Johann Baptist
Lumpy (older)

Austria • 1751−1830

Austrian painter. He studied in Vienna, worked in Vienna, Verona and Trento (1773-80), Warsaw (1788-91), Petersburg (1792-1797). From 1786 Professor AX in Vienna. Known as the author of formal portraits, mostly in the spirit of classicism, virtuoso performance, but superficial. His son and pupil of I. B. Lampi the Younger (1775-1837), worked with his father in St. Petersburg and Vienna.

Johann Baptiste Lampi the Elder (1751-1830) received his primary art education under the guidance of his father, Mathias Lampi, then perfected at Koenig and Unterberger in Salzburg, Lorenzo in Verona.


At this time he wrote ceiling lamps, altar image for churches, historical paintings and portraits, in developing their talent hard work. His success was so rapid that the Verona Academy of arts elected him as a member when he was barely 25 years old.


In 1783 he arrived in Vienna, where he soon became a favorite portraitist of the court and nobility, and performed, among other things, a large portrait of Emperor Joseph II (located in the Vienna Acad. arts) and two excellent portrait of the family gr. Potocki. In 1786 he was appointed Professor and member of the Board of the Vienna Academy.


The following year, at the invitation of king Stanislaus Augustus, went to Warsaw. Here, they were filled with portraits of the Emperor and the many people of Polish and Lithuanian nobility. Prince Potemkin, who was then in Moldova, invited artist, in Iasi, where he painted portraits of Bezborodko, Princess Galitzine (niece of Potemkin, born Engelhardt), the Potemkin and the ruler of his office Popov. After the last Empress Catherine II invited him to St. Petersburg. His first work here was a portrait of the great monarch life-size and full growth. Excluding one-time reward of 12,000 rubles., Lampi got for him from the Empress annual maintenance in 7000 rubles. and 400 ducats, in reimbursement on arrival in St. Petersburg and the way back to Vienna.


In Russia, Lampi spent six years (1792-98), using the favor of Catherine and her successor on the throne, portrayed all the ladies of the Royal family and many Russian dignitaries and courtiers (book. P. Zubov, C. A. I. Musin-Pushkin, A. B. Kurakin, I. Lampi Lazarev, gr. P. V. Zavadovskiy, N. Yusupov, C. Samoilov, P. I. Melissino, K. J. bühler, etc.) and had a significant impact on some Russian artists, especially in and . In 1794, our Academy of arts recognized him as their honorary free member.


Returning to Vienna, he continued to work tirelessly, was built, together with downward offspring in the noble rank and was awarded the title of honorary citizen of the city. In 1822, retired, but still did not part with the brush, helping in the work of his eldest son.


The skill to effectively put the nature and pricesit it, without prejudice to the similarity with reality, pleasant, harmonious, although somewhat conditional coloring, free admission letter, especially adept at playing draperies and other ADO — make up the dignity of portrait works by this artist, which, in General, can be considered one of the best masters among the portraitists of his time. As samples of his paintings, you can specify the portraits of Catherine II (the Winter Palace and the Mining Institute), Empress Maria Feodorovna (in Pavlovsk, the Palace), led. kN. Alexander and Constantine Pavlovich (in the Romanov gallery Hermitage) led. kN. Maria Pavlovna led. kN. Olga Pavlovna (in the Gatchina Palace), gr. A. I. Musin-Pushkin (in the Museum of the Academy of fine arts) and at some privately owned in St. Petersburg. and Moscow.

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