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.
The idea of the horizontal image of the image is developed in the works, which serves the effect of the “panoramic” of the whole. This is the “view of the village”, where the shore is shown from the sea and where the silence of the white night is so well conveyed. The author depicted Teriberk’s camp on Murman, which he first wrote in the summer of 1894.