Vicenty Trofimov (1878-1956), Girl with a Dove

oil on panel, dimensions 32cmx32cm, with frame 55cmx53cm, signed l.d.W.T 45

In 1932 the Trofimov family moved to Moscow. There, Trofimov painted on a heroic scale, including the ornate ceiling of the main staircase in the Soviet Army House, the ornate ceilings of the White Hall of Mossovets and the Shchushev Museum of Architecture, etc. In the late 1930s, the family moved to Zagorsk. There, Trofimov, together with his son Ignaty, who was invited as a general director and architectural conservator, took part in very complex and important restoration work at the Troitse-Sergiyev Lavra. Vikentii Trofimov created artistic reconstructions of the Troitse-Sergiyev Lavra monuments based on working drawings made by his son. His reconstructions include "The Church of the Holy Spirit and the Cathedral of the Holy Trinity. Perspective view to the east"; "Church of the Holy Spirit. Perspective view to the southwest"; " Hospital Wards and Church of Zosim and Savvata. Perspective view to the southeast"; "Refectory. North-east perspective view"; "Refectory. Cross-section according to the east-west axis" and others; they were published in a book written by his son Vikenty Trofimov did not stop his easel painting and constantly participated in art exhibitions. On August 23, 1955, he presented a solo exhibition at the Zagorje Conservation Museum. All of his masterpieces were on display, from his earliest works to his most recent sketches. The main part of the exhibition was paintings dedicated to Lavra Troika-Sergiyeva. The catalog was published with the annotation that "the watercolors can serve as documents for the future researcher of Old Russian architecture, so meticulously was every detail worked out. Perspective view to the southeast"; "Refectory. Northeast perspective view"; "Refectory. Cross-section according to the east-west axis" and others; they were published in a book written by his son Vikenty Trofimov did not stop his easel painting and constantly participated in art exhibitions. On August 23, 1955, he presented a solo exhibition at the Zagorje Conservation Museum. All of his masterpieces were on display, from his earliest works to his most recent sketches. The main part of the exhibition was paintings dedicated to Lavra Troika-Sergiyeva. The catalog was published with the annotation that "the watercolors can serve as documents for the future researcher of Old Russian architecture, so meticulously was every detail worked out. Perspective view to the southeast"; "Refectory. Northeast perspective view"; "Refectory. Cross-section according to the east-west axis" and others; they were published in a book written by his son Vikenty Trofimov did not stop his easel painting and constantly participated in art exhibitions. On August 23, 1955, he presented a solo exhibition at the Zagorje Conservation Museum. On display were all of his masterpieces, from his earliest works to his most recent sketches. The main part of the exhibition was paintings dedicated to Lavra Troika-Sergiyeva. The catalog was published with the annotation that "the watercolors can serve as documents for the future researcher of Old Russian architecture, so carefully was every detail worked out." t stopped his easel painting and constantly participated in art exhibitions. On August 23, 1955, he presented a solo exhibition at the Zagorje Preservation Museum. On display were all of his masterpieces, from his earliest works to his most recent sketches. The main part of the exhibition was paintings dedicated to Lavra Troitse-Sergiyeva. The catalog was published with the comment that "the watercolors can serve as documents for the future researcher of Old Russian architecture, so finely detailed is every detail." t stopped easel painting and constantly participated in art exhibitions. On August 23, 1955, he presented a solo exhibition at the Zagorje Preservation Museum. On display were all of his masterpieces, from his earliest works to his most recent sketches. The main part of the exhibition was paintings dedicated to Lavra Troitse-Sergiyeva. The catalog was published with the comment that "the watercolors can serve as documents for the future researcher of Old Russian architecture, so precise is every detail."