He studied painting in David's Studio, which took him to Rome in 1785 Since then, Vladimir has not left more of Italy. He sketched a considerable part of works of art of the Florentine gallery; the drawings were published in 1789-1821. in three volumes, under the title of "Tableaux, statues, bas-reliefs et camées de la Galerie de Florence et du palais Pitti". The text to this edition have written Monje (Mongez). In 1798, the Vicar was a member of the Commission, collected in Italy artwork, designed for the French museums. Personally Vikar had this fee precious collection of the cartoons of Raphael and Michelangelo Buonarroti, which, dying, bequeathed to his hometown.
French painter, draftsman, printmaker. Born into a family of master furniture maker O. P. Vikara; studied painting at Lille in L. J. Berlin; participated in exhibitions at the Academy of fine arts of Lille (1774-1780); in 1783 he took lessons from J.-L. David, was one of his favorite pupils; from 1784 he lived in Rome as a fellow of the magistrate of Lille. The period 1793-1796 spent in France, taking part in the revolutionary events. He was appointed Commissioner on the arts and together with an architect John. Valadier by order of General F. Kako (Minister of foreign Affairs in Rome) involved in the selection of works of Italian art and sent to France under the Treaty of Tolentine. From 1805 member of the Academy of St. Luke taught at the School of the Nude in front of her. Worked in Rome and Florence. Being a court painter of Napoleon Bonaparte, the Academy of St. Luke headed the Commission on foreign Affairs; 1809 became Director of the Academy of fine arts in Naples, a supporter of the struggle for "national Academy" against the "academic style". In 1816 he made a trip to London. In Rome visited the salon of General Sesto Milli, the Governor of Rome, and in 1811 built the catalog of his collection. Created works on historical, mythological, religious themes in the spirit of Neoclassicism (Brutus learns of the death of his sons (1788, Lille, musée des Beaux-arts), the resurrection of the son of the widow of Nain (1806-1816, Rome, Academy of St. Luke). Known for his paintings of the Concordat (1803, Castel Gandolfo, the figure of Paris, NAT. Museum) and Virgil reading the "Aeneid" to the family of Augustus (1818, Cadenabbia, Tremezzo, Villa Carlotta; copy — Lille, Museum of fine arts; the count John. Sommariva known collector). The picture of the Concordat was about modern history — the signing in Paris on 15 July 1801 agreement between St. the throne of Napoleon Bonaparte, which was considered a diplomatic success of the French in Italy was unfavorable to the political situation of the latter. It depicts many historical persons — Pius VII, Secretary St. see, cardinal, Consalvi, Napoleon, etc.
Vikar created in painting and graphics, a gallery of portraits of the Bonaparte family (Portrait of Joseph Bonaparte, 1808, Versailles, NAT. Museum; Portrait of I Consul, 1802, Paris, the Museum of the Legion of honor; the picture of Paulina Borghese, 1816, private collection; Portrait of Louis Bonaparte, 1815, Versailles, NAT. Museum), his companions (Portrait of Joachim Murat, the Portrait of Caroline Murat, both of 1808-1809, PERUZA, NAT. gallery d Ombre; Portrait of françois Kako, 1801, Versailles, NAT. Museum). Of interest and the portraits of many of his contemporaries, for example, artist E. Vigee-Lebrun (1804, Paris, NAT. library), architect J. Valadier (1827, Rome, Academy Of St. Luke), Pope Pius VII (1815, PERUZA, NAT. gallery d Ombre). From an artistic point of view interesting self-portraits of the artist (self Portrait, 1795; self-Portrait in fantasy costume, 1806, both of Lille, musée des Beaux-arts). The first was written before his departure to Italy, and headdress of a young artist — the Phrygian cap and tricolor cockade indicates his political sentiments. Self-portrait in the costume of a character of the Khalsa was created in Rome and exhibited at the Academy of St. Luke; it has affected the hobby in the manner of the old masters and developed his scenic talent Vikara. The artist was an avid collector of drawings; being himself a good draughtsman, he left many sketches of contemporary events, portraits (portraits from his folder of drawings Carnet de Portrait, 1787). He was also the author of the drawings to antikisierenden the uvrazh Paintings, statues, bas-reliefs and cameos of the Florentine gallery, and the Pitti Palace. Grandly and solemnly in the spirit of revolutionary heroism of the era look like it reproduced in engravings of ancient monuments. Such engraved albums had a great influence on "a taste for the classics" in the 2nd floor. XVIII century the Artist was buried in the Church of San Luigi dei Francesi in Rome.