Portrait of Anastasia Izmailova Aleksey Antropov (1716-1795)

Description of Alexei Antropov’s painting "Portrait of A. M. Izmailova".

"Portrait of A. M. Izmailova" was painted at a turning point in the formation of Alexei Antropov’s skill and his recognition as one of the distinctive and brightest artists of his era. This painting clearly demonstrates the evolution of Antropov’s creative outlook after his apprenticeship with the famous Italian painter Pietro Rotari.

Moreover the portrait is done in a chamber style, when the model is not depicted full-length and against a neutral background. Antropov does not forget about the details that indicate the status privileges of the character, but goes beyond the boundaries of the same traditional chamber version of the painting. Attention is paid to facial expressions and details of clothes... At the same time Antropov strives to preserve realism of the heroine portrayed, subtly conveying the essence of her nature. The portrait is notable for its bright coloring and contrast of color variations. And the most insignificant details in the clothing are carefully thought out and regular.

The woman depicted in the picture is Anastasia Mikhailovna, the daughter of Naryshkin, the chamberlain of the great tsar Peter, in marriage Izmailova. Possessing a sharp mind and eager for power, she was a member of Empress Elisabeth’s closest retinue and had the status of a dignitary. Her freethinking nature is shown by her puckishly pursed lips and the expressive look of her brown eyes. However, like any woman, Anastasia Mikhailovna, first of all, seeks to perpetuate her beauty in the memory of posterity. Which is not an easy task, because at the time of painting the portrait of this venerable person was already about 56 years old.

The relentless desire and desire of the lady to remain irresistible, the artist deliberately turns inside out. He does not conceal the woman’s already rather sad and blurred figure. The massive body is emphasized by the lavish dress of rich blue hue with numerous frills. A red bow involuntarily accentuates her double chin. The cosmetic tricks of a bygone era do not conceal the withering of Anastasia Izmailova’s once-famous beauty: her tightly whitened face, excessive blush on her cheeks, powdered hair, and thickly painted eyebrows.

The figure of Elizaveta Petrovna’s favorite is made heavier by the order with her image studded with diamonds. This jewelry is put forward in the foreground, indicating the high social status of the model and her importance. The order is an award and a special sign of the Empress’s personal favor to a member of her retinue. Finished to the smallest detail of each of the diamonds, this detail of the attire arrests the eye, forcing one to admire the transfer of brilliance and splendor of the jewelry through painting.

Thus, even though A. P. Antropov does not try to reveal the inner world of Anastasia Izmailova, he skillfully and capaciously highlights and displays the most significant and striking features of her character.