The artist is unknown
Matvey Filimonovich Naryshkin (16 (?) –1692) – relative of Queen Natalia Kirillovna. In 1674–1676 – governor in Veliky Ustyug. From 1678 – Moscow nobleman, from 1686 – a stolnik, from 1688 – the Okolnichy, from 1690 – boyar. He wore the San San “Patriarch” of the “all-otorous cathedral of the all-illegal prince-papa” and the nickname Milak.
Apparently, one of the earliest images of the “Preobrazhensky series”. With the name of Matvey Filimonovich Naryshkin, he was first correlated. M. Molieva and e. M. Belyutin with an attentive reading of compiled by Peter I in 1717 “The rank of supplied Prince Papa”. “Wheeze,” the hedgehog, ”says it,“ to me the honest father of our Bahus with the representation of the anti -Cescarians of my Milak and Annikita, so that their gift of spirit would be purely in me … ”. The authors refer to the documents published by the historian m. AND. Semevsky. In other words, the new Shutovskaya Patriarch asked for blessings from his predecessors – Matvey Naryshkin and Nikita Zotov.
Confirmation that Patriarch Milak is named Boyar Naryshkin is found in the “History” of the diplomat and writer b. AND. Kurakina, who wrote that “the Okolnichich, the husband of the stupid, old and drunk, whom he was named by the patriarch …”. It is m. F. Naryshkin was a clearing from 1688 to 1690, therefore, the “supply” of the first patriarch and the beginning of the “cathedrals” belongs to this period. The date of death of m. F. Naryshkina – 1692 strengthens the scholars’ confidence that the portrait could be written no later than this time (Gavrilova 1975. WITH. 45–75).
The earliest mention of the portrait is contained in the “Inventory of the Preobrazhensky New House” of 1735. According to the “inventory”, “the person of Matvey Filimonovich Naryshkin” was in the front.
Unlike other works of the series, portrait m. F. Naryshkina has no inscription on the upper edge. However, studies conducted in the timing artist-restorer A. IN. Minin, the clearing of the picturesque surface and the re -rangenogram made by him made it possible to detect fragments of letters and, in addition, establish that the author’s canvas was larger and had a rectangular shape in which the oval was inscribed.
“Preobrazhenskaya series” – the rarest monument of early secular art in Russia. Her characters were traditionally called images of the jesters of Peter I. The name “Preobrazhenskaya series” was proposed. M. Moleva and e. M. Belyutin and arose in connection with the inventory of the Preobrazhensky Palace near Moscow, which included portraits (“persons”) Yakov Fedorovich Turgenev, Andrei Brownie, Matvey Filimonovich Naryshkin, as well as the “Picture of Alexei Lenin with Cloral”. The closest associates of Peter the Time “I began glorious affairs”, they were participants in the unique association. Documents drawn up by the king himself testify to what it was called “the most crazy crazy cathedral of the most all-food prince-papa”. Researchers unanimously attribute the beginning of “cathedrals” by the end of the 1680s-the beginning of the 1690s.
The basis of the series is eight portraits, the researchers supplemented it with a portrait of the “First Russian Soldier” by Sergey Leontyevich Bhavostov. However, apparently, the portraits were at least eleven, in the inventory of 1739 the “person of Prince Fedor Yuryevich Romodanovsky”, “Person of Nikita Moiseevich Zotov”, “Person of Ivanovich Buturlin”, “The character of the fool Timokhi”, whose location is unknown, were also included in the inventory of 1739.
It is believed that the series was created for the new palace, built in 1692 on the shore of Yauza near the soldiers’ courtyards of the Preobrazhensky regiment. Portraits were there, apparently until the last quarter of the 18th century, and when the palace was dilapidated, they were transported to St. Petersburg, stored in the meeting of the imperial Hermitage, and then were transferred to the Gatchinsky Palace.
In 1929, almost the entire “Preobrazhenskaya series” entered the Russian Museum, but two years later, portraits of the stolnik and. A. Shchepothev and unknown in a brown fur coat are transferred from timing to the GTG.
The main one for the dating of all known portraits of the series is the following historical fact: images of bearded people (Turgenev, Naryshkin or Verigin) could be executed until August 26–30, 1698, when Peter returned from abroad began to cut his beards with his boyars who gathered for the meeting king in the same Preobrazhensky Palace. Thus, the dating of the series is the most likely-the 1690s (until 1698). Most researchers believe that the portraits of the series were written by Russian masters, painters of the arms chamber, whose services Peter used especially widely in the 1690s-early 1700s.
