Bogdan Saltanov
Bogdan (Ivan) Ievlevich Saltanov | |
---|---|
Alexis I of Russia |
Bogdan Saltanov (
Igor Grabar considered Saltanov and his contemporaries Ivan Bezmin and Vasily Poznansky as the fourth and the last class of Simon Ushakov school, an "extreme left wing in the history of Russian icon art, the Jacobins whose art departed with the last traces of an already evaporated tradition" (Russian: Они являются “крайней левой” в истории русской иконописи ушаковской эпохи — теми якобинцами, в искусстве которых исчезают последние следы и без того уже довольно призрачной традиции).[3] Studies of the 1990s–2000s partially refute this statement, asserting that Saltanov was substantially independent of Ushakov and his legacy.[4]
Biography
In 1660 Zakar Sagradov, an
Bogdan Saltanov became the last
Bezmin and Saltanov, as the workshop chiefs, were also teachers and mentors to the next generation of artists; there are 37 known trainees of Bezmin and 23 trainees of Saltanov, including Karp Zolotaryov.[8] Their status at the court was radically different from that of traditional icon painters: Saltanov's primary function was to provide secular art for the court, not the church. Even when the subject of a painting was religious, its treatment was a step away from icon tradition into a "westernized", secular art. The earliest royal commissions of this kind (secular icons on copper and glass base) to Saltanov are attested to 1670 and 1671, and 1679 for Bezmin.[8] As a result of this practice of the 1670s, the professions of court painters and icon painters in Moscow nearly merged, with court painters actively taking over the icon painters' church jobs.
Saltanov died in Moscow in 1703; assumptions that he left the country and returned to his homeland are now deemed incorrect.[1] He was married twice, and his second wife was reported alive in 1716.[9]
Attribution problem
Saltanov remains a controversial figure: his activities in Moscow are extensively documented through extant archive records, but no single piece of art has been indisputably attributed to the artist. Saltanov, unlike Karp Zolotaryov, never signed his works, thus attribution is based on archive records kept by court accountants. All opinions on his artistic style are not more reliable than the underlying attribution of his least questionable works - the tafta icons and the portrait of Feodor III of Russia.
The portrait of
Attribution of the
See also
References
- I. A. Atadzhianyan (И. А. Атаджанян) (2006). Iz istorii armyansko-russkikh vzaimootnosheniy Из истории армянско-русских взаимоотношений с X по XVIII века (PDF) (in Russian). Lingva: Yerevan University. ISBN 99930-79-38-3. Archived from the original(PDF) on 2011-05-31. Retrieved 2008-09-30.
- N. I. Komashko (Н. И. Комашко) (2003). "Zhivopisets Bogdan Saltanov v kontekste khudozhestvennoy zhizni Moskvy" Живописец Богдан Салтанов в контексте художественной жизни Москвы второй половины XVII века (PDF) (in Russian). Drevnyaya Rus. Voprosy medievistiki (Древняя Русь. Вопросы медиевистики). pp. 44–54. Retrieved 2008-09-30.
- Grabar, Igor (2001). XIII Симон Ушаков и его школа. Istoria russkogo iskusstva. Russkaya zhivopis История русского искусства. Русская живопись (in Russian). Vol. VI. CD ROM reissue by IDDK (ИДДК). Retrieved 2008-09-30.
- I. L. Buseva-Davydova (И.Л. Бусева-Давыдова). "O kontseptsiyakh stilya russkogo iskusstva XVII veka v otechestvennom iskusstvoznanii" О концепциях стиля русского искусства XVII века в отечественном искусствознании (in Russian). Retrieved 2008-09-30.
Notes
- ^ a b Kazaryan, 1969, asserted that in 1703 Saltanov did not die, but left Russia and returned to Persia as Russian envoy. This assumption was refuted by subsequently found archive evidence (Komashko, p.47).
- ^ Alternative name used by Grabar; later Russian sources unanimously use the name Bogdan
- ^ a b c Grabar, chapter XIII
- ^ Buseva-Davydova
- ^ Komashko, p.45. The story of Saltanov's hire and the engraving is based on two extant letters signed by the envoy Zakar Sagradov. One was addressed to Alexis, another to his minister Almaz Ivanov.
- ^ Komashko, p.46, admits that the subject of Saltanov's conversion is disputed and cites alternative hypothesis.
- ^ Komashko, p.46
- ^ a b c Komashko, p.48
- ^ Komashko, p.47
- ^ Komashko, p.51
- ^ Komashko, p.52