更新于 October 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 3 件 Pyotr Basin 作品收录于我们的目录中
摘要
Pyotr Basin 最广为人知的作品是《Portrait of Count I.I.Dibich-Zabalkansky (1833)》，现藏于圣彼得堡的冬宫博物馆。 接下来的条目是 Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834) 和 Portrait of Empress Dowager Yelizaveta Alekseevna (1831)。 该目录收录了 Pyotr Basin 的 3 件作品；下方列出的 3 项为最著名的作品，按排名顺序排列，并包含创作日期、馆藏机构及作品描述。
The artwork is the Portrait of Count I.I.Dibich-Zabalkansky, executed by the artist Pyotr Basin. This oil on canvas work dates to 1833. The subject of the portrait is Count I.I.Dibich-Zabalkansky, a man who held the rank of Russian field marshal. His full name was Hans Karl Friedrich Anton Graf von Diebitsch-Sabalkanski.
The Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov emerges from the canvas as a powerful encounter with history. Painted by Pyotr Basin between 1833 and 1834, the work captures the likeness of Mikhail Kutuzov, known formally as Prince Mikhail Ilarionovich Golenishchev-Kutuzov. He exists here not merely as a figure of the past, but as a presence defined by his immense responsibility. As a Russian soldier, General, and field marshal,…
The Portrait of Empress Dowager Yelizaveta Alekseevna is a significant work by the Russian artist Pyotr Basin. Painted in 1831, this oil on canvas portrait captures a moment of quietude and formal dignity. It is currently held within the collection of the State Hermitage in Saint Petersburg, Russia.
这些作品中最常出现的四个主题，以及各自最具代表性的范例。
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Pyotr Basin 的作品 | 此列表中的画作 |
|---|---|---|---|
 冬宫博物馆 |
圣彼得堡 | 3 | Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov, Portrait of Empress Dowager Yelizaveta Alekseevna |
此处列出的 Pyotr Basin 作品年代跨度为 4 年，从 1831 年至 1834 年，以下按年份顺序排列。
选择年份以展示其代表作。
The Portrait of Empress Dowager Yelizaveta Alekseevna is a significant work by the Russian artist Pyotr Basin. Painted in 1831, this oil on canvas portrait captures a moment of quietude and formal dignity. It is currently held within the collection of the State Hermitage in Saint Petersburg, Russia.
The artwork is the Portrait of Count I.I.Dibich-Zabalkansky, executed by the artist Pyotr Basin. This oil on canvas work dates to 1833. The subject of the portrait is Count I.I.Dibich-Zabalkansky, a man who held the rank of Russian field marshal. His full name was Hans Karl Friedrich Anton Graf von Diebitsch-Sabalkanski.
The Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov emerges from the canvas as a powerful encounter with history. Painted by Pyotr Basin between 1833 and 1834, the work captures the likeness of Mikhail Kutuzov, known formally as Prince Mikhail Ilarionovich Golenishchev-Kutuzov. He exists here not merely as a figure of the past, but as a presence defined by his immense responsibility. As a Russian soldier, General, and field marshal,…
Portrait of Count I.I.Dibich-Zabalkansky (1833)，冬宫博物馆, 圣彼得堡。以下是Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)和Portrait of Empress Dowager Yelizaveta Alekseevna (1831)。
40岁：Pyotr Basin出生于1793，其作品Portrait of Count I.I.Dibich-Zabalkansky创作于1833年。
目录记录了 Pyotr Basin 的 3 件作品，创作时间在 1831 至 1834 之间。
主要收藏于 冬宫博物馆 (圣彼得堡)。上方的博物馆列表展示了完整的分布情况。
此处列出的最早作品日期为 Portrait of Empress Dowager Yelizaveta Alekseevna (1831)，最晚为 Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov (1834)。
在本文档列出的 3 件作品中，共有 Man (2), Military uniform (2) 及 Medals (2) 件。
Oil On Canvas，共计 3 件，收录于本页 3 件作品中。
Portrait of Count I.I.Dibich-Zabalkansky, Portrait of Field Marshal Prince Mikhail Illarionovich Kutuzov 及 Portrait of Empress Dowager Yelizaveta Alekseevna 是 冬宫博物馆, 圣彼得堡 馆藏中本页 3 件作品之一。
Pyotr Vasilievich Basin entered the world in Saint Petersburg in 1793, born into the family of a local civil servant. His path toward the brush began in earnest around 1811, when he attended drawing classes at the Imperial Academy of Arts. Under the guidance of Vasily Shebuyev, he refined his understanding of history painting and classical form. The Academy recognized his early promise with silver medals in 1813, followed by a major gold medal in 1818.
A decade of profound development awaited him in Italy. Between 1819 and 1830, a fellowship allowed Basin to live in Rome, where he immersed himself in the study of Old Masters and the works of Raphael. This period was not merely one of observation but of intense production; he created nearly one hundred paintings during his European residency. His talent for religious subject matter was solidified by his work Christ driving the money changers from the Temple, a piece that secured his grant.
Upon returning to Saint Petersburg in 1830, Basin transitioned from student to influential figure within the Russian art establishment. He was named an Academician in 1831 and eventually rose through the ranks to become a professor at the Imperial Academy of Arts. His career was marked by significant institutional responsibilities, including serving as a second-class professor in 1836 and a first-class professor in 1846. He held the title of Professor Emeritus from 1856.
His hand was visible in the very fabric of the city's most sacred spaces. Basin contributed to the restoration of the Winter Palace following the fire of 1837, painting over forty mythological and allegorical figures for its halls. His religious output remained his most enduring contribution, with large-scale works appearing in several major cathedrals:
The later years of Basin's life were defined by a physical struggle that eventually silenced his creative output. A progressive eye disease began to take hold in the 1870s, stripping him of the vision required for his meticulous work. By the end of 1870, he was entirely blind. This loss forced an early retirement from the active practice of painting, though his earlier sketches continued to provide models for others, such as Nikolay Koshelev, in decorating the Cathedral of Christ the Saviour.
He remained in Saint Petersburg until his death in 1877. He was laid to rest in the Novodevichy Cemetery, leaving behind a body of work that bridged the gap between classical tradition and the emerging Romantic period. His legacy is found in the quiet corners of Russian cathedrals and the academic lineage he helped establish through students like Nikolai Ge.
