The portrait of Sergei Mikhailovich Golitsyn dates back to the period in the life of Vasily Tropinin when he was released from serfdom, received the title of Academician and achieved fame. The 1820s and 1830s were the time of his greatest popularity. When Tropinin settled down in Moscow, he was ordered portraits by representatives of most noble Moscow families. Among them was Prince Sergei Mikhailovich Golitsyn. According to some reports, he rendered assistance to Tropinin, as he supported many creative people of his time.
Tropinin treats his model primarily as a private person. Therefore, even the ceremonial portrait by the artist acquires the features of intimacy. This feature is inherent in the image of S.M. Golitsyn: official appearance and dignity coexist in him with the diffused gaze of dark eyes and a faint, slightly outlined smile, which makes it intimate. Despite the first impression of solemnity, there is no emphasized severity in the posture of the Prince.
Tropinin treats his model primarily as a private person. Therefore, even the ceremonial portrait by the artist acquires the features of intimacy. This feature is inherent in the image of S.M. Golitsyn: official appearance and dignity coexist in him with the diffused gaze of dark eyes and a faint, slightly outlined smile, which makes it intimate. Despite the first impression of solemnity, there is no emphasized severity in the posture of the Prince.
In the laid-back and natural expression of the face, which arises only in the presence of well-known people, in the emphasized softness of the features, there is something unique to Tropinin personal style. Against the background of a cloudy sky and a valley with a low horizon line, a figure of a middle-aged man dressed in a dark full dress stands out in a sonorous silhouette. The black spot of the full dress is animated by the brilliance of two order stars: St. Alexander Nevsky and St. Vladimir. In the posture of the Prince, one can feel social graces polished from a young age, aristocratism, pride.
The composition of the portrait is quite common for the era of the late 18th and the first half of the 19th century. The figure is in half-turn, almost in profile, the face - in three quarters. The realistic image of the model is complemented by a romantic note lent to it by the landscape and disturbing sky background. The sky, light near the horizon, darkens at the top, which is determined by deep grey-pink colours. The low horizon makes the figure significant, and the intensely rich colours of the costume enhance the romantic image. The costume of Golitsyn has no defining details, only the presence of order stars confirms that it is a dress coat, which was the official uniform at the beginning of the 19th century.
The composition of the portrait is quite common for the era of the late 18th and the first half of the 19th century. The figure is in half-turn, almost in profile, the face - in three quarters. The realistic image of the model is complemented by a romantic note lent to it by the landscape and disturbing sky background. The sky, light near the horizon, darkens at the top, which is determined by deep grey-pink colours. The low horizon makes the figure significant, and the intensely rich colours of the costume enhance the romantic image. The costume of Golitsyn has no defining details, only the presence of order stars confirms that it is a dress coat, which was the official uniform at the beginning of the 19th century.