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Caravaque Louis

( Artist)

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Biography Caravaque Louis
Caravaque Louis (1684-1754). In 1715 in Paris, Ivan Lefort, . Commissioner Peter 1, . concluded with a 'master Florensky' Rastrelli, . 'Parisian master' Le Blond and 'Marseille master' Caravaque contracts, . in which conditions and forms of artistic activity in their new side-Russia,
. 'Raised on the rack' mighty crowned rider, she was going through an era of radical reorganization of all areas of public life. In the sphere of culture 'act' Peter struck scope, totality and pedantry. Opening of schools modeled on the western side by side with the decree on the compulsory wearing of European dress, . approval of civil alphabet-construction capital for special assessment, . writing a picturesque series 'vseshuteyshego and vsepyaneyshego Cathedral' - with the ornament of the Summer Garden in St Petersburg Italian sculpture.,

. For all these variety of approaches and activities required in a large number of experienced specialists who know
. In an effort to meet the country's urgent need for skilled workers, Peter 1 sent abroad, the young artists to complete their education and wrote out to Russia 'good masterov' foreign, obliging them to teach Russian masters. It was us and Louis Caravaque, attracted the attention of the Russian representative of his art of miniature painting.

However, in St. Petersburg, he works, perhaps, least of all as a miniaturist. Caravaque takes 'on the witness' who came from abroad, Russian artists, . directs the picturesque 'team', . engaged in painting the palace premises, . wrote 'The Battle of Poltava "in Peterhof, . decorate triumphal arches and even furniture, . makes drawings of dresses for ladies and Triumphal columns Rastrelli, Sr.,
. And, of course, wrote many portraits, so contemporary, we have to admit: 'all the walls in St. Petersburg swarmed by them'.

. 'He wanted to be a universal artist' - impatiently in his notes on Russian painting, the then director of the Art Department at the Academy of Sciences Jacob Staehelin
. Certainly as a master Caravaque figure was not the first magnitude, and its artistic glory could not compare with the visiting celebrities such as L. Tocco, J.-M. Nutt, P. Rotary. His tireless activity in various fields is difficult to ascribe insatiable artistic temperament (he has such and was not), . it was a result of conjugation of the most diverse interests, . forces and reasons: a shortage of personnel, . Vanity painter, . suddenly found himself in the spotlight, . rich opportunities, . inadvertently revealed to him the vast field of activity and T,
. d. Anyway its mark in the history of Russian art of XVIII century Caravaque left, and above all thanks to portraits.

. On his arrival in Petersburg, he performed several portraits of children of Peter 1: 'Petya-knob' (1716), pair picture 'Anna and Elizabeth' (1717), "Natalya Petrovna" (1722)
. Here he demonstrates all the stylistic marks of the early French Rococo: Teen graceful coquetry images, ease and freedom of painting style, mythological decor.

. In the portrait tsesareven silvery-white overall tone, pale yellow, greenish, reddish hues create a subtle range of colors
. In his portrayal of Peter I and Natalie Alekseevny-grandchildren, Peter,-Caravaque resorted to favorite device of the mythological personification: Peter before them in the form of a lyre of Apollo, Diana, Natasha, with a silver crescent on her head. A little artist Elizabeth wrote a semi-nude in the form of Flora. These portraits, and whimsical in their own unique patterns rocaille child portrait in the painting of the first quarter of XVIII century. The best features of children's portraits Caravaque developed and enriched in the creativity of its most talented students and. YA. Vishnyakov.

In 1722 the artist executed bust of Peter 1 in the uniform of the Guards. The image of a great statesman, even in this chamber image attracts strict elevated systems and convincing certainty. No wonder he later served as a Moscow-A. Collot-Scorers 'Bronze Horseman' - the most important iconographic material.

. Caravaque and after the death of Peter did not remain out of work, he wrote to all owners of Russia's throne since the interregnum, and then became the favorite artist Elizabeth
. Suffice it to say that within just one year (1744-1745) she ordered Caravaque fourteen her portraits to send to foreign powers. The initiative of Elizabeth in the same 1745-m French artist paints a portrait of fifteen young Grand Duchess Catherine. Pale, in a modest black dress, pubescent with fur, a tiara donated by Elizabeth, she represented a poor German princess, who had just arrived in Russia. But the pent-up sharpness of mind and dedication nature are read in this modest appearance, . No wonder at that time she wrote her literary self-portrait 'image philosopher 15 years', . where, . by the way, . mentions portrait Caravaque, . finding it 'remarkably similar'.,

. In the bustling artistic activity 'Marseilles masters' can not fail to note his insistence to organize in St. Petersburg, 'Academy of pictorial art, which was established in Paris'
. With this project, he turns to Peter 1 in 1723, then to Catherine 1, Peter II. Finally when Anna Ioanovna it seems shifted off the ground: in 1730, followed by a decree on the 'Academy of Crafts', . himself appointed Caravaque 'Painterly science professor', . but thanks to the machinations of enemies decree is lost, and the state-'sie very useful thing left in oblivion ',
. Do not leave his attempts Caravaque and in the reign of Elizabeth. He had no chance to survive to the long-awaited establishment of the Academy of Arts, but many of the specific sections of it had been implemented in it and served to the glory of Russian art.

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