Terebenev Alexander( Artist)
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Biography Terebenev Alexander
Alexander Terebenev (1815-1859). In 1815, the son of renowned sculptor and cartoonist Ivan Ivanovich Terebenev son, named Alexander. He was to later become the founder of one of the most interesting sculptural ensembles of Russia in the mid XIX century.
. Ivan Terebenev died in the same in 1815, leaving a widow with four young children with virtually no means of livelihood
. Following the two older brothers, Alexander Terebenev at the age of nine years has been defined in college at the Academy of Arts. He graduated in 1832, he stayed at the Academy until 1836 in the number of 'full-time academics'. Supervised during the years of training in. I. Demuth-Malinovsky.
. Early student work of the sculptor, received the award for 'expression', 'for the expression of feelings', wore on her, as contemporaries believed, 'a remarkable imprint of original talent, do not hesitate to scientific routine'.
. Among the first independent works Terebenev small bust and a statue
. S. Pushkin, made shortly after the death of the poet. Well aware of Pushkin on his visit to the bookshop on Nevsky Prospect, owned by his stepfather Alexander Terebenev AND. V. Olenin and publisher of almanacs 'Polar Star' and 'Northern Flowers', a friend of the poet, a young sculptor was able to recreate the true, the marked similarity between the image portrait of the deceased. 'Striking similarity' distinguished, according to the critics of those years, and other portrait busts of the wizard-H. M. Karamzin, H. V. Kukolnik, Earl D. V. Khvostov.
Many Terebenev Alexander worked as a sculptor-painter. His reliefs, . groups, . adorning a number of architectural monuments of St. Petersburg, . -such as the building's Board of Trustees, . Orphanage, . Alexander and Nicholas orphan institutions - can be found and elements of classicism, . and traces of live observation of reality.,
. Terebenev involved in rebuilding after a fire in 1837 the Winter Palace
. He owns two decorative allegorical statues for Jordan staircase, 'Wisdom' and 'justice' and the figures of children over the windows of the staircase. For expanded architect. P. Stasov gallery in 1812 and for Fieldmarshal Palace of Terebenev fulfilled stucco decorations depicting war trophies, laurel wreaths. Strict and refined taste, these are marked by the sculptor.
In 1842 Terebenev going to Kerch, where he worked nearly two years as a restorer in the local museum. Direct acquaintance with the ancient monuments helped to create the final master's talent.
Dream sculptor to create a large monumental works destined to be realized on his return from Kerch. In 1844, the Building Commission for the construction of the Imperial Museum (Hermitage) entrusted him with the delicate task-creation of ten huge granite pieces for the Atlanteans enter the museum from Millionnaya Street (now St.. Khalturina).
For November 18, 1845 Alexander Terebenev was awarded for a clay model of the atlas title of Academician. However, only in 1849 the idea of the sculptor was fully embodied in the reality. Translation clay model of the granite was a matter of extraordinary complexity. With such works Russian carvers never faced. 'I'm busy enormous models vayatelnyh works and for the first time implemented in Russia the production of the add-granite', - wrote Terebenev in October 1845. Serdobol'skii Gray granite quarried near the shores of Lake Onega. With difficulty it finds granite boulders with no less difficult to be delivered to St. Petersburg. Here, the ground floor of the Small Hermitage, were arranged workshops where the year Terebenev taught over a hundred assistants, artisans, recruited them among masons. Then, these carvers started for the execution of the Atlantean figures of granite on the cast of plaster models. Everyone 'has been assigned the business to which those who had been accustomed to: who trim poor, who hands, torso someone who legs'. Person each Atlanta Terebenev finishing himself. In three of the ten statues engraved: 'Works: Alexander Terebenev 1849'.
Images of mythological characters interpreted by the sculptor willed enough. Neither oppressed and submissive, not a shadow of the physical suffering caused by the undue burden, we did not observe a giant Terebenev. A calm and confident attitude devoid of rigidities, it is palpable potential dynamics. Bent elbow, it seems, are ready to relax, bowed heads-up, closed my legs strode. The Giants are enormous inner strength, their burden on the shoulder.
The study of classical sculpture and an excellent knowledge of anatomy helped the sculptor to create a truly committed heroic. Terebenev showed himself in this work a great master who knew how to use the contrast of textures: polished to a mirror shine phone Atlanteans and seemingly loosened strikes the surface of the tool bear skins on their hips.
. Of the special pedestals near the columns of the portico of the Hermitage huge gray granite figure of the Atlanteans were the semantic center of architectural structures.
. In subsequent years Terebenev worked hard, but important works such as Atlanta, not created
. They launched a monumental figure of Prometheus, to complete the work he did not have time.
Tragically ended the life of this great master. Dismissed from office, having no pension, sick, deprived of shelter, he died in poverty, 31 July 1859. Buried sculptor at his own expense one of them trained masons. T. VOLODINA