What do false portraits lie to us?
When I read that, supposedly, Nicholas II or his wife, as well as someone else from the highest aristocracy have “degeneration features”, or “what all these princesses are scary,” I understand why people write this . These individuals are not associated with them, with critics at the genetic level. Even on sociocultural. Narrow faces with straight noses, without vulgar lips on half a face, long fingers, high foreheads – this is unnatural for lovers of young Pamela Anderson. Galina Ivankina Ulrika Fredrika Pash, or Ulla at home, was considered one of the very, very few professional artists of Sweden until the very beginning of the 19th century. We note at the same time that her life fell on the XVIII century, when women artists could be counted on the fingers.
As a true northerner and daughter of her age, Ulla was not ambitious. A rather mean biography of her brother, also an artist, looks much more extensive than the biography of her sister. Nevertheless, there is something to tell about Ulrik, and her biography is much more impressive than the biography of her brother. Ulla was born in Stockholm on July 10, 1735 in a family of artists. Her father, Lorenz Pash the Elder, was a famous portrait painter, we’ll talk about his older brother separately, and his uncle, Johan Pash, was a court painter, which in itself was an acknowledgment of his talent.
Ulrika’s father, noting the girl’s talent for drawing, began to teach her with her brother. There is no information about Ulrike’s mother. Most likely, at that moment she had already died.
In the 1750s, the star of the father-painter began to roll, and the financial situation of the family fell into some decline. The brother was studying abroad at that time, and 15-year-old Ulrika had to go to the servants of one of her maternal relatives. It sounds like the beginning of a drama about an unfortunate orphan in the house of an elderly rich man, but in reality everything was, to put it mildly, not at all dramatic. Firstly, Ulla was a girl who matured early, and therefore – serious and responsible. Secondly, a relative is still not a stranger, and therefore, knowing the girl, he hired her not as a simple servant, but as a housekeeper. The housekeeper was in charge of the entire economy; in fact, she was the mistress of the house. And thirdly, the relative turned out to be a visionary man: seeing Ulla’s talent for painting, he gave her the opportunity (that is, free time) to continue her studies.
After several years of work, Ulriki began to be in demand, she had her own clients, not only among the wealthy middle class, but even among aristocratic circles. Her well-being has improved so much that she could almost completely support her family. In 1766, his father dies and Ulrika decides to open his own studio. The decision turned out to be so true that the brother who returned from abroad was surprised to find his sister a well-established professional artist with more than a good clientele.
A portrait of the Swedish queen Ulrika Eleanora, which some attribute to Ulla, walks on the Internet. In fact, I could not find the author of this portrait, but they certainly were not Ulrika Pash. The portrait of the queen is more like a caricature, copied from the work of Ulla. Queen Ulrika Eleanor did not shine with beauty, but at the same time she was distinguished by femininity and refinement of manners. In addition, she received an excellent education and had a strong character. Ulla managed to convey all this on the portrait of the queen. Compare it with the caricature that the entire Internet is laughing at, the difference is amazing!
Ulrica’s prestige, as a portrait painter, was quite high. Surprisingly, she herself did not consider herself a serious artist at all and always said that she “just makes a living”. This might seem like a pose and false modesty, if not for one nuance: working in the same studio with his brother, Ulrika, according to the researchers, “helped him in the execution of some details of his portraits,” or rather, wrote costumes, fabrics and draperies, which Lorenzo seemed dull and uninteresting. Agree, the drawing of such details in creating a portrait is not an unimportant thing. At the age of 38, Ulric was admitted to the newly established Royal Academy of Liberal Arts. She became the first woman elected to the number of academicians. And although they elected her on the same day as their brother, members of the Academy cherished her entry into their ranks much more. The reader could have a wrong impression, so I hasten to explain myself. Lorenzo Pash the Younger was not at all a bad artist. He received a theological education in Uppsala. Returning to Stockholm, he studied painting with his father until 1752, when he went to Copenhagen, where he studied at the Royal Danish Academy of Fine Arts. His teachers were such prominent painters as Carl Gustav Pilot, Jacques Francois Joseph Sali and Johann Martin Priceler.
In 1757, Lorenzo Pache went to Paris, where he studied at the School of Fine Arts with Alexander Roslin, Jean-Baptiste Pierre, Louis-Michel van Loo, Francois Boucher. Numerous portraits of members of the royal family, which are now in the largest museums in the world, including the Hermitage, brought him fame.