Alexey Tarasovich Markov (1802-1878)
Man with a Clarinet
Sevastopol Museum
Markov studied at the Imperial Academy of Arts under Andrey Ivanovich Ivanov, Alexei Yegorov and Vasily Shebuyev; graduating in 1824, having received several medals. In 1825, he became a "pensioner" of the Academy, on condition that he continue to study and improve. He received a gold medal and a stipend for a study trip outside of Russia in 1830, as recognition for his painting "Socrates, Before his Death, Talking with Students About the Immortality of the Soul".
Alexey Markov (1802-1878)
Detail; Fortune and the Beggar, c. 1836
Oil on canvas
215x162 cm
State Russian Museum
Alexey Markov (1802-1878)
Fortune and the Beggar, c. 1836
Oil on canvas
215x162 cm
State Russian Museum
Unstable in her preferences, sympathies and desires, ready to fly away at the first opportunity, this lady was often depicted as winged, on a ball or wheel, sometimes with a blindfold over her eyes. The unmerciful rotation of the wheel of Fortune is a prototype of the merciless cycle of life, before which everyone is equal. More on Fortune
Alexey Tarasovich Markov
Great Martyr Eustathius in the Colosseum, c. 1839
Oil on canvas
98x136.5
State Tretyakov Gallery
Saint Eustace, also known as Eustachius or Eustathius in Latin, is revered as a Christian martyr.
In the 13th century French tradition of the narrative, it begins with Placidus (Eustace's name before he was baptized) hunting, and while hunting, he follows into woods a deer which causes Placidus to separate from a group of hunters; And while he followed, the deer reversed towards him. Placidus is then awestruck by a vision where he sees the cross between the antlers of the deer, and in that moment, Placidus is commanded by the voice of God to be baptized along with his family on that very night by the bishop of Rome. He is baptized and has his name changed to Eustace.
He receives another vision from a voice informing him of upcoming trials for he and his family where they will suffer; They lose their goods, servants, livestock, and social status. They attempted to travel by boat, however, Eustace couldn't afford the voyage. Eustace and his two sons Agapius and Theopistus were then removed from the boat and separated from Eustace's wife Theopista, so Eustace and his sons continued traveling; They arrived at a river where Eustace had to carry them across one at a time. After successfully taking one to the other-side, Eustace attempted for the other, however, both of his sons where taken by animals while he was crossing the river; one by lion and the other by wolf. Unknowingly to Eustace, his sons were saved and raised independently.
Eustace then worked for fifteen years as a guard protecting fields until he was approached by two envoys of Roman emperor Trajan who were sent to persuade him to return to Rome and repel an uprising; Eustace complied. There in Rome, he was reinstated his original rank of general, led an army, and coincidentally, achieved victory in the home country of the captain who abducted his wife Theopista.
Trading life stories after the battle, two soldiers discover they were the brothers abducted by animals, and overhearing them, Theopista recognizes her husband Eustace. Eustace and his family then return to Rome to celebrate at a victory dinner under the new Roman emperor Hadrian who was less tolerant towards Christians. Following the dinner, Hadrian requested Eustace and his family to make an offering to pagan gods; They refused. Eustace and his family were then thrown in a den of lions, but the lions did not touch them. Eustace and his family were then put into a brazen bull; They died but their bodies were untouched by the flames. More on Saint Eustace
He visited Dresden and Rome, copying frescoes and paintings, notably those of Raphael, as well as producing his own. In 1836, his work "Fortune and the Beggar" (See above) brought him the title of Academician. In 1842, for his painting of Christian martyrs in the Colosseum (See above), he was named a Professor (2nd Degree). Ten years later, he was promoted to Professor (1st Degree) and was awarded the title of Distinguished Professor in 1865.
Alexey Tarasovich Markov (1802–1878)
Priam Begging the Body of Hector from Achilles, c. 1824
Oil on canvas
Height: 110 cm (43.3 in); Width: 141.4 cm (55.6 in)
The State Hermitage Museum
Book 24, the last chapter in the Iliad, relates the story of Priam, the king of Troy, coming to Achilles in the dead of night to beseech him to release the body of his son Hector so that he can be given a proper funeral. In his fury over the death of his friend Patroclus, killed by Hector, Achilles has killed Hector in turn and nothing can assuage his grief over Patroclus. He has tied Hector’s body to his cart and pulled him 11 times around the walls of Troy, however, the gods will not allow the body to be damaged and are trying to find a resolution: the god Isis advises Priam to go to Achilles and pay him ransom for the body, whilst the God Thesis, Achilles’ mother, visits Achilles and tells him to be merciful to Priam and allow him to provide a proper burial for Hector. More on this painting
Although he was an excellent craftsman, his chief contribution to Russian art was his diligent teaching. He sought out young artists, who in turn favored his classes when requesting apprenticeships.
Alexei Tarasovich Markoff, (Russian Federation, 1802-1878)
JOHN THE BAPTIST, c. 1839
Oil on canvas
102x78 cm
Private collection
The earliest depictions of St John are always in the Baptism of Christ, one of the earliest scenes from the Life of Christ to be frequently depicted in Early Christian art, and John's tall, thin, even gaunt, and bearded figure is already established by the 5th century. Only he and Jesus are consistently shown with long hair from Early Christian times, when the apostles generally have trim classical cuts; in fact John is more consistently depicted in this way than Jesus. More on this painting
In addition to his paintings, he created frescoes and decorative works. One of his most prominent is "Joseph Meeting his Brothers in Egypt", in the attic of Saint Isaac's Cathedral. He also performed the drawings and composition for the depiction of the Trinitarian God on the ceiling of the Cathedral of Christ the Saviour, although the actual work was executed by Ivan Makarov, Ivan Kramskoi, Nikolay Koshelev and Bogdan Wenig [ru]. More on Alexey Tarasovich Markov
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