Ivan Argunov Oil Painting Reproduction


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Ivan Argunov Portrait of Peasant Woman in Russian Costume oil painting artist
  Painting ID::   30641
Portrait of Peasant Woman in Russian Costume
mk68 Oil on canvas Moscow,Tretyakov State Gallery 1784 Russia


 

Ivan Argunov Portrait of an Unknown Woman in Russian Costume oil painting artist
  Painting ID::   77511
Portrait of an Unknown Woman in Russian Costume
Date 1784(1784) Medium Oil on canvas Dimensions 67 ?? 53.6 cm (26.4 ?? 21.1 in) cyf


 

Ivan Argunov Portrait of Catherine II of Russia oil painting artist
  Painting ID::   77710
Portrait of Catherine II of Russia
1762(1762) Medium Oil on canvas Dimensions 245 ?? 176 cm (96.5 ?? 69.3 in) cyf


 

Ivan Argunov Portrait of an Unknown Woman in Russian Costume oil painting artist
  Painting ID::   80247
Portrait of an Unknown Woman in Russian Costume
1784(1784) Medium Oil on canvas Dimensions 67 x 53.6 cm (26.4 x 21.1 in) cyf


 

Ivan Argunov Portrait of Countess Tolstaya oil painting artist
  Painting ID::   80468
Portrait of Countess Tolstaya
1768(1768) Medium Oil on canvas Dimensions 96.5 x 78.5 cm (38 x 30.9 in) cyf


 

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     Ivan Argunov
Russian Rococo Era Painter , 1727/1729-1802 Russian painter and teacher. He came from a family of serfs, belonging to the Counts Sheremetev, that produced several painters and architects. In about 1746-7 he was a pupil of Georg Christoph Grooth (1716-49), who painted portraits of the Sheremetev family. With Grooth, Argunov worked on the decoration of the court church at Tsarskoye Selo (now Pushkin). A full-length icon of St John of Damascus (1749; Pushkin, Pal.-Mus.), in Rococo style, is distinguished by its secular, decorative character. The Dying Cleopatra (1750; Moscow, Tret'yakov Gal.) is typical of Rococo decorative painting of the mid-18th century, with its striking combination of light, soft tones. Argunov subsequently painted in a quite different style, mainly producing portraits, of which about 60 are known. Among the first of these are pendant portraits of Ivan Lobanov-Rostovsky and his wife (1750 and 1754; St Petersburg, Rus. Mus.), in which the sitters are idealized, as in ceremonial court portraits.