
Portrait of Mikhail Alexandrovich Golitsyn
Orest Kiprensky·1833
Historical Context
Painted in 1833 and of unknown present location, the portrait of Mikhail Alexandrovich Golitsyn belongs to Kiprensky's final years — the artist died in Rome in October 1836, and his last decade was marked by personal difficulties, a second marriage to an Italian woman, and a declining reputation in Russia. The Golitsyn family was one of the most ancient and prominent in Russian aristocratic society, with generations of distinguished service to the Russian state, and a commission to paint a member of this family retained its significance even late in Kiprensky's career. The portrait may reflect the continuation of aristocratic patronage that had sustained Kiprensky across the decades since his first successes, even as newer portrait conventions were beginning to replace his romantic approach.
Technical Analysis
Oil on canvas, the work demonstrates the late Kiprensky style: the romantic atmospheric effects of his earlier portraits somewhat moderated, the technical execution still assured but less dramatically innovative. The warm Italian tonality he had developed through years of residence in Rome is apparent in the flesh-tone handling.
Look Closer
- ◆The portrait of a Golitsyn family member carries the social weight of one of Russia's oldest aristocratic dynasties — the sitter's bearing and dress signal this heritage
- ◆Kiprensky's late style retains its psychological sensitivity even as some of the bravura effects of his earlier work are replaced by a more sober approach
- ◆The comparison with his earlier portraits reveals how significantly Kiprensky's manner evolved over three decades, from the energetic romanticism of the 1800s to this more reflective late mode
- ◆The warm Italian palette, developed through years in Rome, distinguishes late Kiprensky portraits chromatically from his earlier, colder St Petersburg works

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