Portrait of tsarina natalia kirillovna. Not earlier than 1676. State russian museum, zh-3943. Oil on canvas. 126. 5 x 95. 5 cm. Accession from the state hermitage museum in 1925 (romanov gallery collection). Attribution i. I. Khilimochik (khilimochik 2004). Late january – early february 1694 (?) displayed at mikhailovsky castle, hall 209. Life guards’ quarters depicted in a widow’s veil, which could only have appeared after the death of tsar alexei mikhailovich in 1676. However, there is a reasonable assumption that the portrait of the tsarina could have been executed by the armoury chamber painter mikhail choglokov immediately after her death on 25 january 1694, and completed on 9 february. The author of the version refers to the artist's petition discovered by i. E. Zabelin, which states: ". . I painted the image of the assumption of the blessed empress and grand duchess natalia kirillovna on canvas in person using painted writing. . ". From the petition, published by the researcher of early russian portraiture e. S. Ovchinnikova, it also followed that "choglokov worked on the portrait of natalia kirillovna at his home for 9 days, from january 25 to february 6, 1694" (ovchinnikova. P. 123). In the last third of the 17th century, the painted portrait "at the assumption" became widespread. As the author of the attribution wrote, ". . Unlike a tombstone image placed in a church environment and executed in the traditions of an iconographic image, a painted portrait "in the dormition", painted on canvas, in a new oil technique, was supposed to be in secular chambers for the memory of descendants. The main thing in it was the transfer of similarity, life-likeness, which is why <. . > the subjects of the portraits "in the dormition" are painted alive" (the age of parsuna. Pp. 128, 249). The author's painting on the face, dress and hands has been preserved quite well, the presence of the author's corrections in it confirms the originality of the portrait. Date: 18th century.
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