Tropinin: One of the best Russian painters
   
Vasily Andreevich Tropinin (b 30th March 1776 /20th March 1780?(*) † 15th May 1857). Was born in Karpovo, Novgorod province (now Novgorod region). One of the major Russian artists of the first half of the XIX century. He was born as a serf of Count A. Munich and then was given as a part of Natalia Antonovna von Munich, Count Munich's daughter's dowry to Count Irakly Ivanovich Marcoff (Mîðêîâ)
He started his instruction as confectioner of Count Zavadsky, friend of Count Marcov. From 1793 on, he attended classes at the Academy of Art In St. Petersburg. In 1799, after recognition of his evident artistic talent, Count Marcoff (Mîðêîâ) paid for him to study further in the Academy. Tropinin took lessons from the portrait painter Stepan Shchukin (1762–1828), and was there at the same time as Kiprensky, whom he must have known. By copying the paintings of the great masters, he learned the heritage of Western European Art. The main influences were Jean Baptiste Greuze, Pietro Rotari and the XVII century Dutch and Flemish masters.
In St. Petersburg, in 1804 his work 'Boy Grieving for a Dead Bird' was selected for the Annual Academy of Arts exhibition and was notorious by the Empress. The same year (1804), Tropinin returned with his master; private counsellor Ivan Alekseevich Morkov (1761-1847), that as far as it is known was only friend and not a member of count Marcov's family, allowed the return of Tropinin with his master. For many more years he worked for Marcoff (Mîðêîâ), mostly as administrator of his property, and tutor to the count's children while painting the icons and others details for the church of Kukavka (Podolia gobernia, now Vinnitsa region, Ukraine) that was in construction. He occasionally visited Moscow and St. Petersburg where he continued to take art lessons. In the village Tropinin proceeded with his active painting practice. During these years he copied landscapes from nature and also painted nice boys and girls and icons. His early style is distinguished by freedom of execution and skill in the use of colour, but the compositions are derivative and the drawing weak. Count Morkov had a great affection for him although he did not want it to be noticed by others, and he did not want to lose him. After the exhibition of 1804, the president of the Academy of Arts, Count Stroganoff, interceded on behalf of Tropinin to get his freedom; on other occasion, and after losing a large amount of money playing cards, Count Morkov, was offered the chance to forgo the debt if he offered Tropinin freedom, but Count Marcoff (Mîðêîâ) preferred to pay.
Tropinin became a very relevant person in the Count of Marcoff (Mîðêîâ) house, being preceptor of Count Marcoff's children. The welfare that Tropinin enjoyed in the house can be appreciated in the wealthy costumes used by his wife (Vasily Tropinin. 'Portrait of A. I. Tropinina, the Artist's Wife. 1809'. Oil on canvas. The Tretyakov Gallery, Moscow, Russia), in his studio and in other details, including the fact that Count Marcoff (Mîðêîâ) trusted the education of his children to him. In Kukavka, he created many of his well known pictures.
After Kukavka the family of Count I. I. Marcoff (Mîðêîâ), and consequently Tropinin, moved to Moscow. Count Marcov bought a big house that had belonged to Prince Golitsyn and later to Prince Dolgorukov, valorated in 100.000 rublos located between the Kamergerskiy pereuloc and the Georgiyesvkiy Pereuloc near the Trinity church, (nowadays references could be Tverskaya, and the back of the current building of the Duma). The second floor of the palace was dedicated to Tropinin's studio. On May 8th 1823, Tropinin was given freedom. In the same year he submitted the pictures 'The Lace-maker (1823)', 'Old Beggar (1823)', 'Portrait of E. O. Skotnikov (1821)' and later 'Portrait of K.A. Leberecht (1824)' to the Academy of Arts, and was nominated as an academician.
After 1823, Tropinin was established in his own right in Moscow and opened up his art studio. Already a well known artist, he continued to paint portraits. His models ranged from peasants to members of the most noble Russian families including S. M. Golitsin, State Counselor and member of the famous Golitsin family.
On September 30th 1823 he asked for a rank as scientific to the government of Moscow.
'Self portrait'.Tropinin 1830’s
The Russian Museum. St. Petersburg
Ukrainian Village. 'The Storm' 1810’s
 Tropinin Museum. Moscow
'A.I. Tropinina' Artist’s wife (1809)
State Tretyakov Gallery
Moscow
(*) The stone in the grave of Tropinin had to birthdates. Accordingly with the stone side that was ordered by his son, he died on the 78th year of his life, consequently he must have born in 1780. This could explain the comments of a "young child of a count court" describing him on the 1790'. Her wife died on September 30th 1855 at 75 years of age. The tomb of Tropin was situated at Vagankov cemetery and was maintained by his grandson as late as 1948.

The best of his works are 'Portrait of K. G. Ravich (1823)', 'Embroideress (1826)', 'Portrait of Alexander Pushkin (1827)', 'Portrait of Countess N. A. Zubova (1834)', 'Woman in the Window (Wife of a Treasurer) (1841)', 'Self-Portrait with Brushes and a Palette Against the Window Facing the Kremlin (1844)', 'Portrait of Y. F. Samarin in a Hunting Dress (1846)', 'Girl with a Pot of Roses (1850)', 'Old Woman with a Hen (Portrait of the Artist's Wife?) (1856)'. Tropinin died on 3rd of May, 1857 and was buried in Moscow.
During the Soviet period the true story and the relationship between Tropinin and the Morkov family was roughly forged, stressing the role of Tropinin as "slave" and his master as «cruel capricious grandee», out of his time context (serfs were then a social status completely normal at that time; even relevant members of the church such as priests, bishops, etc had serfs) and the “cruelty” of the count I.I. Morkov as a part of the soviet system programmed propaganda against nobility. For a time, even Morkov descendants at URSS schools had to learn about the “cruelty” of the count's family.
Tomb of Tropinin in Moscow.
Head of a Boy (Arseny Tropinin, son of the painter)). State Tretyakov Gallery. Moscow
'The Lace-maker' (1823). State Tretyakov Gallery. Moscow
'Portrait of Alexander Pushkin' (1827) Pushkin Museum Moscow
Tropinin portraits of the Morkov family:
'Vladimir I. Marcoff'. Early 1820's. Private collection. Moscow (*)
'Counts Nikolay and Irakly I. Marcoff'. Early 1810s. State Tretyakov Gallery. Moscow
'Boy (Count Irakly I. Marcoff) with a pipe'. State Tretyakov Gallery. Moscow.
(*) Popular guitarist of his time. In spite of his name he is not a member of the Counts Marcoff descendants. Should he belong to the family his link should be prior to the concession of Count dignity.
'Count of Irakly Ivanovich Marcoff' family portrait at 1813.
Tropinin’s Original at Tretyakov Galery not in exhibition.
Same portrait by Pvalyshyn under Tropinin in the private collection of Count Julio E. Marco Mallorca. Spain.
'Natalia Iraklieva Chernysheva' (maiden Countess Morkova) Circa 1820
 Portrait of a Arkady Ivanovich Marcov, not a member of the family. 1820 'Countess Natalia Iraklieva' 1813. State Tretyakov Gallery
'Home Concert'. Early 1810’s. State Tretyakov Gallery
 Boy (Count Nikolay Iraklievich) with a Hatchet' 1800s. Private collection of Prince N.N. Obolensky
'The Morkov family': From left to right: Maria Iraklieva, Governess Bozigetti, Arkady Iraklievich, Varvara Iraklieva and M-elle Bozigetti, grand-daughter of the Governess (Pre revolution printing of Original Tropinin portrait. circa 1820)
Other references of Tropinin works about the Count Morkov family:
-'Nikolay Iraklievich'. Ekaterinburg, in the Ural region. Art Gallery
-'Family portrait'. 1815.
-'Irakly Ivanovich', Moscow 1810s.
-'Arkady Iraklievich'. State Museum of Moscow.
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