Kozlovskiy, Mikhail Ivanovich biography, photos, sculptures

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2018-03-23 18:03:22

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Kozlovsky Mikhail Ivanovich is one of the greatest sculptors of the Russian classicism, whose work is imbued with high ideas of the enlightenment, vibrant emotion and the sublime humanism. According to the literary critics of the early nineteenth century, each of his works "found a lot of imagination, feeling, original look and masterful hand of the author”.

Kozlovsky Mikhail Ivanovich

Mikhail Ivanovich Kozlovsky - the sculptor, of all Russian artists who lived, perhaps, one of the shortest, but most brilliant life. The special interest of the Creator caused the figures from ancient mythology and Russian history. In them he found the ideals that are important not only for his contemporaries but also for posterity.

Kozlovsky Mikhail Ivanovich biography

Future famous sculptor was born in 1753, in the family of trumpeter galley fleet, on one of the sea the outskirts of St. Petersburg. Here he spent his childhood years.

In the age of eleven (1764) Kozlovsky Mikhail Ivanovich forever parted from my parents ' house and filed the petition added to the number of pupils of the St. Petersburg Academy of arts. At this time in European art-sculpture, architecture, painting – matured and gradually developed classicism. The brightest representative of this direction in art of Russia became the outstanding sculptor Kozlovsky Mikhail Ivanovich.

A short biography of the sculptor :

  • 1773: graduated from the Academy with high honors;
  • 1774-1778.: resides in Rome as the academic boarder;
  • 1780: the Marseilles Academy of arts awarded him the title of academician;
  • 1784-1785.: for a marble statue of Catherine II in the image of the antique goddess of wisdom, Minerva, has received wide acclaim and recognition of his contemporaries (embodied enlightenment ideas about the ideal monarch – a wise legislator and defender of the Fatherland);
  • At the beginning of 1788 again sent abroad (to Paris) on a study;
  • 1790: Kozlovsky Mikhail Ivanovich returned to his homeland, produced a series of idyllic sculptures;
  • 1796-m creates a series of sculptural sketches on the theme of the Trojan war, this entire period is marked by a search for monumentality, new features, has become one of the components of the further creativity of the artist;
  • In the period from 1799 to 1801 working on a statue of military commander Alexander Suvorov, who glorified the Russian army's recent victory in the Italian campaigns;
  • In 1802, Kozlovsky, Mikhail Ivanovich in the Prime of life and talent suddenly dies.

Initially he was buried at the Smolensk Orthodox cemetery. In 1931, the dumping was moved to the Alexander Nevsky monastery, in the Lazarev cemetery

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Kozlovsky Mikhail Ivanovich: sculptures

The works of the artist – statura plastic, reliefs, monumental sculpture and tombstones – infused with deep emotion and the sublime humanism.

Kozlovsky Mikhail Ivanovich sculptures

In the style of his works significantly influence the aesthetics of French sculpture XIVIII century. Of these the most famous are: the monument to A. V. Suvorov in St. Petersburg, statues “Samson tearing the lion's mouth" (now decorates one of Peterhof's fountains), “Sitting girl" (the Winter Palace) and the "Hymen", created on the occasion of the marriage of Constantine Pavlovich (also now in the Winter Palace), the figure of a man, made to explore human anatomy.

Kozlovsky Mikhail Ivanovich biography

Famous for its bas-reliefs: “the Return of Regulus to Carthage”, “Camille, relieving Rome from the Gauls" (located in St. Petersburg, in the marble Palace), “massacre of the innocents”, “Poligrat”, “Cupid”, “the mercury and the Nymph”, “Apollo” (see the Museum of Alexander III).

Early

In the initial period of creativity the main theme of the works of the sculptor is the topic of civic virtue, courage, sacrifice and fortitude.

Kozlovsky Mikhail Ivanovich heroes of their reliefs makes prominent characters from the history of Ancient Rome, which in the name of the Fatherland and the common good of the people sacrifice themselves. These are his work “Farewell Regula with the citizens of Rome" (1780), and “Camille saves Rome from the Gauls" (1781).

The Sublimity and conciseness of images, clarity of the composition, reasonableness, and clarity of lines and shapes – features that distinguish the work on which in the initial period of creativity worked Kozlovsky Mikhail Ivanovich. Sculptures blend perfectly with the architecture of the building, built in the style of early classicism.

Harmony of sculpture and architecture

Particularly harmonious cooperation between two types of art-sculpture and architecture – manifested in a plaster reliefs created for the Concert hall in the Catherine Park (Tsarskoe Selo). The author of the pavilion, in the style of Mature classicism, is John. Quarenghi (1783-1788). The reliefs share a common theme-music. Orpheus playing the lyre tames the wild animals; the Apollo, muzicanoua, delights the ear of Ceres; the muses demonstrate the attributes of art – these are the subjects who paid attention Kozlovsky Mikhail Ivanovich. Wizard (early reliefs) are different rhythmic structure, balanced composition, smoothness of contours and the majestic solemnity of the images. All these features contribute to the creation inthe pavilion is a unique musical atmosphere.

Statue of Catherine II

A Large statue of Empress Catherine II in the image of the antique goddess of wisdom Minerva (Ancient Rome) created by the sculptor during the period from 1784 to 1785. the Empress is shrouded in the ancient cloak and crowned with a helmet (the attributes of the goddess). She points with one arm lying at her feet the trophies that symbolize won her victory. In the other the Empress holds a scroll with published its “for the prosperity of the subjects” laws. So embodies my idea of the perfect monarch – a wise legislator and defender of the Fatherland – Kozlovsky Mikhail Ivanovich, sculptures which bear the stamp of his admiration for the ideas of the enlightenment.

“the Vigil of Alexander the great”

A Marble statue, executed in the 1780s, has a complex semantic allegory. The image of the glorious hero of Antiquity has also served as sculptor-the basis for the realization of educational ideals-education the pursuit of knowledge and firmness of will.

Kozlovsky Mikhail Ivanovich sculpture

Plastic solution and the composition of the statues radiate a spirit of calm grandeur and noble simplicity. The figure is characterized by rigor and symmetry, smooth flowing forms and contours.

The Body of the young man is in a drowsy daze, his muscles like “damp” the finest marble matte cover, head resting on knee, leaning on his hand. But secretly felt this kind of tranquility…

Outline

In many surviving drawings, most of which are preparatory sketches for future sculptures, traced their connection with the main direction of the master – the circle of themes (mythology, the Bible, the gospel), the means of artistic realization of ideas.

But a number of drawings Kozlowski can be considered as independent, finished works of graphics. Among them are established in 1792 "the Death of Hippolytus” and “Theseus leaves Ariadne”. Critics say the drama and emotional intensity that “breathe” these works.

“Poligrat”

The Period from 1788 to 1790 th sculptor again spent in Paris, where he went to receive new knowledge and experience. In a tremendous flood of impressions caused by the events of the revolution occurred in his eyes, was born a new inspiration, new themes and subjects.

Kozlovsky Mikhail Ivanovich brief biography

The French revolution prompted the sculptor to the idea to do the story of the history of Ancient Greece on the death of POLYCRETE, the samian tyrant. The legend of Polycrates was the sculptor of the basis for the creation of a kind of allegorical response to contemporary events. In the work reflected the artist's desire to enrich the figurative language of art. To make it even more expressive. In his sculpture ‘Poligrat” the viewer is transmitted to a passionate desire for freedom, suffering and the feeling of a painful doom of the hero.

The Embodiment of spiritual purity

In 1792, was completed one of the most remarkable works – a lovely statue “the Sleeping Cupid" (marble). In it the author created wonderfully idyllic and harmonious way.

Its analogue mood is created in the small statue "Psyche" (marble, 1801) way of embodying the spiritual purity, the nostalgia of the cloudless happy childhood.

“Samson tearing the lion's mouth”

In the Spring of 1800, the best Russian craftsmen were brought in to update the Grand cascade. The work was carried out within six years.

Mikhail Ivanovich Kozlovsky sculptor

Central to the plan was given to a group created by Kozlovsky - “Samson tearing the lion's mouth”. In creating the sculpture, the author has been used Dating back Peter the great allegory, in which Samson was identified with the Holy Sampsonia, which in the 18th century was considered the patron Saint of Russia. In 1709, on the day celebrating his memory (June 27), was won the glorious victory of the Russians over the Swedes in the famous battle of Poltava. In the art of the time of Peter I Samson was the epitome of a victorious Russia and a lion (the Central image of the coat of arms of Sweden) represented the defeated Swedish king.

In the Grand sculptural work shows an energetic but restrained movement of a great body of Samson. Turning in space in a spiral, curving the body so that are clearly visible Titanic tense muscles, dramatically pulling back the foot and bowing his head, the hero with both hands tearing the lion's mouth.

The Researchers rightly pointed out the proximity of the sculpture to the art of Michelangelo. But the ideological-figurative content of the group, a deep Patriotic feeling, which is reflected in the work of Kozlovsky Mikhail Ivanovich (photo sculpture is proof of that), for the attentive viewer is the sound quite different – native Russian speaking much delighted the domestic history of the heart – tradition.

Themes of Russian history

The Theme of national history are the most exciting direction in the work of the sculptor. In the second half of 1790-ies he created statues “Prince Yakov Dolgoruky tearing the Royal decree” and “Hercules on horseback”. Most fully the desire to create an image of high courage and spiritual nobility realized by the sculptor his statue of commander A. V.Suvorov (St. Petersburg, 1799-1801).

Lifetime triumphal monument

A Symbolic manner, allegorically praising Russia and its great commander – so conceived Kozlovsky Mikhail Ivanovich Suvorov monument.

Work began during the life of the hero. In seventy years of age, the Generalissimo made the whole world to applaud unprecedented in the history of the heroic crossing of the Russian army over the Alps. In 63 battles the Russians didn't have a single defeat, 619 banners of the enemy were captured by the victors. The famous Italian campaigns crowned the Russian army and military talent of Alexander Suvorov immortal glory.

The Task of the sculptor Kozlovsky was to create a lifetime of triumphal monument. The order determined the subject is not the acts of a long heroic life of the great commander, not the originality of his moral character, but merely exploits in the Italian campaign should have been reflected in the statue.

A Portrait of the language of allegory

And the sculptor turned to the language of allegory. Easy slim figure on a round pedestal, a young brave warrior, full of power and progress. This image of the Roman God of war Mars. Gesture of the right hand holding a naked sword, is extraordinary determination. Vigorously thrown back the cloak. Beautiful manly face, proudly raise his head, unwavering confidence and all-conquering will, masterfully transferred to the figure – this is an idealized image created by the sculptor of the God of war.

His shield warrior covers mounted behind it an altar, on which the Neapolitan and Sardinian crowns and the papal tiara. The symbolic meaning of this image is that the Russian weapons under the leadership of Suvorov defended in the Italian campaign represented the interests of the three States.

At the sides of the altar are located the female figure, symbolizing the best of human virtues: hope, faith and love.

Kozlovsky Mikhail Ivanovich Suvorov monument

On the front side of the pedestal there is an image of crossed Laurel and palm branches-a symbol of the Commonwealth of the geniuses of war and peace.

Shield of the hero relies on the spoils of war – the kernel, guns, flags. The fence around the monument is a United chains of exploding bombs.

Allegorical meaning must be sought in all parts of the statue. And the inscription on the pedestal: “Prince of Italy, count Suvorov of Rymnik” says Tom, who designed the monument.

High internal truth

In the work of Kozlowski's only vaguely noticeable likeness he created allegorical idealized image with a favorite folk hero.

In the elongated proportions of the face, deep-set eyes, large nose and distinctive cutaway senile, slightly sunken into the mouth of the bronze God of war, contemporaries recognized the traits of a great commander.

The Similarity is vague and very vaguely, outdoor portraits was clearly not a priority of the Creator of the sculpture. By sacrificing the portrait integrity, he gave unwavering will and all-conquering energy of Suvorov. Kozlovsky the language of allegory – likening God of war – idealized heroes and the image of the great Russian commander in the century. And this – high internal truth of his work.


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Alin Trodden - author of the article, editor
"Hi, I'm Alin Trodden. I write texts, read books, and look for impressions. And I'm not bad at telling you about it. I am always happy to participate in interesting projects."

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