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Learn MoreTri-Directional Portrait Commemorating the Russo-Turkish War
- This extraordinary portrait employs the rare triscenorama technique, a predecessor to movable images
- The portrait depicts 3 imperial figures: Empress Anna Ivanovna, Emperor Charles VI and Sultan Mahmud
- Likely created for Emperor Charles VI, this artwork possibly served as a diplomatic gift
- Tri-directional portraits from this period are exceedingly rare, with most in museums
- Get complete item description here
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18th Century
Tri-Directional Portrait Commemorating the Russo-Turkish War
Oil on wooden strips
This extraordinary tri-directional portrait exemplifies the rare innovation known as a triscenorama, capturing a pivotal diplomatic moment through ingenious artistic technique. Employing triangularly cut wooden strips, this remarkable work simultaneously depicts three imperial figures central to the Russo-Turkish War of 1735-1739: Empress Anna Ivanovna Romanova of Russia when viewed directly, Holy Roman Emperor Charles VI from the left. . .
18th Century
Tri-Directional Portrait Commemorating the Russo-Turkish War
Oil on wooden strips
This extraordinary tri-directional portrait exemplifies the rare innovation known as a triscenorama, capturing a pivotal diplomatic moment through ingenious artistic technique. Employing triangularly cut wooden strips, this remarkable work simultaneously depicts three imperial figures central to the Russo-Turkish War of 1735-1739: Empress Anna Ivanovna Romanova of Russia when viewed directly, Holy Roman Emperor Charles VI from the left and Ottoman Sultan Mahmud I from the right, commemorating the Treaty of Nissa that concluded this significant European conflict.
The portrait utilizes an exceptionally rare optical technique that predates modern movable imaging technology. When observed from different angles, the painted triangular wooden strips create a transformative effect, revealing entirely different imperial portraits as the viewer shifts position. The precision required to execute such a work demonstrates remarkable technical mastery, as the artist had to conceptualize three distinct portraits as well as the meticulous arrangement of the panels. This sophisticated manipulation of perspective creates an interactive viewing experience considered revolutionary for its time.
Almost certainly created by an Austrian artist, this diplomatic artwork likely served as a commemorative piece marking the Treaty of Nissa, signed in September 1739. The treaty concluded Russia's ambitious campaign to secure access to the Black Sea while countering Ottoman raids in Ukraine and the Caucasus regions. Given its exceptional quality and historical significance, this portrait was possibly commissioned by Emperor Charles VI himself, potentially serving as a diplomatic gift to either Empress Anna or Sultan Mahmud I during the treaty negotiations.
Under Empress Anna's leadership, Russia sought to counter devastating raids from Ottoman allies, particularly the Crimean Tatars, who had been destabilizing Ukraine through systematic incursions. While Russian forces achieved notable victories at Bakhchisaray and Ochakov under Field Marshals von Münnich and Lacy, Austria faced repeated defeats by Ottoman forces. The resultant Treaty of Nissa produced mixed outcomes: Russia gained the fortress of Azov (though its fortifications were to be dismantled) but failed to secure naval access to the Black Sea, while Austria surrendered Belgrade and northern Serbia. This treaty stands as Russia's final attempt to secure the Crimean Peninsula until Catherine the Great's successful campaigns nearly five decades later.
Circa 1739
Panel: 15 1/8" high x 12" wide (38.42 x 30.48 cm)
Framed: 18 7/8" high x 15 7/8" wide x 2" deep (47.94 x 40.32 x 5.08 cm)

Period: | Pre-18th Century |
Origin: | Other Europe |
Type: | Paintings |
Style: | Old Masters |
Depth: | 2.0 in. (5.08 cm) |
Width: | 15.88 in. (40.32 cm) |
Height: | 18.88 in. (47.94 cm) |
Canvas Width: | 12.000 in. (30.48 cm) |
Canvas Height: | 15.125 in. (38.42 cm) |

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