobbins and a piece of linen with begun lace. When choosing light colors for his “Lacemaker,” the artist constantly introduces gray into them. So, in the sleeves of her dress, blue and green shades shimmer against a background of gray, the lilac silk of the scarf comes to life next to this neutral background, and this iridescent range of lilac-gray tones of the scarf and gray dress gently caresses the viewer’s eye.

Tropinin's "Lacemaker", like his other needlewomen, was often called the sisters of "poor Liza" - the heroine of N. Karamzin's story. Published for the first time in 1792 in the Moscow Journal, this story soon acquired such fame that only the popularity of Tropinin’s “The Lacemaker” can be compared. As if anticipating her appearance, N. Karamzin writes about his heroine that she, “not sparing her rare beauty, worked day and night.” Like Lisa, who lives in a hut but bears little resemblance to a peasant woman, V. Tropinin’s “The Lacemaker” is also idealized. But “such a tendency for young ladies to transform into peasant women (or the discovery of a noble nature in peasant women),” as E.F. notes. Petinova, is just one of the characteristic signs of that time, captured by V. Tropinin.”

Depicted at work, the “Lacemaker” smiles coquettishly, and this “idealization” has been noted by many art critics. For example, N. Kovalenskaya writes in her study that “the hands of the “Lacemaker” are raised with grace, perhaps somewhat deliberate.” The graceful turn of her figure, the leisurely gesture of her gentle hands involuntarily suggest that her work is a pleasant game. But if this is a game, then V. Tropinin makes the viewer believe in the naturalness of this game, in the simplicity and modesty of his “Lacemaker”.

It is not for nothing that P. Svinin, a contemporary of V. Tropinin, noted that “both experts and non-experts come to admiration when looking at this picture, which truly unites all the beauties of pictorial art: the pleasantness of the brush, the correct, happy lighting, the clear, natural coloring. Moreover, in the portrait itself the soul of the beauty is revealed and that sly glance of curiosity that she cast at someone who entered at that moment. Her arms, bared by the elbow, stopped along with her gaze, her work stopped, a sigh escaped from her virgin breast, covered with a muslin scarf - and all this is depicted with such truth and simplicity.”

During his long life, Vasily Tropinin created many glorious paintings - portraits, genres. They are good. In many of them, especially in later works, you recognize the familiar faces of Moscow nobles, highlighted by the genius of Griboyedov, Gogol, Turgenev...

But three portraits: his son, the lacemaker and Pushkin shine like unattainable peaks in his work. They seem to reflect some moments of supreme insight, when the artist, with a unique and inimitable ease and freedom, seems to be singing a song given to him by nature. They contain freshness, unspent mental strength, integrity and inviolability of his inner world, love for people, a reserve of goodness.

These canvases demonstrate the properties of his nature, broad, faithful to his calling, supportive of the misfortune of others, forgiving many of the hardships of everyday prose.
Tropinin left people with a trace of his humane and, perhaps, somewhat simple-minded view of the world.

Based on materials
"One Hundred Great Paintings" by N.A. Ionin, Veche Publishing House, 2002
"Masters and Masterpieces", I. Dolgopolov, 2000

The painting “The Lacemaker” is one of the most famous paintings by V.A. Tropinin. It was written in 1823 - the year when the 47-year-old serf artist received his freedom. “The Lacemaker” was warmly received by both critics and the public, and became a great phenomenon in Russian painting.

Before us is a new type of genre portrait, it is dedicated to the image of a worker and her painstaking work. Tropinin captured one moment in the life of a young serf girl doing needlework.

The pretty face of the needlewoman, who interrupted her work for a moment to look at the newcomer, is welcoming and friendly. The whole appearance of the girl seems to say that work is not a burden to her at all.

In the film “The Lacemaker,” Tropinin’s artistic talent was fully revealed. We see a confident drawing, proper lighting, natural coloring. For his heroine, the artist chooses light colors, introducing silver and lilac-gray shades into them. The artist carefully and lovingly paints the objects of the needlewoman’s skill – bobbins and part of the lace fabric.

The artist idealizes his heroine, making her little like a peasant woman. It may seem that her hands are too gentle, there is coquetry in her eyes, and her movements are deliberately graceful. But the artist makes the viewer believe in the simplicity and modesty of the girl, in the nobility of her nature. The prose of harsh everyday life remains behind the canvas, but it is, of course, discerned by the viewer - in the timid movement of the shoulders, in the certain stiffness of the pose of the young peasant woman.

In his painting, V.A. Tropinin glorifies the harmony and sense of inner dignity inherent in a working person and preserved by him throughout his life, regardless of any conditions of ugly life.

In addition to the description of the painting by V. A. Tropinin “The Lacemaker,” our website contains many other descriptions of paintings by various artists, which can be used both in preparation for writing an essay on the painting, and simply for a more complete acquaintance with the work of famous masters of the past.

The portrait “The Lacemaker” was painted in 1823 by the Russian artist V.A. Tropinin. Vasily Andreevich was a serf, which allowed him to so easily portray a woman at work. This work is his most famous.

In the picture we see a girl at work, with a sweet and friendly face. There's a sparkle of laughter in her eyes. It seems that the portrait was not drawn with any posing, but that the moment of the work was captured and the girl is a little embarrassed that she is being painted. We can imagine that she is adding lace to the scarf of her hostess, who will receive guests in the evening. Most likely, the girl works in her small room, in which there is a bed and this machine.

The peasant woman is dressed in simple but neat clothes. She is wearing a green dress, which emphasizes her purity and spiritual simplicity. The shoulders are covered with a simple white cloth scarf. Her hair is tied in a low bun so that it does not interfere with her work. But some curls stand out, which adds special charm and playfulness to her. Her hands are very graceful, and you can see the skill she has honed in lace weaving. The girl from the portrait is attractive. The peasant woman occupies a central place in the picture and it is impossible to take your eyes off her natural beauty.

Apart from the girl, all other objects are drawn in detail. These include bobbins on a piece of fabric that are similar to the color of her hair, and miniature scissors located on the edge of the table. All these did, make the image of a lacemaker complete. It's like they're allowing you to look at her work for a minute. It is clear that the girl is good at her job.

The lighting is also perfect. We dare to assume that behind the girl there is a large window or balcony that illuminates her with sunlight. The light is directed onto her hand and the woven fabric.

It is clear that the peasant woman’s work is not easy, but she likes it. The picture is filled with special warmth; the atmosphere of that time is conveyed through authentic everyday life. The painting was painted in warm colors in order to convey the warmth not only of this house, but also the character of all the peasants, one of whom was the author of the portrait, until he received his freedom from his owner.

This painting gave rise to a new direction in drawing portraits - the type portrait. This is when a certain type of class is depicted.

The multi-wise Litrekon presents to your attention two versions of essays according to the plan: for boys and for girls. Each of you will be able to choose the job that he likes. If you were missing something in your essay, write about it in the comments and we’ll fix it.

Option 1 (male)

(180 words) V. A. Tropinin was a serf almost all his life. But at the age of 47, his owners released him. Soon he presented several paintings to the St. Petersburg Academy of Arts, for which he received the official title of artist. He became the creator of a new type of portrait, drawing attention to ordinary people and their way of life. The canvas “The Lacemaker” was written in 1823 and presented to the Academy of Arts. Critics enthusiastically greeted this work by the novice author.

The painting shows a woman weaving lace. Just her and her lace loom, no more details. This is how the artist draws attention to his heroine. It's quite a difficult job, but she does it with a smile. The woman is attractive, her beauty is discreet, but noticeable. The craftswoman has dark hair, neatly tied up, dark eyes and eyebrows. In her image, the master showed the joy of work. The picture is dominated by soft, muted tones that evoke a feeling of softness and comfort. There is a lot of yellow and grayish tints here. The image of a lacemaker evokes joy and elation.

I liked the painting by V. A. Tropinin, because this artist was able to show hard work beautifully and festively. His heroine inspires optimism and hope that any effort will be rewarded with inner satisfaction.

Option 2 (female)

(171 words) The artist V. A. Tropinin experienced many difficult moments in his life. He was a serf until he was almost 50 years old. Therefore, he painted wonderful masters of their craft who derive joy from their work and seem to be transformed from the inside while sitting at work.

The author depicted a young woman weaving lace. In the picture we see the needlewoman herself, lace, bobbins and a box with needlework. The details are carefully written out, which emphasizes the atmosphere of calm and honest work. The image of the heroine herself was created with love: all the lines of her silhouette are soft, attracting the eye, there is something charming and sly in her smile. A woman expresses beauty and tenderness. She is not at all burdened by work; the author finds beauty in hard and monotonous work. The colors of the bed flowers do not distract attention from the heroine; the eye rests on her attractive figure.

I liked the painting by V. A. Tropinin, because he showed that a woman can always be beautiful, even at work. Moreover, her work has an unattainable charm that is so lacking in ceremonial portraits of rich but idle heroines. They just sit and look at one point, but “The Lacemaker” tells a story with every stroke of the painter.

1. Introduction (History of the artist and his work);
2. Main part (Description of the painting);
3. Conclusion (My opinion about “The Lacemaker”).