The artist is unknown
Marfa Matveevna Apraksina (1664-1713) ─ daughter of the boyar Matvey Vasilyevich Apraksin and Domna Bogdanovna Lovchikova. From February 14 to April 17, 1682 – Queen, wife of Tsar Fedor Alekseevich. Fedor Alekseevich died on April 27 of the same year, leaving Marfa Matveevna a widow. I lived in widowhood until the end of the days. Sister Admiral General f. M. Apraksina, a. M. Apraksina (“Andrei Brighting”) and senator p. M. Apraksina. Peter I. Time and environment. SPb, 2015. With. 122.
Modern portrait of Martha Matveevna, the so -called portrait with a dog. Fulfilled in a period when Martha Matveevna had the status of a royal bride. February 15, 1682, a wedding took place. The fan was not a characteristic detail of pre -Petrine life, although his “language” was well known. The Queen of Martha holds the fan “arrow” – that is, he is closed, is in his right hand and turned towards the interlocutor. This position of the fan means love and location. (Kirsanova 2002. With. 38–39). Svetlana Moiseeva / Peter I. Time and environment. SPb, 2015. With. 59.
Portrait of Queen Martha Matveevna is still girlishness, in a kokoshnik and luxurious robe, the so-called portrait with a fan, is almost modern for her oval image (Zh-3985). His author, perhaps a foreign painter, certainly worked in the picturesque team of the arms chamber. Although the fan was not a characteristic detail of the pre -Petrine life, its "language" was well familiar in aristocratic circles. Famous fashion researcher R. M. Kirsanova notes that "The position of the fan – in the left or right hand, is open or closed, turned to the interlocutor with the front or reverse side, could talk about a lot. Queen Martha holds a fan "arrow" – That is, it is closed, located in his right hand and turned towards the interlocutor (in our case, the viewer). This position means love and location…". According to the researcher, the portrait could be written no later than February 28, 1702, when the next decree was issued "On wearing a front dress on holidays and ceremonial days ”(Kirsanova from. 38-39). However, there is no doubt that this portrait was written during the life of Tsar Fedor Alekseevich – no later than April 27, 1682.
After the death of her husband, Martha put on his widow, almost monastic, clothes, although she did not go to the monastery. The timing collection contains another alleged portrait of Martha Matveevna (Zh-4705), on which the queen is represented precisely in such a robe (Hilimonchik. With. 26-38).
N. X. Unknown artist. SPb, 2012. With. fourteen.
