The son of the immediate superior Ivan Yakovlevich Vishnyakov in the Chancery from the buildings, Wilhelm Georg Fermor was almost ten years younger than his sister Sarra-Eleonora. Perhaps, the same term is shared Vnshnyakovskie portraits of these children. In any case, it’s hard to give a boy more than ten years on the picture.
His face at first glance seems similar in painting to the face of his sister; imperceptible in their lightness strokes of white, sometimes slightly tinted paint, in the right places leaving open the yellow soil with the emerging texture of the canvas, create the impression of airlessness, air radiance.
Akin to an early portrait and a feeling of serene silence, a high chastity of the image. However, there are also significant differences. The boy’s face is poorer in color shades and finer nuances of light. Instead, heavy and wide dark shadows appeared. Broken eyebrows and not so soft transitions in the relief of the face.
In general, the painting became denser and drier, which affected the liveliness and freshness of the image. Perhaps the eyes of an aging master were no longer, as before, sensitive to the elusive nuances of light and shadow; but it is also possible that the painting of the face was damaged by another artist who perepssavshim portrait during the life of Vishnyakov in connection with the work of Wilhelm in the rank of sergeant and the need to dress him in the appropriate uniform.
With this alteration, obviously, there were gross errors in the figure’s figure, which Vishnyakov could not allow himself, for example, in an unnatural turn a foot of the left leg is represented, hands are not felt under the sleeves of a lacy shirt. Vyshnyakov’s strange image is formed by dense, as though embodied colors of clothes and dark, inexpressive colors of the background, where originally, as in the portrait of SarraEleonors, architectural details were combined with the landscape.
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