The problem of attribution of the marble bust № 15 from the museum collection of Oleksandria Park
Oleksandria Park is a gem of landscaping of XVIII-XIX centuries. This stage in the art is notable for Western European and Russian influence on the landscape objects of Ukraine. The park was created in the late XVIII century by Oleksandra Branytska (Engelhardt). For this work known European architects Muffo and Dominique Botany were invited. Currently, the study of history, semantics and style of landscaping in Ukraine and its components is actual, because every year more and more attention is paid to recovery of the historical appearance of landscape ensembles. Works of art that complement the interiors of the pavilions and landscape affect the overall composition of the parks greatly. Apart from the park, the palace and pavilions, collection of paintings and sculptures belonging to the family of Counts Branytski was of a significant value. Among these works, there were gifts from the royal family, exhibits brought from abroad as well as made for Oleksandria park owners specially. In the museum of park, there is a collection of sculptural works, which requires detailed study. A great deal of questions are raised around the bust № 15, which is known as attribution “Portrait of His Serene Highness Prince Hryhorii Potiomkin” or “Portrait of an unknown Russian military leader”. The attribution made by N. Potapova can be considered the only thorough research of the collection of marbles. She identified the authors of some exhibits and changed the names, which had been identified incorrectly while the museum collection forming. The researcher also questioned the attribution of the marble bust № 15 (h = 58 cm) by an unknown author which is mentioned under № 15 in the museum catalogue of sculptures. According to the conclusion, given by the examination department of Republican restoration workshops in Kyiv in 1975-1982 years, this sculpture got the attribution of “Portrait of His Serene Highness Prince Hryhorii Potiomkin”. A sculpture similar by outlines can be seen in images of the Rotonda pavilion, which is also mentioned under the name “The Potemkin Pavilion”. But N. Potapova noted that this bust was clearly visible on the interior photo of the Dance Pavilion. She offers a new title “Portrait of an unknown Russian military leader”. It should be mentioned that stylistics of portrait sculptures included using of several types of setting the figure during the late XVIII-XIX centuries. Particularly most of the male portrait busts were performed exactly in such a posture: a half turn of the head, shoulders full face, usually with some drapery on one, a raised chin, a gaze directed into the distance. All this has to bring heroism and majesty to the portrait. In addition, the lack of author’s signature and discrepancy between the sculptural portrait and the iconographic type of G. Potemkin with his honors were the arguments in favor of attribution changes. Further researches concerning this sculpture have not been done. The article aims at refutation of the version about belonging the sculptural portrait to the person of Hryhorii Potiomkin and determination of the circle of people who could look similar to this portrait by the appearance and honors. The basis of the study were 3 honors which are visible on the sculptural image. Two orders are clearly visible, the third is partially invisible. On the portrait bust, the Star of the Order of St. Andrew can be recognized despite the fact that most of it is covered with a cloth. In the foreground of the eight-pointed star, the Saltire is seen. It was a part of this sign at the time of Catherine II because after the Paul І accession to the throne the two-headed eagle replaced it. Cavaliers of this Order became a significant number of people in the Russian Empire and beyond. This type of orders had been used for limited time before implementation of reform of Order’s system in practice. Therefore, the identification of this award only helps to establish timeframes of the portrait creating. Assuming that the bust could be a portrait of Hryhorii Potiomkin, in accordance to painting portraits in 1790 and 1791, under the Order of St. Andrew, there had to be the Order of St. Vladimir located and on the neck there had to be the Order of St. George. As the Order of St. George is missing, we can conclude that the portrayed person did not have this award. Since it was a reward for military merit, the person depicted in marble was not recorded in military campaigns. As a result, we can discard the attribution proposed by N. Potapova “Portrait of an unknown Russian military leader”. Instead, on the neck there is the Order of St. Alexander Nevsky. When we look at the center of the order, the image of a rider is seen. Often, those who held the highest state posts, were awarded with it. The third award is depicted just distinct enough to be able to define it. The decoration between the rays clearly depicts the fleur-de-lis. It was a decoration of a variant of Order of St. John of Jerusalem (Maltese Cross). In addition, on the uniform the epaulettes can be discerned. They were the element of the uniform of this Order introduced between 1797 and 1803. Thus, we can conclude that the sculpture was created between 1797-1803. In 1798, Paul took the Order of Malta under his patronage and was elected as The Grand Master. Taking into account the presence of the Maltese cross on the bust sculpture, we could disagree that it could not be a portrait of Hryhorii Potiomkin, because he died in 1791, before the Russian Empire began handing the Order of St. John of Jerusalem. According to the uniform decoration elements, available honors and facial features, the most probable version is that the portrait depicts Peter Lopukhin. He is not marked in military campaigns and had only those orders, which are awarded for diligent service to the state. During the visits to Oleksandria Park by Alexander I, Lopukhin could accompany him.