Boris
Ivanovich Orlovsky (Smirnov)

1792, s. a Large Stolbiche, Oryol province. 1837, Petersburg, Sculptor B. I. Orlovsky, the last great master of Russian classicism, thought categories holistic urban architectural space. Amazing his fate. Serf of the landowner of Tula., in 1809, he was sent to Moscow for training to mramorskiy Italian S. P., Campioni. Persistent, hardworking and talented was Orlovsky (the nickname place of birth, real name of artist - Smirnov), and in the Studio, Campioni, "working selflessly, he learned to cut marble, an Apple cut". In 1816, the landlord allowed him to settle in Petersburg, where the work of the marblers were in great demand. Dream to become a sculptor Orlovsky and made in the workshop of P. Triscorni to work tirelessly. The famous sculptor I. P. Martos, for which the young mramorak worked in 1821, saw in him an extraordinary talent and along with the President of the A. H. AX Olenin took part in his life. The Emperor Alexander I decided to take care of a talented young man, and after a year, though not without difficulties, having a vacation, Orlovsky joins OH, and a few months by order of the Emperor he was sent to Rome, to be apprenticed to the sculptor Dane A. Thorvaldsen. From 1823 to 1828 Orlovsky successfully studied with this greatest master of classicism, causing his approval and appreciation. In Rome he met with Russian artists O. A. Kiprensky, SEM. F. Shchedrin, K. P. Briullov. His Italian period - "Paris" (1824), "Satyr playing the Fife" and "Faun and Bacchante" (both 1826-28) - indicate that the young sculptor has been successfully mastered by the classic tradition of sculpture. The return of the sculptor to the homeland is connected with the construction of monuments to the generals of the Patriotic war of 1812 M. I. Kutuzov and M. B. Barclay de Tolly, on which a competition was announced. Before the sculptors were standing a number of challenges. It was necessary to associate the monuments with architectural and sculptural complex of the Kazan Cathedral, erected in the first decade of the XIX century. in addition, the new Emperor Nicholas I demanded that "the field-Marshal was submitted to Hiking in a uniform uniforms" that the traditions of classicism was unacceptable. Uniforms, as something temporary, transient, sickened classic aesthetics, interfere with the glorification of images of generals. Image uniforms entailed the necessity of portrait of individuals and a common realistic solution. Orlovsky brilliantly coped with all the tasks. In its decision certain naturalization (costumes, portrait) advantageously emphasizes the individuality of the generals, not in the least lowering of the sublime order of the images. On a simple granite pedestal (architect V. P. Stasov) on the background of the porticos of the Northern colonnade of the Cathedral clear silhouettes of the majestic bronze, partially draped figures of generals. Kutuzov emphasized the role of active movement of his left hand, pointing the wand forward and up. His leg collapsed tramples on the flag of France. The same banner at the foot of Barclay de Tolly. The appearance of Barclay, the nature of his restrained gestures, posture with convincingly reveals the tragic and heroic fate of the commander. In the same period, Orlovsky worked on the creation of the statue angel of the Alexander column, erected in 1829-34. on Palace square (architect O. Montferrand). The sculptor had to make 14 models of various sizes before he was satisfied all the wishes of Nicholas I, the special Commission and found the decision acceptable to the Orlovsky. Angel in flowing robes with bowed head, and uplifted right hand tramples the cross of the serpent, the embodiment of evil, treachery, cunning. The sculptor has taken into consideration all possible angles and viewpoints. Clearly read the silhouette of the angel against the sky, he continues a triumphant chariot with the figure of Glory on the General staff building. In the existing architectural ensemble Orlovsky surprisingly tactfully put romantic in spirit and classic in the form of a statue of an angel, organically supplementing the composition of the square. Classic, romantic and realistic tendencies manifested in the work of the sculptor, joined in the performance (1831-36) on the title of Professor, - "Jan Usmar stopping an angry bull". In 1837, at the Moscow triumphal gates in St. Petersburg (architect V. P. Stasov) was installed figures of geniuses on models Orlovsky. 25 Dec 1837, 25-th anniversary of the expulsion of Napoleon from Russia, solemn opening of monuments to generals at the Kazan Cathedral, but the sculptor himself it has not been present for eight days before he died.