Milyutin, Michael (icon painter)

Mikhail Milyutin was born in the family of a priest of the Church of St. John the Baptist at the Nikitsky Gate. Initially, the sovereign affairs in feed icon painters were of a smaller article. On April 14 ( 24 ), 1670 , he went to Simon Ushakov, who was very pleased with the new student and at first gave him a very flattering certification: according to the master, “ his student Mishka icon painting writes holy faces imagination better than his former student Vasily, and henceforth, he will be strong to the great ruler ” ^[1] . On April 20 ( 30 ), 1670 , Milyutin was granted a salary against Grigory Gryzlov, a student of pictorial affairs, but since it was half the salary of another Ushakov's student, Vasily, whose place Milyutin was assigned to, a month later the latter asked for an increase in maintenance. The request was granted, and Milyutin began to receive two altyns per day ^[1] .

Since the first half of the 1680s, the artist received many orders from representatives of the ruling dynasty. So, in 1674 he painted the icon of the Mother of God of Iver in mansions for Tsarina Natalya Kirillovna ; in October and December 1675, two more Iveron icons appeared, for Tsarina and Tsarevich Fyodor Alekseevich , and in July 1677 - "the image of the holy nine martyrs, also in the Chizhitsa , to the great sovereign in the mansions." In the same period, the artist was repeatedly entrusted with coloring toy bows for the young princes. In the second half of the 1670s - early 1680s, Milyutin took part in restoration work in the Verkhospassky Cathedral (1676), "repaired" the icons from the sovereign's Workshop (1676) and from the choir of Peter and Ivan Alekseevich (1682).

In 1684, Milyutin painted four local icons for the court Peter and Paul Church. At the end of this work was followed by a large number of orders from the princes Sofia and Catherine . In 1687, the artist was taken from the Armory to the Ambassadorial Order . In May - September of the following year, he, together with Georgy Terentyev, Spiridon Grigoriev, Fedor Nyanin, Timofei Rezantsev , Mikhail Matveev, Semyon Amelofiev and Ivan Anikiev, painted icons for the church of Tsarevich Joasaph in Izmailovo , and in the summer of 1688 he worked in the Cathedral Church of the Petrovsky Church with Spiridon Grigoriev, Tikhon Filatiev and students.

In 1689, Milyutin presented petitions to Tsars Ivan and Pyotr Alekseevich, where he reported that four years ago he had “burnt and went bankrupt in the end without a trace”, but he still cannot improve his living conditions. The petition did not go unanswered: on May 22 ( June 1 ), 1689 , the artist was given a salary a year in advance. The last mention of Mikhail Milyutin dates back to 1690, when the master was dismissed from the Armory to reduce staff ^[3] .

• "Archdeacon Stefan" (1676-1677, GMZMK ).
• “Our Lady of the Novonikitskaya” (1677–1678, GMZMK), with the participation of Simon Ushakov.
• The Crucifixion (1680-1681, MZMK).
• “ Fyodor Stratilat and the Martyr Agathia” (1681 (?), GIM ).
• “The Cathedral of the Twelve Apostles” (1682, GMZMK).
• "John the Baptist" (1686 (?), GIM), from the deesis.
• “Our Lady of Smolensk” (1687, MNDM).
• “Resurrection - The Descent into Hell” (1687 (?), Berlin Museum of Byzantine Art).
• "Metropolitan Alexy" (1687-1688 (?), State Russian Museum ).

• Kochetkov I. A. Milyutin Mikhail Ivanov // Dictionary of Russian icon painters of the 11th — 17th centuries. - M .: Indrik, 2003 .-- S. 414-418. - 816 s.
• Nikolsky V.A. History of Russian art . - M .: Ed. comrade I. D. Sytin , 1915. - T. 1. - 251 p.
• Filimonov G. D. Simon Ushakov and the contemporary era of Russian icon painting . - M .: University type., 1873. - 104 p.