Paul Delaroche: The Reception of his Work in Russia


Despite the existing body of literature on Paul Delaroche, this article is the first attempt to seriously assess his reception in nineteenth-century Russia. A study of how Delaroche was received by Russian critics, collectors and artists allows us take a new look both at the scale of his significance for nineteenth-century art as a whole and at certain key aspects of Russian artistic culture. The author analyses reviews of Delaroche’s work in the Russian press, including some never previously discussed, and comments on Horace Vernet’s celebrated statement that: “The emperor [Nicholas I] spoke with me at length about Delaroche. He has all his prints”. Looking at Anatoly Demidov’s patronage of Delaroche, the article also touches on the Russian collector’s relations with the tsar. The new concept of the “genre historique” that originated with Delaroche was taken up and developed most productively in Russia in the 1860s and 1870s, as the author demonstrates through an analysis of paintings by Vyacheslav Schwarz and Nikolay Ge, noting that their treatment of subjects from history was possible only in the more liberal age of Alexander II. It was under Delaroche’s influence that both Schwarz and Ge created typologically new images of power and of the monarch (of Ivan the Terrible and Peter the Great). In conclusion, the author draws attention to the paradoxical nature of Western self-identification by Russian nineteenth-century artists, which can be explained in part through a study of the Russian reception of the art of Delaroche.

Ключевые слова:

nineteenth-century Russian art, nineteenth-century French art, Russian-French artistic relations, historicism, realism, Paul Delaroche, Karl Bryullov, Vyacheslav Schwarz, Nikolay Ge


Данные скачивания пока недоступны.

Биография автора

Мария Александровна Чернышева, Санкт-Петербургский государственный университет

кандидат искусствоведения, доцент кафедры междисциплинарных исследований и практик в области искусств факультета свободных искусств и наук



1. Bann, Stephen, and Stéphane Paccoud, eds. L’Invention du passé: Histoires de coeur et d’épée en Europe 1802–1850. Paris: Hazan, 2014.

2. Bann, Stephen. “Paul Delaroche’s German Reception”. In Dialog und Differenzen: 1789–1870. Deutsch-französische Kunstbeziehungen. Les relations franco-allemandes, Hrsg. Isabelle Jansen und Friederike Kitschen, 139–52. Berlin; München: Deutscher Kunstverlag, 2010.

3. Allard, Sébastien. “Quelques réflexions sur Paul Delaroche et son influence en Europe”. In Les artistes étrangers à Paris: de la fin du Moyen Age aux années 1920, édité par Marie-Claude Chaudonneret, 193–202. Berne; Berlin; Bruxelles; Francfort sur le Main; New York; Oxford; Vienne: Peter Lang, 2007.

4. Mainardi, Patricia. Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867. New Haven; London: Yale University Press, 1987.

5. Asvarishch, Boris. Kushelev Gallery: Western European Painting of the XIX century. St. Petersburg: Gosudarstvennyi Ermitazh Publ., 1993. (In Russian)

6. Haskell, F., S. Duffy, R. Wenley, and D. Edge. Anatole Demidoff: Prince of San Donato (1812–70), ed. by Francis Haskell. London: Trustees of the Wallace Collection, 1994.

7. Savinskaia, Liubov’. The Art collection of the Princes Yusupov. Moscow: s. n., 2017. (In Russian)

8. Chernysheva, Maria. “Paul Delaroche’s Works from the Collection of Anatoly Demidov and Their Significance for Russian Artists of the 19th Century”. In Aktual’nye problemy teorii i istorii iskusstva, ed. by Svetlana Mal’tseva et al., 597–604. St. Petersburg: NP-Print Publ., 2016. (In Russian)

9. Chernysheva, Maria. “Complete Picture as a Conceptual Draft: Towards the Genesis of the Historical Genre in Russian Art”. Die Welt der Slaven 62, no. 1 (2017): 79–99. (In Russian)

10. Bann, Stephen. Paul Delaroche: History Painted. London: Reaktion Books, 1997.

11. L’Observateur aux salons de 1834. Paris: Imprimerie de Chassaignon, [s. d.].

12. “The Exhibition of Fine Arts in Paris”. Biblioteka dlia chteniia III (1834): 44–51. (In Russian)

13. Chernysheva, Maria. “A Painting as a Gift to the Emperor: The Symbolic Aspect of Anatoly Demidov’s Relationship with Nicholas I”. Novoe literaturnoe obozrenie 6, no. 154 (2018): 118–30. (In Russian)

14. Benua, Aleksandr. The History of Russian Painting in the XIX century. Comp. by Vsevolod Volodarskii. 3rd ed. Moscow: Respublika Publ., 1999. (In Russian)

15. Allenova, Ol’ga. Karl Bryullov. Moscow: Trilistnik Publ., 2000. (In Russian)

16. L’Artiste VII (1834): 72.

17. Revue de Paris III (1834): 131–6.

18. Joseph, Carle et Horace Vernet: Correspondance et biographies. Paris: J. Hetzel, 1864.

19. Svetopis’, no. 8–9 (1858): 202. (In Russian)

20. Oeuvre de Paul Delaroche, reproduit en photographie par Bingham: Accompagné d’une notice sur la vie et les ouvrages de Paul Delaroche par Henri Delaborde: Et du catalogue raisonné de l’oeuvre par Jules Goddé. Paris: Goupil, 1858.

21. La Lumière, November 20, 1858: 187.

22. Bann, Stephen. Parallel Lines: Printmakers, Painters and Photographers in Nineteenth Century France. New Haven: Yale University Press, 2001.

23. The Hermitage. Catalogue of Western European Painting. 16 vols. Florence: Giunti, 1983, vol. 11: Berezina, Valentina. French Painting: Early and Mid-nineteenth Century.

24. Shtakhel’, Karl. “Review of French Periodicals, Books and Brochures”. Otechestvennye zapiski 113 (1857): 34–51. (In Russian)

25. Shtakhel’, Karl. “The Latest Poetry in France, Italy and England”. Otechestvennye zapiski 104 (1856): 1–26. (In Russian)

26. Guyaux, André. “Baudelaire et Sazonov”. L’Année Baudelaire: Baudelaire toujours: Hommage à Claude Pichois, no 9–10 (2007): 143–152.

27. Fokin, Sergei. Passages: Baudelaire Studies. St. Petersburg: Machina Publ., 2011. (In Russian)

28. “Paul Delaroche”. Obshchezanimatel’nyi vestnik, no. 17 (1857): 614–6. (In Russian)

29. Gray, Rosalind Polly. “The Golitsyn and Kushelev-Bezborodko Collections and Their Role in the Evolution of Public Galleries in Russia”. Oxford Slavonic Papers 31 (1998): 51–67.

30. Index of Collection of Paintings and Rare Works of Art Belonging to the Members of the Imperial House and private persons of Petersburg. St. Petersburg: Tip. Gogenfel’dena Publ., 1861. (In Russian)

31. Russian Art Leaflet, no. 12 (1861). (In Russian)

32. K. V. [Varnek, Konstantin]. “Reminiscences of the Exhibition of Paintings and Rare Works of Art at the Academy of Arts”. Russkii khudozhestvennyi listok, no. 17 (1861): 65–8. (In Russian)

33. Zhemchuzhnikov, Lev. “Several Notes on the Last Exhibition at the St Petersburg Academy of Arts”. Osnova, February (1861): 136–56. (In Russian)

34. F. U. [Ustrialov, Fedor]. “The Exhibition of Pictures and Rare Works of Art at the Academy of Arts in this Current Year”. Vek, no. 19 (1861): 652–5. (In Russian)

35. Stasov, Vladimir. “After the World’s Exhibition”. In Stasov, Vladimir. Izbrannye sochineniia: Zhivopis’, skul’ptura, muzyka, ed. by Elena Stasova, comment. by M. Blinova and P. Shchipunov, 65–112. 3 vols. Moscow: Iskusstvo Publ., 1952, vol. 1. (In Russian)

36. Stasov, Vladimir. “Art Exhibitions in 1879”. In Stasov, Vladimir. Izbrannye sochineniia: Zhivopis’, skul’ptura, muzyka, ed. by Elena Stasova, comment. by M. Blinova and P. Shipunov, 7–26. 3 vols. Moscow: Iskusstvo Publ., 1952, vol. 2. (In Russian)

37. Stasov, Vladimir. “The Jewish Tribe in the Works of European Art”. In Stasov, Vladimir. Sobranie sochinenii. 1847–1886. 4 vols, 309–88. St. Petersburg: Tip. M. M. Stasiulevicha Publ., 1894, vol. 1. (In Russian)

38. Stasov, Vladimir. Nikolai Nikolaevich Ge: His Life, Works and Correspondence. Moscow: Tip. t-va I. N. Kushnereva i Ko Publ., 1904. (In Russian)

39. Stasov, Vladimir. “Vyacheslav Grigorevich Schwarz”. Vestnik iziashchnykh iskusstv 2, iss. 1–2 (1884): 25–64, 112–42. (In Russian)

40. Heine, Heinrich. The Works. Transl. by Charles Godfrey Leland (Hans Breitmann). 12 vols. London: William Heinemann, 1893, vol. 4: The salon, or, Letters on Art, Music, Popular Life, and Politics.

41. Shvarts, Viacheslav. Correspondence, 1838–1869. Comp. and comment. by Stefan Taranushchenko, ed. and comment. by Marina Tarasova. Kursk: Polstar Publ., 2013. (In Russian)

42. Karamzin, Nikolai. History of the Russian State. 11 vols. 4th ed. St. Petersburg: Tip. vdovy Pliushara Publ., 1834, vol. 9. (In Russian)

43. Stasov, Vladimir. “Wandering exhibition of 1871”. In Stasov, Vladimir. Izbrannye sochineniia: Zhivopis’, skul’ptura, muzyka, ed. by Elena Stasova, comment. by M. Blinova and P. Shchipunov, 205–16. 3 vols. Moscow: Iskusstvo Publ., 1952, vol. 1. (In Russian)

44. Kostomarov, Nikolai. “Tsarevich Alexey Petrovich (On the Painting by N. N. Ge)”. Drevniaia i novaia Rossiia. Ezhemesiachnyi istoricheskii illiustrirovannyi sbornik 1–2 (1875): 134–52. (In Russian)

45. Valkenier, Elizabeth Kridl. Russian Realist Art. The State and Society: The Peredvizhniki and Their Tradition. New York: Columbia University Press, 1989.

46. Valkenier, Elizabeth, Kridl. “Opening up to Europe. The Peredvizhniki and Miriskusniki Respond to the West”. In Russian Art and the West: A Century of Dialogue in Painting, Architecture, and the Decorative Arts, ed. by Rosalind P. Blakesley and Susan E. Reid, 45–60. DeKalb: Northern Illinois University Press, 2007.

47. Blakesley, Rosalind Polly. The Russian Canvas: Painting in Imperial Russia, 1757–1881. New Haven: Yale University Press, 2016.

48. Bobrikov, Aleksei. Another History of Russian Art. Moscow: Novoe literaturnoe obozrenie Publ., 2012. (In Russian)

49. Shabanov, Andrei. The Wanderers: A Partnership Between the Commercial and Artistic Movement. Science ed. by Il’ia Dorochenkov. St. Petersburg: Evropeiskii universitet v Sankt-Peterburge Publ., 2015. (In Russian)


I. State Hermitage Museum. Catalogue of Prints in the Imperial Hermitage. Addition to Noth’s Catalogue. Manuscript. (In Russian)

Как цитировать
Чернышева, М. А. (2019). Paul Delaroche: The Reception of his Work in Russia. Вестник Санкт-Петербургского университета. Искусствоведение, 9(3), 577-589.
Изобразительное искусство