The power of great art.
Time flies inexorably. Many years have passed since the artist is no longer with us. But the memory is alive, the works that contain a piece of his soul are alive, which means their author is also alive.
The first recognition came to Valery Egorov in 1959. His painting “Mstera”, which was exhibited at the All-Union Exhibition of Amateur Artists, brought him a prize: a sketchbook, an easel and an umbrella. It was a success that stunned the nineteen-year-old artist and determined his entire future. creative path. “Mstera” was dedicated to all the artists and craftsmen who helped him, still a teenager, a student at the Mstera art school, not only develop his talent, but also lay the foundations of faithful and devout service to art.
Valery Egorov was born in Kovrov in the forties. During the war, the family moved to Yuryevets on the Volga. A small town, the expanses of the great Russian river became for the boy a real universe of diverse emotions. The Volga expanse, the lingering whistles of white steamships, gray seagulls on the wing of a high wave and a sad wedge of cranes calling behind them in the cold blue autumn sky. All this is the Volga, and it forever left a mark in the boy’s heart.
At the end of the forties, the Egorov family returned to Kovrov. Valery recalled that already at the age of ten he felt an inexplicable desire to express his feelings on paper with a brush, that he met a boy - Vitka, who could draw so well that his neighbors even ordered paintings from him. And this was a miracle for Valera. He himself loved drawing. And Vitka said: “If you like drawing, then you can draw, let’s draw,” and invited him to sketches.
And so it went, Valera gets ready in the morning, as if for school with a briefcase, and he and Vitya go to sketches. I skipped classes, and after seven years I decided to enter the Ivanovo Art School. But my parents didn’t let me into Ivanovo: “It’s a foreign city, there are punks there. It’s better to go to Mstera, at least there are relatives there.”
This is how Valery ended up in Mstera. I came to the art school, looked at the boxes - and froze. I've never seen anything like it before. The boxes amazed him, he didn’t know that there was such a letter and that he could learn this letter... In 1959, he graduated from art school with honors, and a year later he returned to his native Kovrov. There he began to study painting. But in memory of his years of study in Mstera, Valery Egorov’s family still keeps his work - a box made based on Pushkin’s “Demons”.
In 1960, Valery Egorov moved to Vladimir. The atmosphere of Vladimir art in those years was completely unique - the spirit of creative search, great experimentation, and competition reigned here. United by a common goal, a group of like-minded artists worked in Vladimir, solving great innovative problems in art. Was born on Vladimir soil new painting- life-affirming, fresh, informal, which later received the widest popularity.
The young artist quickly entered the circle of young people, who, along with their older comrades, became involved in color searches and experiments. It's time for hard work. Valery wanted to do a lot, to know, to comprehend. During these years, he was actively searching for his creative personality, participating in many serious Russian and foreign exhibitions. In 1967 Valery Egorov becomes a member of the Union of Artists of the USSR.
In Vladimir art, Valery Egorov was one of those artists who painted works where human figures were not just a beautiful addition, a staffage. The characters in his works came to the fore, were the main characters - they went about their everyday affairs, chores, and lived their everyday lives.
In one of his interviews, Valery Egorov said: “I consider it important to paint in such a way that nature and man on my canvas are equal heroes. You need to know equally well the nature of the village and the nature of man, and write them without belittling the dignity of either one. This requires a lot. I always think about this. And when I walk down the street, and when I have lunch, and even when I do some minor things. In such a tense state, the subjects of the works sometimes even appear in dreams.”
In the environment Vladimir artists the undisputed creative leader was Vladimir Yukin. For Egorov this amazing person And great artist was an unquestioned authority. “Vladimir Yakovlevich Yukin is an extraordinary personality, a person unlike others, he gave me a lot in understanding life and painting,” said the artist.
Valery Egorov has a work dedicated to Yukin, this is “Self-portrait with a portrait of Yukin.” There are two figures on the canvas. In the foreground the artist depicted himself. He sits and looks straight at us. You can feel the tension in the figure, in the gaze, in the artist’s hands. He is in search, in torment, but his gaze is full of determination.
Despite the fact that the artist depicted himself in the foreground, right at the edge of the canvas, he is still in the shadow of the figure of Yukin sitting behind him at the table. Yukin's figure perfectly captures the plasticity, characteristic pose, and gaze. I think this double portrait Egorov wanted to tell us a lot about himself, about the difficult comprehension of art, about the significance of Yukin’s personality in Vladimir art.
Looking at this picture, for some reason, the words of the Moscow artist G. Myznikov, spoken in 1970, come to mind: “When you visit exhibitions of Vladimir artists, the thought slips into your mind that most of your artists are yukinites. All of them are in the shade of a large tree named Vladimir Yakovlevich Yukin. And this is both easy and very difficult. Not everyone is given the opportunity to take their own path and find themselves.”
Valery Egorov found himself in art, found his own path, his own style. All his life the artist was devoted to his favorite theme - the landscape of the Russian province. The artist’s landscapes express the simple and natural joy of man from communicating with nature, enjoying its beauty. The works of Valery Egorov possess that miraculous power of real art, a high degree of pictorial nobility, which spiritually enriches, making our lives more beautiful and perfect.
The name of this author is included in the cohort of remarkable Vladimir masters, whose brushes belong to the widely known art school, called “Vladimir Landscape”. Egorov’s works are in the collections of the State Tretyakov Gallery (the painting “Holiday in Yuryevets on the Volga”), many regional museums country, private collections in our country and abroad.
N. Sevastyanova – researcher at VSMZ
Egorov Andrey Afanasyevich (1878-1954). Winter landscape painter.Egorov Andrey Afanasyevich (1878‑1954) born on July 2, 1878 in the village of Aruküla, Harju County, Estonia, into a peasant family. A descendant of Tver peasants resettled by Peter in the vicinity of Revel. Due to received in early childhood he became injured deaf and dumb. In 1887 - 1896 A. A. Egorov studied in St. Petersburg at a school for the deaf and dumb, and his ability to draw was already evident there. The St. Petersburg Society for the Care of the Deaf and Mutes provided A. A. Egorov with the opportunity through this organization at the Drawing School of the Society for the Encouragement of the Arts. After that he was in 1901 - 1909. volunteer St. Petersburg Academy Arts The son of an Estonian peasant, Andrei Afanasyevich Egorov, sent a petition to the Council of the Imperial Academy of Arts in St. Petersburg, which said: “I have the honor to most humbly ask... for admission to the test exam for the painting department...” Repin’s workshop at the Academy of Arts in St. Petersburg, which led by D. Kardovsky, and became the spiritual homeland of the aspiring painter. This was in 1901, and before that, local priest Kirill Jansen helped place a deaf-mute boy from the Arukula volost in a deaf-mute school in St. Petersburg, where he received an education and acquired the specialty of a carpenter. Drawing occupied all his free time, and during nine years of study he learned the technique oil painting and watercolors. I wrote everything I saw around me.
On a sleigh. Next.... ">
Returning from hunting.
The director of the school, seeing Yegorov’s craving for art, assigned him to the Drawing School of the Society for the Encouragement of Arts, and then he brilliantly passed the competitive exam at the Academy of Arts. The tradition of the Russian realistic school largely determined the choice of subject matter for his painting and manner of execution. Egorov was close to the landscape, urban motifs, and the calm nature of his native Estonia.Independent work by A.A. Egorova's career as an artist began in Russia, among other things he painted churches in Taganrog and Saratov. For the first time, A. A. Egorov’s paintings were exhibited at the spring exhibition of the Academy of Arts in 1908. In 1913 - Exhibition of Russian artists in London. In the years Civil War(1919 - 1920) A.A. Egorov was listed as an artist of the political department of the famous Red 1st Cavalry Army.
Gangway.
Rinsing laundry.
Washing.
Returning to his homeland in 1922, he found himself in a motley whirlwind of currents and directions that determined artistic life Estonia 20-30s. He traveled through the cities of Estonia, visited the islands, studied every corner of old Tallinn, peering in a new way at the colors of his native nature.In his book “The Painter Andrei Egorov,” Boris Enst wrote about this period of the artist’s work: “Deprived of the opportunity to serve, Egorov was engaged in “peddling”, selected several paintings and went with them to the editorial offices of newspapers and ministries, or even simply to the market He knew his buyer, his level of wealth, so he painted small paintings on cheap plywood or cardboard, and he took a small fee for them. He painted winter views of Tallinn and for tourists who transported Egorov’s paintings to all continents.”
Sled.
During the war, Egorov lived in the Urals and taught drawing in a small village. He returned to his homeland in November 1944, worked a lot, was awarded the title of Honored Artist of Estonia, and participated in exhibitions. The artist died in 1954 at the age of 76.
Winter landscape.
in winter.
How does he see it? creative heritage Today? Many paintings are in Art Museum Estonia, Tartu, St. Petersburg, but most of Egorov’s paintings are in private collections. The paintings have also been preserved in many houses of art lovers, apparently those who purchased them from the master at an affordable price in the very market that he so often depicted in his paintings.
Old market in Tallinn. Town Hall Square.
Winter.
Winter landscape.
Spring.
Seascape.
Port.
City street.
Cornflowers.
Daisies.
In the garden.
Paintings are destined to change their owners. Gallery owners can tell a lot interesting stories about paintings by old masters that fall into their hands. Recently, the Rios gallery received a painting by Egorov depicting a winter landscape with a sleigh. This is her story. Once, while staying at a manor, the artist received an order from the owner to depict his farm, but he did not have a canvas, and, having removed an old portrait from the wall, he asked the artist to paint the picture directly on it. The artist complied with the request, put his signature, and back side The painting left an inscription on the canvas that this portrait belongs to the collection of the von Kruzenstern family. Under X-ray illumination, gallery owners discovered a portrait of a man in military uniform. Who he was and what the value of the previous painting was is another story, because the winter landscape with a sleigh by Egorov was acquired by a new owner.
By water.
Winter landscape.
On last auction paintings by old masters, which are carried out by the Rios gallery, one of the wonderful paintings Andrey Egorov "Old market in Tallinn", dated 1915-1920. This painting was valued at 52 thousand crowns. Sold for 56 thousand. The painting depicts a corner of the old city, which has long ago changed its appearance in our minds. Therefore, this is not only a work of art, but also a page of history. Morning light flooding the square, a janitor rushing to clean the pavement, the first horse carts arriving in the city. The whole atmosphere is permeated with air. Bright colors tiled roofs, the slender silhouette of the church dome give rise to the image of a quiet city living according to its usual laws. The artist’s skill lies in seeing in every depicted object, landscape, corner of the city the signs of eternity, each time revealed to the viewer.
Alexey Egorovich Egorov is an outstanding artist in the galaxy of the late 18th-19th centuries. It’s not for nothing that he received the secret middle name “Russian Raphael”; perhaps, no one can depict the human body better than him and to this day.
Biography of Alexey Egorovich Egorov: Young years.
Nothing or practically nothing is known about the beginning of the life of the most talented Russian artist. The approximate date of his birth is the year 1776. He himself could not remember anything about the first years of his life; his only memories were a silk robe, embroidered boots and a wagon. Therefore, the biography of the Kalmyk boy begins from the moment when the Cossacks picked him up during a military campaign. The foundling spent some time in a Moscow educational home, until in 1782 he was sent to the Educational School at the Imperial Academy of Arts in St. Petersburg, where he studied with the best professors of that time, Ugryumov and Akimov. Education was given to the future luminary Russian painting more than easily, for his work from life he was repeatedly awarded gold and silver medals. Upon graduating from the academy, Egorov was awarded the highest honor of teaching drawing in academic classes, which was an obvious recognition of his talent and skill.
Biography of Alexey Egorovich Egorov: Mature years.
In 1803, he finally took advantage of the right to travel abroad given to him by the academy and went to Rome. The Italian period of his life and work became one of the brightest and gave rise to a lot of legends around the personality of the talented artist. Italians, custodians of world traditions in the field portrait painting, and confident that no one could depict the human body better than themselves, were forced to recognize obvious talent in the young Russian painter. It was rumored that the townspeople were ready to pay as much gold for the portraits as there were coins in the painting. His skill was awarded the highest praise from his Italian and other colleagues. Such giants of classicism as Canova and Camuccini even used his sketches in their works, and the Pope invited him to remain permanently in Italy as a court painter. Although this flattered Alexei Egorovich, he refused the tempting offer and in 1807, as soon as his pension expired, he returned to St. Petersburg, which had already become his home. Returning in the summer, he received the position of adjutant professor at the Academy of Arts, and in September, for the sketch of the painting “Entombment,” he became an academician. His native academy, as always, treated him favorably; already in 1812 Egorov became a professor historical painting, in 1831 he was awarded the professorship of the first degree, and a year later he rose to the rank of emeritus professor, the highest in the hierarchy.
Most of His creativity was occupied by works of a religious nature. His works are displayed in many St. Petersburg churches (the Church of the Transfiguration, the Cavalry Regiment, the Kazan Cathedral, the Church of St. Catherine, the Zion Cathedral and many others). Egorov also writes a lot on subjects from Holy Scripture. Many of his paintings are still considered standards of academic art. Alexei Yegorovich's entire life was spent in the service of art and was inextricably linked with the Academy of Arts, where he enjoyed constant authority and respect both among colleagues and among students. Therefore, he never expected the cruel joke that fate played on him in the last years of his life. Emperor Nicholas I, who considered himself a man who understood a lot in art, did not like the paintings for the church of Tsarskoe Selo. And in the year 1835, he ordered a reprimand to be given to everyone who took part in their writing. Among those who fell under the displeasure of the sovereign was Yegorov. Five years later, the emperor had already demanded the dismissal of the eminent and respected artist. Neither the council, hastily assembled by the Academy to protect the master, nor the petitions from the students had a positive result. However, this not only did not spoil the artist’s reputation, but rather, on the contrary, raised it in the eyes of his many students, who until the end of the teacher’s days turned to him for advice and reviews. Alexey Egorovich died at work in 1851.
The most famous paintings Alexey Egorovich Egorov.
Egorov lived a long and fruitful life, writing more than one hundred amazing paintings. His most famous creations are: “Rest on the Flight to Egypt”, “The Appearance of Christ to Mary Magdalene”, “Madonna with Christ and John”, “The Torment of the Savior”, a portrait of Princess Galitsina, “Bathers”, “Susanna”, “The Appearance of an Angel to the Apostle” Peter."
The belonging of the paintings of Alexey Egorovich Egorov to artistic styles.
The period in which Egorov worked, as well as the several years spent in Italy, could not but leave a mark on his work. Of course, the style of his paintings was dictated by great classicism. In any of his works, no matter whether they were portraits or genre compositions or paintings with religious content, the spirit of classicism was invariably visible in them with the naked eye.
Museums and galleries are places for exhibitions of paintings by Alexei Egorovich Egorov.
Paintings outstanding artist are presented mostly in the State Russian Museum and the State Tretyakov Gallery.
View all paintings by artist Egorov A.E. Can
© Artist Egorov. Biography of the artist Egorov. Paintings, description of paintings by artist Egorov
Artist Egorov Alexey Egorovich is a Russian painter and draftsman, as well as a professor of historical painting. As a teacher at the Academy of Arts, he was able to have a huge influence on Russian art. Under his wing such talented artists as Basin, Markov, K.P. Bryullov and others grew up.
Brief biography: early years
The place of birth and origin of the future artist were unknown. However, from Egorov’s childhood memories, we can conclude that the child definitely had Asian roots: a rich silk robe, a wagon and embroidered boots were combined with a Tatar appearance.
Being a Kalmyk captured by the Cossacks, he ended up in an orphanage in Moscow. Date of birth is 1776.
In 1782, on March 14, at the young age of only 6 years, Alexey entered the Academy of Arts and became a student of Ivan Akimov, a Russian painter working in the direction of classicism. At the institution, student Alexey quickly gains fame as the best life draftsman, which is documented by the medals awarded to him (small and large silver) and the insignia “For good behavior and success.”
Youth
In 1797, the artist Egorov completed his training course and in 1798 was already appointed as a teacher at this institution. Exactly in the 19th century, he received the title of academician and after 3 years (1803) he went on an internship to Rome, where he interned with Vincenzo Camuccini, an Italian painter and graphic artist.
Being a foreigner of domestic tastes and traditions, and also in his youth a real Russian hero, the artist Alexey Egorov enjoys great popularity while in Italy.
Almost everyone knew him. From some lips came the description of him as one of the greatest Russian draftsmen, and someone said that Egorov is a real “Russian bear”.
Mature years
In 1807, the biography of the artist Egorov again went back to his native Russia, when he returned to St. Petersburg and was immediately appointed deputy, and then academician for his magnificent achievements in the painting “Entombment.”
At the same time, the artist Egorov took the place of a drawing teacher and taught this skill to Empress Elizaveta Alekseevna and Alexander I. The latter, sincerely loving Alexei, gave him the nickname “famous”, since the artist was able to paint in just 28 days large-scale work"The Prosperity of the World", which depicted about 100 life-size figures.
If we talk about Egorov, touching on his role as a teacher, then we can say that he had the personality of an ancient philosopher: the teacher was connected with his students not only by a sense of duty, but also by warm human relationships, such as brotherhood and friendship. Respect and love on the part of his students reached the point that the students were ready to hand him an overcoat or a stick, light a lantern and accompany him home with the whole class.
In fact, Egorov helped correct students’ mistakes with the help of personal instructions and advice and could only rarely reproach them with a short and harsh word.
Recent years
Towards the end of the artist's life, Egorov suffered a severe blow: in 1840 he was dismissed from service for Emperor Nikolai Pavlovich's dissatisfaction with Egorov's work "The Holy Trinity", which was supposed to decorate the walls of the cathedral in Tsarskoe Selo. The “pension” for his work was an annual payment of 1,000 rubles, 4 thousand of which were withheld for paying for Tsarskoye Selo icons.
His former students helped Egorov not lose heart. Despite his dismissal from the Academy, artists Markov, Bryullov, Shamshin and others came to the professor’s home for advice, instructions, showed new works and listened to his opinion, still cherishing their beloved teacher.
Thanks to the support and faith in him, Alexey worked in painting until the end of his days.
On September 22, 1851, news spread across St. Petersburg: the artist Alexei Egorov died, saying before his death: “My candle has burned out.” He was buried at the Smolensk Orthodox Cemetery, but in the 30s of the 19th century he was moved to the Alexander Nevsky Lavra.
Personal life
Alexey Egorov was married to the daughter of the sculptor Martos, Vera Ivanovna. Despite his teaching talent, he was not at all involved in the education of his daughters, considering the education of girls to be tyranny and a useless matter. In his opinion, the priority was the monetary situation: if there was a dowry, there would be grooms.
The artist Egorov painted images of angels, including his daughters; he even depicted odalisques (women concubines of the harem) with the youngest.
In marriage he had four children:
- Nadezhda (married to D.N. Bulgakov);
- Evdokia (married to A.I. Terebenev);
- Sofia;
- son Evdokim.
Creation
Being a deeply religious Christian, Alexey found his calling in religious painting. All of the artist Egorov’s paintings were painted on biblical and divine themes.
During his internship in Rome, Antonio Canove and Egorov’s teacher Vincenzo Camuccini never ceased to be amazed at his skill, which combined the rigor of style with individuality. In paintings the artist preferred simplicity and clarity, and in colors - naturalness.
Some of the most famous paintings artist Egorov:
All three works are in the Russian Museum.
Egorov said that with the help of church painting he preaches God’s word, so for those who wanted to paint portraits of themselves, he offered the services of other artists. However, he also had exceptions: he still painted portraits for Princess Evdokia Galitsyna, General Dmitry Shepelev, the son of engineer Alexei Tomilov and others.
The artist Egorov is one of the largest figures of the Russian academic school and a representative of the classicism movement. He preferred to work using a free line drawing method, executed with chalk or ink pen either on brown paper or on a tinted base. Egorov also paid more attention to the rhythmic construction of the picture, practically not modeling the form.
Depending on artistic task he could reproduce lines that were rough, broken, jerky, or soft and rounded.
Egorov created works for such institutions as the Kazan Tauride Palace, the Zion Cathedral in Tiflis, and the Small and Palace Churches in Tsarskoe Selo.
One of the most gifted masters of academic drawing, A. E. Egorov (1776-1851) was not without reason given the name “Russian Raphael” by his contemporaries. His whole life is connected with the St. Petersburg Academy of Arts.
ABOUT early years Almost nothing is known about the artist. Russian Cossacks picked up a Kalmyk child in the steppe during a military campaign. Vague childhood memories for him forever remained a wagon, a silk robe and embroidered boots. Before coming to St. Petersburg, the boy lived for a short time in the Moscow Educational Home, and in 1782 he was assigned to the Educational School at the Academy of Arts.
In academic classes, Egorov studied with professors I. A. Akimov and G. I. Ugryumov. Here he quickly gained fame as the best draftsman, strengthened by medals for drawings from life. Having graduated from the Academy of Arts in 1797 with the right to travel abroad to improve his art, Egorov only in 1803, together with other graduates, ended up in Rome. Until this time, he was left to teach drawing in academic classes - a rare honor for a yesterday's graduate.
There were many legends about Egorov’s stay in Italy. From one we learn that at the very first visit to the life class, the Russian artist amazed those present with his skill, depicting the sitter very quickly and, most importantly, from a very complex angle. Egorov drew, sitting almost at the feet of the model, because by the time he arrived in the class, the more comfortable seats were occupied. Another legend tells how Egorov defended the honor of Russian art: in response to a statement from a local artist who claimed that a Russian would never be able to draw a human figure as skillfully as an Italian would, Egorov took coal and said: “Is this how you can do it?” - depicted a man on the whitewashed wall in one outline, starting with the big toe of his left foot. They said that after this incident, Italian art lovers paid for Yegorov’s drawing as many gold coins as were placed on the surface of the image.
Egorov gained extraordinary popularity in Italy. His talent was highly valued by the leading masters of classicism - A. Canova and V. Camuccini, the latter even used Egorov’s sketches for his compositions. Pope Pius VII invited him to stay in Italy as a court painter. However, the artist did not take advantage of this opportunity and in the summer of 1807, at the end of his pension period, he returned to St. Petersburg. Here he was appointed to the position of adjunct professor at the Academy of Arts, and already in September he was recognized as an academician for the sketch of the composition “Entombment” for the Kazan Cathedral. Further, more than thirty years of service in the Academy of Arts brought him a gradual ascent to the heights of his academic career. In 1812 he became professor of historical painting, in 1831 - professor of the 1st degree, and in 1832 - emeritus professor - the highest rank in the academic hierarchy.
The largest place in Egorov’s work is occupied by works on religious subjects. 
Madonna with the Child Christ and John the Baptist. 1833 
Appearance of Christ to Mary Magdalene, 1818 
The Descent of the Holy Spirit on the Apostles 1811 - Egorov Alexey Egorovich (1776-1851) 
Rest on the way to Egypt - Egorov Alexey Egorovich (1776-1851) 
The Virgin Mary with the Child Christ and John the Baptist.
Egorov Alexey Egorovich. Oil on canvas. 92x62.8.
State Tretyakov Gallery, Moscow
The Virgin and Child.
Egorov Alexey Egorovich
Holy family with Anna the prophetess. 1810s
Simeon the God-Receiver.
Alexey Egorovich Egorov (1776-1851). 1830-1840s Oil on canvas. 94×70.6.
Novgorod State United Museum-Reserve
Evangelists Matthew and John the Theologian. Until 1822. State Russian Museum
St. Jerome. No later than 1818 State Russian Museum
Apostle Andrew the First-Called. Egorov Alexey Egorovich
These are icons for St. Petersburg churches - the Life Guards of the Horse Regiment, the Transfiguration, the Kazan and Trinity Cathedrals, the Tauride Palace, for the academic church of St. Catherine, the small and palace churches of Tsarskoye Selo, the Zion Cathedral in Tiflis. He also painted easel paintings based on scenes from the Holy Scriptures: “Madonna with Christ and John” (1813), “The Appearance of Christ to Mary Magdalene” (1818), “Healing of the Paralytic”, “Rest on the Flight to Egypt” (both years) etc. 
Torment of the Savior. 1814 260 x 208, oil on canvas. State Russian Museum, St. Petersburg.
“Then Pilate took Jesus and ordered him to be beaten.” John 19:1
Egorov’s most famous painting is “The Torment of the Savior” (1814). Numerous preparatory drawings and pictorial sketches for it show how carefully the venerable artist thought through the composition. Contemporaries perceived the painting as a standard of academic art. Anatomy professor I.V. Buyalsky, who loved to demonstrate to his students anatomical errors in statues and paintings, said about Egorov’s work: “This is the only picture in which there is not a single error.” In 1850, the famous engraver F.I. Jordan turned to the Council of the Academy of Arts with a request to allow him to engrave this painting by Egorov, which he considered one of the “wonderful new creations in art.” Egorov himself, who attached primary importance to impeccable drawing, careful modeling of forms and well-structured composition, that is, qualities that are especially revealed during engraving, once said: “They will understand me when my work is engraved.” Wood engravings were made from Egorov's drawings in 1846 and published in the form of an album. Much earlier, in 1814, an album of drawings appeared, composed and engraved by the artist himself in pencil. These are 17 compositions on themes from the Holy Scriptures, many of which repeat his paintings.
In addition to religious subjects, Egorov painted portraits (the most famous are the images of Princess E. I. Golitsyna, engraver N. I. Utkin, 1798; N. P. Buyalskaya, 1824; A. R. Tomilova, 1831) and genre scenes (“Susanna”, 1813; "Bathers", b.).
Portrait of Golitsyna as a Vestal Virgin 
Portrait of M.P. Buyalskaya. 18214 timing belt
Alexey Egorovich Egorov Portrait of a girl
Portrait of V.P. Sukhanova
Invariably respected by numerous students and fellow artists, Egorov could not even imagine what blow awaited him in his declining years. In 1835, Nicholas I, who considered himself an art connoisseur, did not like the images for the Church of the Holy Trinity of the Izmailovsky regiment. The Tsar announced that they were “uniformly poorly written” and ordered that those who wrote them be reprimanded in the minutes of the Academy of Arts. Egorov was among them. However, the real trouble came five years later, in 1840, when the angry Nicholas I ordered the images painted by Yegorov for the Church of Tsarskoe Selo to be “sent without delay to the Academy of Arts” as not meeting the proper artistic level. And although the specially convened Council of the Academy of Arts stood up for the honor of the artist, the emperor “deigned to give the highest order: as an example to others, to dismiss him from service altogether.”
Egorov had to leave the Academy of Arts, within whose walls he spent almost his entire life. As a reward for his work, he was given a pension of 1,000 rubles a year, and 4,000 were withheld to pay for the Tsarskoye Selo icons.
Expelled from the walls of the Academy of Arts, Egorov did not lose authority in the eyes of his students - K. P. Bryullov, A. T. Markov, K. M. Shamshin and others. They came to the former professor for instructions, showed their new works, valuing his opinion. Egorov worked before last days of your life.
Wikipedia
