This article attempts to interpret the allegorical program of the recently introduced into the scientific discourse “Portrait of Empresses Anna Petrovna and Elizabeth Petrovna”, painted in 1721-1723 by the court artist Louis Caravaque (1684, Marseilles - 1754 Saint Petersburg) for the Marly Palace in Peterhof, as gauged by the photograph from the Scientific Archive of the State Museum-Reserve "Petergof” and a replica of the unknown artist from the Museum of Visual Arts of the Republic of Karelia (Petrozavodsk). The attributes of the models are interpreted in the context of the European traditions of emblem studies and iconography, which were known in Russia. The ordered for private interior portrait was meant for decorating the personal space of the monarch. In the portrait of Peter's dearly loved daughters, the artist used symbolism and compositional solution reflected in the widespread version of allegorical iconography of the concept of Pax (peace) in a form of two female figures with corresponding attributes, which was relevant for Russian due to the Russia's triumph in the Great Northern War and requested in 1723 by S. Raguzinsky in direct order of Peter sculptural group of Pietro Baratta. Celebrations dedicated to the Treaty of Nystad in the beginning of 1722 in Moscow concurred with the Name Day of Anna and announcement of Elizabeth's age of majority. The creation of portrait could be associated with award the title of Tsesarevna for the daughters of Peter. It is not unlikely that the dominant role of Anna in the portrait could be not due to her seniority, but the plans that she would become the dynasty heiress.
|Translated title of the contribution||ALLEGORICAL PROGRAM OF THE "PORTRAIT OF EMPRESSES ANNA PETROVNA AND ELIZABETH PETROVNA" FROM THE MARLY PALACE IN PETERGOF|
|Journal||Человек и культура|
|Publication status||Published - 2019|