The artist is Korovin
The Russian Museum owns a complex of 31 panels created by Korovin for the Outskirts of the Outskirts of Russia at the World Exhibition in Paris 1900. The complex includes a panel for the northern department, for the Siberian department and for the Central Asian Department.
In August-September 1894, Konstantin Korovin, together with Valentin Serov, made a trip to the north (Yaroslavl, Arkhangelsk, Murman, New Earth and Norway). Sketches and sketches brought from this trip were used by the artist to create a panel for the Pavilion of the Outskirts of the Outskirts of Russia at the World Exhibition in Paris in 1900 (for the Northern Department).
Work are landscape in nature. Placed in a certain order, they made up the impressive panorama of the Arctic, including the types of the desert coast of the Arctic Ocean, the tundra, trade and industrial villages, harbors. Written by a pace on canvas, designed for perception from a distance, the panel is a characteristic example of Russian painting of the Art Nouveau style with its craving for synthesis, with its inherent decorativeness, permeating form and color scheme. Visible in nature by the power of artistic plan was subjected to generalization and “simplification”. The flavor, designed in silver-purple, is built on a comparison of large, smooth-colored and tonality of close, “outlined” with brittle stroke of color planes. The idea of the horizontal image of the image is developed in the works, which serves the effect of the “panoramic” of the whole.
The Russian part of the exhibition was gathered under the auspices of the Ministry of Finance, in which a commission was established in March 1896 to manage the device of the Russian department. She paid for Korovin’s trip to collect materials and work on the panel. It is not known who was the initiator of attracting the artist to work at the exhibition. Tenisheva reports that she advised her husband (in.N.Tenishev – General Commissioner of the Russian Department at the exhibition) Order Korovin a series of panels. His invitation could contribute to. And. Mamontov, who was in good relations with the Minister of Finance with. YU. Witte, an enthusiast of the development of Murman and the east of the country.
The development of the idea of the exposition was directly related to. P. Semenov-Ten-Shansky, curator of the Outskirts Department, editor and one of the authors of the collection “Outskirts of Russia”. This common idea was determined by the choice of motives of future panels, their size, format and location in the space of exhibition halls. The proximity of exhibits various in nature influenced a single color scheme of each of the three groups of paintings.
Korovin’s activities at the exhibition and its panel were highly appreciated by the art community – the international jury of the Paris exhibition awarded him gold and silver medals. By the decision of the Government of the French Republic, he becomes the gentleman of the Order of the Honorary Legion.
In the fall of 1900, the fate of the panel of Korovin decided. In the summer, the vice president of the IAX and. And. Tolstoy expressed the idea of the desirability of transferring these canvases to the Russian Museum of Emperor Alexander III. The end of the exhibition and Tenishev was approaching by a letter of August 26, 1900 reminded him of this idea. Soon Tolstoy informed Grand Duke Georgy Mikhailovich, the first leader of the future timing: “These panels are distinguished by outstanding artistic virtues and would serve as a true and indispensable decoration of the ethnographic department of the Russian museum of Emperor Alexander III”. In response, they received a telegram: “I heartily thank you for the service of the Russian Museum. I will be happy to accept the panel of Korovin from the Paris exhibition to the walls of the museum, to the ethnographic department. George “. Tenishev was ordered to send a panel to the capital’s museum.
The second and last time the Panel complex was exhibited at the III exhibition “World of Art” in 1901 in St. Petersburg in the halls of the Academy of Arts. At the end of the exhibition, all the panel entered the Russian Museum.
“Around dark, red-brown mountains: the night sun illuminates them. There is an inexplicably mysterious in this polar light. And scary – the flat faces of the Samoyeds are mysterious, and the eyes are like black buttons. There is something animal in them…”(From the book” K. Korovin recalls “).
+ About the restoration of the work
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The state of safety before restoration:
In 2010, in connection with the preparation for the anniversary exhibition for. Korovina began work on the restoration of 24 larger panels written by the artist for the Russian World Exhibition in Paris in 1900.
Panel to. Korovina were part of the interior of the pavilion. By nature, they belonged to the works of decorative-monumental art, and according to the technique of execution-to easel painting, made in the technique of oil-red tempo.
Unfortunately, the time, mechanical influences, numerous outfills and perennial storage on the shafts affected the state of preservation of the paintings negatively. They became dilapidated, breakthroughs formed in places, deformation of the basis. The picturesque surface was covered with numerous pollution, in some areas there was a decomposition of varnish as part of the binding colors and, as a result, “clouding” (decomposition) of the surface of the painting, numerous losses of the colorful layer. The greatest difficulty was the paintings stored on the shafts.
The “Central Asian” panel suffered stronger than others. The uneven loading of the canvas led to strong deformations of the base, the fractures of pastuous painting, threatening a sowing. In addition, the combination of “strong” oil painting and thin, pinting adhesive led to losses of the last. Removing from a poverty colorful layer of numerous preventive rivets with a dark brown aged glue was a particular complexity
Complex of the events:
The full complex of conservation and restoration measures had to be carried out in less than a year.
Painting was strengthened, eliminating the deformations of canvases. Old prophylactic brackets, glue, pollution were removed, deformations of the base and colorful layer were eliminated, breakthroughs and punctures were sealed, patches were inserted into the places of loss of canvas and the edges were duplicated. The removal of persistent surface pollution was complicated by the fact that the artist used waterproof paints in certain areas. Restoration soil was brought into the places of loss of the colorful layer and an texture imitating the author. In individual paintings, varnish was restored as part of a binder. Paints acquired the former brilliance and brightness. Toning is made by paints of Talens (gouache, oil, acrylic)
The panels were stretched on new subframes specially made for the exhibition.
Presented at an exhibition dedicated to the 150th anniversary to. Korovina, picturesque panels to a greater extent discovered the multifaceted talent of this amazing artist.
Keeping a story. Restoration workshop of the Russian Museum – 100 years. SPb, 2022. With. 160-161.
For the project “Restoration of the largest picturesque panels of Konstantin Korovin”
In 2012. Restorers of the restoration of the painting of mixed techniques were awarded a special prize and. P. Sautov “Restoration of the Year” and the Museum Olympus medal .