Korneev E. State and departmental awards

Viktor Mikhailovich Vasnetsov (1848-1926) In 1867, leaving the Vyatka Theological Seminary, Vasnetsov came to St. Petersburg to enter the Academy of Arts. At the exam, he was asked to make a drawing from a plaster model. The young man quickly completed the task, but the grin of one of

Apollinaris Mikhailovich Vasnetsov (1856-1933) Unlike his famous brother, Viktor Vasnetsov, Apollinaris Vasnetsov devoted much more time and attention to the landscape. And if the elder brother was attracted by human images (heroes, generals, princes, knights,

Boris Mikhailovich Kustodiev (1878-1927) Perhaps the best portrait of the great Russian singer F. I. Chaliapin was created by Kustodiev. The seriously ill artist painted it while sitting in an armchair, and the canvas had to be tilted all the time so that the master could reach it with a brush. Kustodiev

Alfred Sisley (1839-1899) Bridge at Villeneuve-la-Garenne 1872. Metropolitan Museum of Art,

Paul Cezanne (1839-1906) Maslenitsa (Pierrot and Harlequin) 1888. State Museum of Fine Arts. A. S. Pushkin, Moscow The heroes of the canvas "Pierrot and Harlequin" are the masks of the Maslenitsa carnival and the Italian comedy dell'arte, and the idea of ​​​​the picture is a comparison of active life and

Alexander G. Varnek 1782–1843 Varnek studied at the St. Petersburg Imperial Academy of Arts under the then famous portrait painter, Academician S. S. Shchukin, a student of D. G. Levitsky. For the "Portrait of a painter" Varnek received a gold medal, which gave the right to foreign

Vladimir Ivanovich Moshkov 1792-1839 Moshkov studied at the St. Petersburg Imperial Academy of Arts, was awarded gold medals for his work, graduated from the academy with the title of first-class artist. In 1815, for the painting "The Battle of Leipzig on October 6, 1813" he

Pyotr Mikhailovich Boklevsky 1816–1897 Boklevsky was born into the family of a retired second lieutenant, a participant in the assault on Izmail Mikhail Fedorovich Boklevsky, in the small estate of Elshino in the Pronsky district of the Ryazan province. His mother, Maria Danilovna, nee Sazonova, daughter of a poor

Fyodor Mikhailovich Slavyansky 1817–1876 Slavyansky was born in the village of Vyshkovo, Vyshnevolotsky district, Tver province. He was a serf of the landowner A. A. Semensky. A. G. Venetsianov took him as a student, organizing his ransom for two thousand rubles from the serf

Kiprensky Orest Adamovich (1782–1836) Portrait of Life Hussars Colonel E. V. Davydov The portrait depicts a cousin of the famous poet and war hero of 1812 Denis Davydov, Evgraf Vladimirovich Davydov (1775–1823). By the time the portrait was painted, he was a colonel

Makovsky Konstantin Yegorovich (1839-1915) Children running from a thunderstorm According to the artist, the idea for the painting arose during a trip to the Tambov province. For one of the sketches, a village girl posed for him. From local residents, he heard a story about how this

Korneev, Emelyan Mikhailovich

Academician of historical painting, b. November 8, 1780, d. in 1839. In 1795 he received the 1st silver medal at the Academy, in 1799 the 2nd gold; in 1800 - the first gold medal, for the painting "The Expulsion from the Temple"; at the same time, Korneev was left at the Academy, and in 1803-1805. traveled abroad. Even when he was a student of the Academy, he performed the image of the Resurrection for the church then being built in Tsarskoe Selo, for which he was given 150 rubles. In 1807, he was recognized as an academician for the painting "The Abduction of Deianira by the Centaurus." In 1802-1803. accompanied General Sprengporten, who, at the behest of Emperor Alexander, made a trip to Russia. Korneev drew a large number of drawings at this time. They were bought from him by Count Rechberg, and in 1812 they were published in number 95, very luxuriously in Paris, under the title: "Les peuples de la Russie ... accompagnee de figures coloriees", with a dedication to the Emperor Alexander; Adam, Groz, Mentz and other foreign engravers worked on the engraving of these drawings, and from the Russian Melnikov, Osipov and Skotnikov, the latter executed 20 sheets; Korneev himself engraved nine sheets. In 1826 he was granted a pension of 720 rubles. annually.

Petrov, "Materials for the history of Academician Art." I, 346, 398, 416, 573, 590; Rovinsky, "Detailed dictionary of Russian engravers", 375-378.

(Polovtsov)

Korneev, Emelyan Mikhailovich

pensioner of the Academy of Arts and academician of historical painting; genus. November 8, 1780, d. 1839; engraved with strong vodka. He was seconded to General Sprengporten, who, at the behest of Emperor Alexander I, made an extensive journey through Russia in 1802-1805. During this time, Korneev drew a large number of drawings, which he sold to Count Rechberg, who was then living in St. Petersburg. Rekhberg added to them another collection of drawings on the part of ethnography and intended to publish all this material in the form of a trip through Russia; but the unfavorable circumstances of the time (1812) did not allow him to carry out his extensive undertaking, and he contented himself with publishing a selected number of drawings with the following title: "Les peuples de la Russie ... accompagnée de figures coloriées. A Paris de l" Imprimerie de D. Calos. 1812"; dedicated to Emperor Alexander I "par Le Comte Charles de Rechberg". Two volumes in a very large sheet; luxurious edition, copies with large margins on thick Dutch paper, in which the pictures are printed with particular care and excellently colored, rare and valuable (50-60 p.) French text, French and Russian captions on the pictures, the pictures themselves are engraved with aquatint, printed with paint and then still painted by hand, on each picture the signature of the draftsman: "Dessiné par E. Karnejeff. Drawn by E. Karneev "; as well as the signature of the engraver. All the paintings in Volume I 47, in II 48, and in total: 95. I present a list to them: Volume I: 1. The peoples living in Russian Empire. Nations composant l "Impire Russe. Engraving I. Coqueret. Gr: par Coqueret. The dedication "Discours preliminaire" follows with a classification of Russian peoples. - 2. Russian peasants ... Engraving I. Laminite ... Gravé en couleurs p. Gros. - 3. Russian women... Engraving I. Liminit... - 4. Residents of the city of Cherkask... Engraving I. Kokeret - 5. Baptism... Engraving Gross... - 6. Russian wedding ... Engraving K. Wagner - 7. Anointing... Engraving K. Wagner... - 8. Burial... aka - 9. Playing with a pile... Engraving K. Wagner.. - 10. Playing cash... Engraving K. Wagner - 11. Playing towns... Engraving I. Kokeret... - 12. Playing at the wall... Engraving K. Wagner... 13- The game of jumping on the board... Engraving I. Kokeret... - 14. Russian dance Engraving I. Kokeret... - 15. Skating on the Neva... Engraving I. Kokeret... - 16. Russian bath, Le bain russe, also engraved by E. Korneev - 17. Little Russians... Engraved by I. Cockeret... - 18. This number shows the picture: Cosaques du Don. as under No. 4, and in all copies it is in this place (No. 1 8) not attached. - 19. Picket of the Ural Cossacks. Grav. K. Wagner. Drawn by E. Karneev (without French signatures). - 20. Grebensky Cossack... Grav. A. Mants... - 21. Black Sea Cossack. Drawn and engraved. E. Korneev... - 22. Officer of the Zaporok Cossacks... Grav. I. Kokeret. - 23. Arnauts. Grav. I: Laminitis... - 24. Finnish. Grav. I. Kokeret. - 25. Laponians... Grav. I. Laminitis. - 26. Suvashanki... Grav. I. Kokeret. - 27. Cheremiska. Grav. V. Melnikov. - 28. Mordovian girl. Grav. I. Kokeret. - 29. Votyachki. Grav. E. Skotnikov. - 30. Ostyak. Drawn and engraved. E. Karneev. - 31. The interior of the Ostyak winter yurt. Grav. V. Melnikov. - 32. Estlanders. Grav. A. Mants. - 33. Livonians. Grav. A. Mants. - 34. Kazan Tatar. Grav. E. Skotnikov. - 35. Tatar agun ... He is. - 36. Horse race of the Kazan Tatars. Grav. Hess. - 37. Tomsk Tatar. Gr. E. Skotnikov. - 38. Tomsk Tatar ... He is. - 39. Tomsk Tatar girl ... he is. - 40. Kashin Tatars... Grav. I. Laminitis. - 41. Crimean Tatars... Grav. I. Kokeret. - 42. Soyan Tatars ... he is. - 43. Prince of the Nagai Tatars... Gr. E. Skotnikov. - 44. Nagai princess... Grav. I. Laminitis. - 45. Bashkirs... Grav. V. Melnikov. - 46. Kyrgyz Sultan. Gr. E. Skotnikov. - 47. Kyrgyz sultana ... he is. - 48. Kyrgyz berkut hunting. Engraved by Hess.

Volume II: 1. Nerchinsk Bazaar. Grav. Adam and Groz. - 2. Shaman of the Teleut Tatars. Grav. E. Skotnikov. - 3. Yakuts. Drawn and engraved. E. Korneev. - 4. Yakut priest. Grav. Groz. - 5. Circassian horse. Grav. Adam and Groz. - 6. Tsirkasian prince of the great Kabarda ... they are the same. - 7. Prince of small Kabarda. Grav. Gross. - 8. Usden or noble Circassian of the great Kabarda. Grav. Adam and Groz. - 9. Archery Circassians. Grav. I. Gross. - 10. Circassians. Grav. E. Skotnikov. - 11. Circassian dance ... he is. This sheet shows: on the left, General Sprengporten with his wife; and on the right (sitting near the tent and playing the guitar) Academician Korneev himself. - 12. Circassian Zakuban. Grav. E. Skotnikov. - 13. Chechens. Grav. V. Melnikov. - 14. Georgians... Grav. I. Laminitis. - 15. Kalmyk camp. Grav. Adam and Groz. - 16. Kalmyk girl. Grav. E. Skotnikov. - 17. The interior of the Kalmyk yurt; he is. - 18. Kalmyk wrestling. Grav. E. Skotnikov. - 19. Transition of Kalmyk herds across the river. Grav. Adam and Groz. - 20. Fraternal Tatars. Drawn and engraved. E. Korneev. - 21. Fraternal Tatar girl. Drawn and engraved. E. Korneev. - 22. Mongolian lama... Grav. E. Skotnikov. - 23. Idols of the fraternal Tatars ... he is. - 24. Musical instruments fraternal Tatars. Grav. V. Osipov. - 25. Mongolian Tatars on the Chinese border. Grav. Adam and Groz. - 26. Tunguz shaman... Grav. I. Kokeret. - 27. Tunguz sorceress. Grav. Gross. - 28. Tunguz coming out of the winter camp. Grav. Adam and Groz. - 29. Samoyeds. Grav. I. Kokeret. - 30. Samoyeds are dressed in bearskin. Grav. Adam and Groz. - 31. Samoyeds at the night market in Obdorsk. Grav. Adam and Groz. - 32. Koryaks. Grav. I. Laminitis. - 33. Chukchi woman with children ... he is. - 34. Kamchadal dog mail ... he is. - 35. Aleuts. Grav. I. Kokeret... - 36. Kurilets. Grav. I. Laminitis. - 37. An inhabitant of the fox islands ... he is. - 38. Armenian women. Grav. V. Melnikov. - 39. Tashkinskaya woman. Grav. I. Kokeret. - 40. Tashkin girl. Grav. E. Skotnikov. - 41. Indian brahmin ... he is. - 42. Indian idolatry. Grav. V. Melnikov. - 43. Persian. Grav. I. Laminitis. - 44. Persian at morning prayer. Grav. Adam and Groz. - 45. Chinese merchants. Drawn and engraved. E. Korneev. - 46. Collection of Siberian and Chinese merchants and Klakht mayor... Grav. Adam and Groz. - 47. Chinese officer. Drawn and engraved. E. Korneev. - 48. Japanese. Grave also drew. E. Korneev.

This book was engraved by Russian engravers: V. Melnikov, in the first volume: Nos. 27, 31 and 45; in vol. II: Nos. 13, 38 and 42, 6 sheets in total; bac. Osipov, in II vol. No. 24, one sheet; E. Skotnikov, in I vol.: Nos. 29, 34, 35, 37, 38, 39, 43, 47 and 47; in II vol.: Nos. 2, 10, 11, 12, 16, 17, 18, 22, 23, 40 and 41, 20 sheets in total. The draftsman E. Korneev himself, - in the 1st volume: Nos. 16, 21 and 30; in II vol.: Nos. 3, 20, 21, 45, 47 and 48, 9 sheets in total. Foreign engravers: Adam, Groz, K. Wagner, Hess, Cockeret, Laminite and Mentz.

It can be seen from the affairs of the academy that in 1826 Korneev was awarded a pension for his work, 720 rubles each. per year, and that in the same year the Admiralty Department sent a demand to the Academy of Arts for the delivery of 100 drawings made by Korneev for Captain Vasilyev's trip around the world.

(Rovinsky)

Big biographical encyclopedia. 2009 .

Korneev, Emelyan Mikhailovich- Academician of historical painting, born November 8, 1780, died in 1839. In 1795, while still a young man, he received the 1st silver medal at the Academy, in 1799 the 2nd gold; in 1800 - the first gold medal, for the painting "The Expulsion from the Temple"; at the same time, Korneev was left at the Academy, and in 1803-1805. traveled abroad. Even when he was a student of the Academy, he performed the image of the Resurrection for the church then being built in Tsarskoe Selo, for which he was given 150 rubles. In 1807, he was recognized as an academician for the painting "The Abduction of Deianira by the Centaurus." As you know, Emelyan Mikhailovich was seconded to General Sprengporten, who, at the behest of Emperor Alexander I, made an extensive trip around Russia in 1802-1805. During this time, Korneev drew a large number of drawings that attracted the attention of the Bavarian envoy to the Russian court, Count Karl Rechberg, a passionate collector of watercolors and drawings on Russian themes. Rekhberg invited Korneev to publish albums of engravings based on his drawings. It was just what the artist dreamed of: to show the wide audience his works - views of the remote corners of Russia, the appearance of the peoples inhabiting it. And Korneev went abroad with Rekhberg. There he worked hard on the creation of a two-volume album "Les peuples de la Russie", consisting of 96 engravings. “All the drawings that make up this work were most excellently executed by a well-deserved master mr Korneev during his three-year stay in Munich,” the publisher of the album reported.

Munich, the capital of the Bavarian kingdom, was the hometown of Karl Rechberg. His famous brother Aloysius von Rechberg also lived here, a well-known diplomat, minister of foreign affairs, a participant in the Vienna Congress and the Carlsbad Conference. Here, in Munich, E. Korneev made drawings according to his travel sketches, and then watched the creation of engraving boards. The album was printed in Paris in 1812-13. already without the supervision of the author. Two luxurious volumes did not exhaust the supply of drawings, as well as the ideas of the publisher and artist. However, the Napoleonic Wars broke out in Europe. Korneev returned home, and Count Rechberg became the chief quartermaster of the Bavarian army on long years. In 1826 Korneev was granted a pension of 720 rubles. annually for great services to the Academy; and in the same year, the Admiralty Department sent a demand to the Academy of Arts for the delivery of 100 drawings made by Korneev for Captain Vasiliev's trip around the world. Rechberg returned to the publication of his main work only in the early thirties. The appearance on the market of such a copy of the "Scenic Journey" is a whole event. Greatest rarity!

Goncharova N.N. EAT. Korneev. Creative biography. M., 1987.

AT THE ACADEMY OF ARTS

Emelyan Mikhailovich Korneev came from the townspeople of the Khorolsky district of the Poltava province. In 1792, in the examination lists of students and pupils of the Academy of Arts, Emelyan Korneev was listed as the son of an academic minister. But the application for admission to the Academy was submitted not by the father, but by the boy's uncle, court adviser Andrey Korneev. “I, the signatory,” he assures, “I am giving voluntarily to the Educational School at the Imperial Academy of Arts on the basis of the academic charter of my nephew Emelyan Korneev, the son of my brother, a tradesman of the Kyiv governorship of the city of Khorol Mikhail Korneev, who is 8 years old, with the that, before the expiration of the fixed years prescribed in the charter, back and lower for a while, for whatever reason, I will not demand. And about the exact time of his birth and baptism, I am attaching a testimony. He already had smallpox.” A certificate signed by two persons is actually enclosed. However, the date of birth named there - November 8, 1782 is not indisputable. It disagrees with the data of the petition itself, according to which the boy was born in 1781, and with other, later sources - confession paintings and service records. The year of Korneev's birth is calculated either as 1776, or as 1778, or the same 1782. This question is not completely clear, so we have to dwell on the date indicated in the certificate and accepted by reference books. Although the petition of the court adviser A. Korneev was signed in 1789, E. Korneev studied at the Academy of Arts already in 1788. For the first time, the name of the future artist is found in the lists of students certified for their work on December 23, 1788. The place occupied by his drawing is still very far away - 106th out of 116 presented drawings. At first, Korneev was in about 100th place among 110-116 examinees. But by the end of 1789, he was listed in the top two dozen. The course of study for artists of all specialties was divided into five categories, or classes. The lowest, fifth stage of training was drawing ornaments and “original heads” (copying “originals”), in the fourth category they drew from “original figures”, in the next two, plaster, from plaster heads and plaster figures, after which students were admitted to the first , the highest category-natural class. The two lowest ranks made up the Educational School, the three highest - the Academy itself (the count of "ages" went in the opposite order). With the transition to the Academy, the student chose a specialty. Then the painting classes began. Each class was supposed to be practiced for three years. Children from five to seven years of age were admitted to the school, the entire period of study lasted about fifteen years. But there were deviations from this order, due to individual features student. Teachers tried not to delay strong students in drawing from the originals. For three years, Korneev passed three categories. Already in December 1791, he worked in the second category - according to a drawing from plaster figures. The choice of specialty was given to the artist not immediately. In 1794, he was listed as a student of the engraving class. He graduated from the Academy of Korneev as a historical painter. The transition from class to class was not uncommon. Sometimes this was due to changed inclinations. young man. Academicians were transferred from the historical class to another due to insufficient abilities. On the contrary, the transition to the historical class testified to the talent of the student. The “large historical family” at the Academy of the last quarter of the 18th century firmly held the primacy among all the genres of painting. The strongest students were selected there, selected according to their ability to think and write in a generalized way, according to the presence of a vivid imagination, the ability to compose, arrange, and also according to the general cultural level of the future artist, according to his erudition. Korneev was considered one of the most capable students. Since 1795, when Korneev's name appeared in the lists of the full-scale class, for a number of years he systematically received the first numbers in exams, both for work from nature and from sketches. If you bring out the average score, then the places among the best students for 1795-1797 are distributed as follows: A. Ivanov, A. Egorov, S. Bezsonov, E. Korneev, P. Ivanov, P. Berdashevsky, V. Shebuev. Korneev was the youngest among them. In 1798, six senior students graduated from the Academy of Arts, and since then, until graduation in 1800, Korneev has consistently ranked first. The Academy of the late 18th century provided broad general education, especially in humanities, although precise and natural Sciences , which were considered as applied. In the early 1780s, changes took place at the Academy, they boiled down to the Russification of the entire education system. In 1783, the talented and sensitive teacher K.I. was returned to the post of inspector of the school. Golovachevsky, who was fired eleven years ago, because the line he pursued in educating youth did not coincide with the official one. Russian language, literature and history have now been taught on a much larger scale. The programs were corrected, in the words of Golovachevsky, "in the reasoning of the nation." The events carried out had the ultimate goal of cultivating patriotism and civic ideals. In the history class, Korneev was a student of G.I. Ugryumov, who taught the class from 1790 to 1823. Ugryumov not only had the gift of teaching professional skills, but was an intelligent teacher and a progressively minded person. He instilled in his pupils the ideas of citizenship, developed in them a sense of national pride, the artist's duty to the Fatherland. At the Academy, he was a champion of the Russian theme, which often met with active opposition. The situation changed radically only in 1802 under the new president, A.S. Stroganov. At the same time, the Council of the Academy decided to give students programs from national history. And at the end of the 18th century, programs were offered only of a religious or mythological nature. Of the works of Korneev of the academic period, only one drawing has survived - “The Exodus of Sinners from Hell”, although several are known by name: a drawing from Laocoon, a painting of 1799 “An angel leads the Apostle Peter out of prison”, for which the artist received a second gold medal, the icon “Christmas Christ" for the iconostasis in the "newly built small" church in Tsarskoe Selo, as well as the painting "The Expulsion of Merchants from the Temple by Christ". The last work was the graduation program of Korneev, for which he received the first gold medal and the title of artist. In addition to the awards for the above works, Korneev also had a second silver (in 1795) and a first silver (in 1799) medals. But historical painting with its religious and mythological themes did not satisfy the young artist. The awakening new inclination brought him back to the landscape class. Apparently, Korneev's classes there were not quite official. The artist mentions them in one of his track records many years later, already fully aware of himself as a landscape painter. The landscape class was taught until 1804 by Sem. F. Shchedrin. But a big role in the formation of young landscape painters at that time was played by M. M. Ivanov and F.Ya. Alekseev. August 18, 1800 Emelyan Korneev was released from the Academy. Since January 1800, the Academy of Arts was headed by a new president, Count A.S. Stroganov, an enlightened man, a connoisseur and connoisseur of art, who saw his tasks in the education of talents, and not in administration and the pursuit of free thought. The Academy during his presidency is experiencing its best years. Among the twelve students, E. Korneev was left at the Academy as a pensioner. A few years earlier, in 1791, the institute of pensioners was reorganized by a resolution of the academic assembly and became more extensive than before. The purpose of the reorganization was to help the most gifted artists in the first years after graduation: young people got the opportunity, remaining for another three years on state support, to "improve their skills." They still lived at the Academy, studied in a natural class, exhibited their work at exams. (Soon, however, this undertaking came to naught, and again the number of pensioners was reduced to units that were sent to Europe.) The issue of 1800 was very strong. This explains the large number of pensioners. The four best - Korneev and sculptors I. Terebenev, V. Demut-Malinovsky and I. Moiseev - acquired the right to go on a trip abroad three years later. In the meantime, the same four, awarded the first gold medals, were determined by the decision of the Council of August 21, 1800: "... in addition to the state content, to receive, in order to distinguish themselves from others ... five rubles a month from September 1." However, the fate of Korneev was different.

TRAVEL KORNEEV

In 1802, on the orders of Alexander I, an expedition was equipped "to go around Asian and European Russia for the purpose of military-strategic inspection." The expedition, as was usually the practice, was to be accompanied by an artist. Korneev volunteered to go. The artist spent only a year in the rank of pensioner. But, apparently, a penchant for landscape painting has already been determined in him. Probably attracted by the opportunity independent work. One way or another, but it was a rather bold step - the refusal of a pensionership could interfere with his academic career. On February 25, 1802, Korneev went "through Russia, Siberia and to foreign lands to take pictures and costumes of different peoples." The path of the expedition lay in Siberia. At this time, interest in Siberia, the vast and distant lands, little or not at all explored, especially increased. In 1802, in addition to E. M. Korneev, the artist V. P. Petrov was sent to Siberia to take pictures of the Nerchinsk mines. In 1805, with the embassy of Count Yu. A. Golovkin, three artists were sent to China - A. E. Martynova, I. P. Aleksandrova and T. A. Vasilyeva. The group to which Korneev was seconded was headed by a foreigner in the Russian service, infantry general Georg Magnus (in Russia he was called Yegor Maksimovich) Sprengporten (1741-1819), a Swedish subject, a Finn by origin, a baron, then a count, a prominent figure in the international political arena of the last quarter of the 18th and early XIX century, a fighter for the liberation of Finland from the protectorate of Sweden. It was Sprengporten who was chosen to carry out the task, since he was considered a major military specialist, “a real master in all branches of military art,” according to J. K. Grot. Sprengporten was, according to Groth, a tactician whose maneuvers in Finland brought officers not only from Finland and Sweden, but also from Russia, and also a military engineer who had extensive experience in border reconnaissance as early as the 1760s. The latter circumstance played, apparently, a decisive role for this assignment. The expedition included Major M. F. Stavitsky and A. Kh. Benkendorf, later chief of the gendarmes, and at that time a nineteen-year-old adjutant wing. The fourth was E. M. Korneev. The following year, during a trip to the south of Russia, A. D. Guryev (1786-1865), the son of the Minister of Finance D. A. Guryev, joined the group, but, however, he cannot be called a member of the expedition, since he traveled for self-education and to your account. It can be assumed that Sprengporten, a Republican by conviction, was very enthusiastic about the change of kingship, from which, like others, he expected a lot. For him personally, everything turned out well: having fallen out of favor under Emperor Paul, now he was again treated kindly and received an important task. As for Korneev, for a young and inquisitive artist, the knowledge of hitherto unknown corners of his homeland was an inexhaustible source of impressions. There is very little documentary data on which it would be possible to establish the route of the expedition. The materials of the expedition were not published, since the mission was secret. Only drawings have survived, rare references in various sources, printed and archival, and a few letters. in St. Petersburg, in public library , Sprengporten's papers are stored literary experiments, drafts and copies of letters, accounts. But in eleven thick notebooks we managed to find only four letters related to our topic. The almost complete absence of materials on the expedition of 1802-1804 is partly due to the confidential nature of the assignment: the general had to report directly to the tsar. But the main reason was that the entire three-year trip was for Sprengporten only filling the temporary vacuum that had formed in affairs with Finland due to the prevailing political circumstances. In a report sent to Alexander I from the island of Corfu, Sprengporten described the route of the expedition across Russia as follows: “... In 1802, I received a flattering order to travel around part of Russia and its southern borders from Kyakhta to Corfu, accompanied by several officers and one draftsman to collect picturesque objects. I used the first year to climb the route to Orenburg, then along the Irtysh in Siberia and along the Chinese border from Bukhtarma to Kyakhta. The second year I had to follow the line of the Caucasus, and in the third year I went from the Crimea through Constantinople ... to Corfu. The general's letter is confirmed by the official list of M. F. Stavitsky. The path of the military inspection group is indicated there concisely, but precisely: “... in 1802, 1803 and 1804. was sent, by the highest command, with the aforementioned Count Sprengporten to the Orenburg, Siberian and Nerchinsk lines and along the Amur River to the Chinese border, to the city of Albazin and partly to the Kirghiz-Kaisatskaya steppe, and then to the Caucasian and Kuban lines and the Black Sea in Constantinople and Asia Minor. Sprengporten's letter shows that the journey through Siberia took one year. Historians of the second half of the 19th century suggested that the general did not travel further than Tobolsk. However, in the diary entries of a resident of Irkutsk for 1802 we read: “On the 30th hour (September 30, 1802), General of Infantry Egor Maksimovich Shpreiparten arrived in Irkutsk with a 15-year-old son. With him was His Majesty's adjutant wing Beckendorf. On what business this general came to Irkutsk is unknown, but meanwhile Beckendorf went to Yakutsk. On October 12, General Spreiparten left for Kyakhga, and on his return from there on November 19 he left for Russia. The watercolor “View of Kyakhta” from the Literary Museum, by its documentary nature, testifies that the artist also traveled with Sprengporten to Kyakhta. At the time when the general departed in the direction of Kyakhta, and Benkendorf was in Yakutsk, Stavitsky independently traveled to Nerchinsk and further, to the mouth of the Amur, and on the way back went deep into the Kyrgyz steppes. This circumstance is confirmed by his letter to Sprengporgen, found in the latter's papers, which was sent on November 13, 1802 from the Achinsk fortress. It gives a description of the miserable state of the border garrisons, notes the plight of the population caused by crop failure. “A pood of flour costs from 3 to 3.5 rubles along my way,” says Stavitsky. “... There is so much evil here to be corrected!” he ends his letter. Due to the fact that the members of the expedition traveled separately, they explored vast expanses. But the artist was alone with them and could not keep up with all the places. However, the coverage of the territory in the drawings, and specifically Korneev's drawings, was even greater than Sprengporten, Stavitsky and Benckendorff managed to cover together. This discrepancy between the routes of the expedition and the places depicted by the artist seemed mysterious, but was cleared up thanks to the discovered archival materials. It turned out that in 1810, sketches by an amateur artist who had spent several years in Siberia came to Korneev. According to them, Korneev made some of his drawings. We will deal with this in more detail in the following chapters. In 1803, travelers visited the Kazan and Saratov provinces, went down the Volga to Astrakhan, then were in the Caucasus, where the general was treated with water. From there, Sprengporten sent the tsar the works of Korneev - two maps of the Caucasian mineral waters, as well as several typical costume sketches. In the autumn we went deep into the Kalmyk steppes, visited Lake Elton, went to the Don, through Voronezh, Kharkov and Poltava reached Kherson, where they met New Year. February-April 1804 the expedition spent in the Crimea. Watercolors associated with E. Korneev's journey through Russia constitute the main fund of his artistic heritage. In his track record, Korneev notes that in 1804 he presented the tsar with “sketches of views and costumes” and received a gold watch from his Majesty’s office as a reward. In all likelihood, these were the same maps of Caucasian mineral waters and costume-type sketches that Sprengporten attached to his report from the Caucasus to the king. In 1804, Korneev traveled with Sprengporten to Turkey and Greece. The general had the task of inspecting the military fortifications of the Republic ionian islands . This new state was founded in 1798 by Admiral F.F. Ushakov after the liberation of the islands by the Russian-Turkish squadron from the rule of Napoleonic France. The self-governing republic existed under the protectorate of Russia until 1807, when, according to the Peace of Tilsit, the Ionian Islands were again transferred to France. Sprengporten's official mission ended with a visit to the Ionian Islands. Korneev also painted portraits. A certain Uskov, who was in Greece in the autumn of 1804, ends his friendly letter to Sprengporgen with the following words: portrait". The title of pensioner gave Korneev the right to stay in Italy. From the island of Corfu, he writes to A. S. Stroganov: “Having a desire to see Italy for a long time, I sacrificed three years of my journey through Russia and Siberia. Finally, being so close to her, he dared to ask the permission of His Excellency General Sprengporten to follow His Excellency Dmitry Pavlovich Tatishchev, setting off for Naples on a military frigate, he willingly agreed ... I consider it my duty to notify you of it and ask for intercession in this case Your his. I will await your orders in Naples." All Russian classical and romantic artists aspired to Italy. A visit to Italy broadened their horizons, introduced young artists to world culture, and gave them knowledge of classical models. In addition, the possibility of independent existence, free artistic creativity, and communication between fellow artists was attractive. Korneev has been deprived of the last one for three years already. In a proposal to the Council of the Academy dated April 22, 1805, the president said that he had received information about the artist Yemelyan Korneev, who “wants to go to Italy for a greater improvement in art and asks for my permission for this. And how, during his stay at the Academy, he repeatedly presented the experiments of his talents and knowledge, moreover, his drawings delivered by him during the trip sufficiently testify to the zeal with which he fulfilled the work entrusted to him; then I will make it my duty to encourage this young artist, who brought honor to the Academy, to further success ... I hereby propose to include him in the number of pensioners in foreign lands on the same basis as others, and send him the amount due to the state in Venice. We have no information about Korneev's life in Italy (during the year).

AGAIN IN PETERSBURG

July 5, 1806 Korneev returned to Russia. His painting of this period “View of the city of Athens” is known, for which he was soon awarded a gold watch from the imperial office upon his return. Korneev's immediate goal was to receive the title of academician. In 1806, for the painting "View of Vesuvius", he was recognized as "appointed". In this picture, apparently, Korneev exactly repeated his watercolor “The Eruption of Vesuvius that Happened on August 18, 1805” (collection of I.S. Zilberstein), using it as a sketch. In the spring of 1807, Korneev and two more artists - I.P. Aleksandrov and T.A. Vasiliev (pensioners of the Academy of Arts, seconded in 1805 together with A. E. Martynov to the embassy of Count Yu. of the year. The paintings were submitted on time, and all three artists were promoted to academicians with the rank of officials of the 10th class. Alexandrov painted a portrait of Wang, the son-in-law of the Chinese emperor, Vasiliev painted a view of the city of Selenginsk, and only Korneev's program was not connected with his trip to Russia. The plot of the picture was mythological - "The abduction of Deianira by the centaur Ness", which was, as it were, a report for a year-long stay in Italy at the expense of the Academy. In addition, Korneev was obliged to do this by the title of historical painter. Unfortunately, we do not know what the picture was in artistic terms, for which Korneev received the title of academician. Her whereabouts are currently unknown. In 1807, Korneev entered the service of the Commission for the construction of the Church of Our Lady of Kazan "in terms of the architect." From the letter of the President of the Academy of Arts to the Commission dated January 18, 1807, it is clear that Voronikhin himself was busy with this appointment. “The architect, Mr. Voronikhin, who is building this church,” reports Stroganov, “prescribed in the report submitted to me the abilities and knowledge of the artist of the 14th grade Korneev and asked to be identified, according to the real need for him, among the officials who were with him in the artistic part . And as an artist, Korneev is known to me personally from a very good side, and being convinced that he can be used with considerable benefit in the construction, I propose to this commission to determine him under Mr. Architect Voronikhin. The Kazan Cathedral was the brainchild of the entire Academy. It was called "a monument to national arts". The best Russians, and only Russian architects, artists, craftsmen participated in its construction and decoration. It was a matter of principle for A.S. Stroganov, who headed the Commission. “All materials are borrowed from the depths of the fatherland and all the skills are made by the art and hand of domestic artists,” the Severnaya Pochta newspaper wrote, commenting on the consecration of the cathedral. And its creators and the public - all treated the construction of the cathedral with great enthusiasm. Before E. Korneev, there was no artist in the Commission for the Construction of the Cathedral, there were only architects and officials. But in 1807, when the dome was being built and the body of the cathedral was being plastered, when the work came close to artistic and finishing work and images were being painted for the iconostasis, the Commission needed an artist. The attraction of Korneev suggests that both Voronikhin and Stroganov appreciated his talent. At the same time, Korneev does not leave graphics, he writes watercolors based on travel sketches. The artist, apparently, considered this type of activity to be the main one for himself. He is proud of his “views”, invites his friends to watch them, which is known from the testimony of A. Kh. Vostokov. A. Kh. Vostokov, later an outstanding Russian philologist-Slavologist, "was formed", as they said then, at the Academy of Arts in the same years as Korneev. He was the organizer of the first secret society at the Academy - a circle of "osteiekists", which included Korneev's classmates - I.I. Terebenev, I.A. Ivanov, S.I. Galberg, F.F. Repnin. Later, in 1803, this whole group merged into the Free Society of Lovers of Literature, Sciences and Arts, created in the summer of 1801. Vostokov was one of its most active members and invariably belonged, like Terebenev, along with the Radishchev poets, to the left wing of the Society. Vostokov and his comrades were people who lived intense intellectual lives. They diligently engaged in self-improvement, and were also interested in socio-political issues, and in their literary and artistic activities consciously sought to implement the ideals of enlightenment. There is no information that Korneev was a member of the Osteiekist circle. He could not take part in the Free Society, since he left St. Petersburg even before the artists entered there, but returned in the summer of 1806, when the activities of the Society after the death of I.P. Pnin, its president, got better and then declined sharply. Korneev's friendship with Vostokov was completely natural. The whole life and creative activity of the artist speaks of serving educational purposes. His appeal to political satire in 1812 was also logical, as did Vostokov's best friends, Terebenev and Ivanov. In the Notes, which is a diary for several years, Vostokov writes: “1808, March. On the 11th, on Wednesday with Ivanov, we were at Korneev (Emelyan) and watched his views of the Crimean and Greek. In his notes, Vostokov is extremely laconic, mentions a small number of people, and only when there are good reasons to record this fact. Later, Vostokov names Korneev several more times, and on June 5, 1809, he makes an entry: “On the 5th on Saturday, I took off work from Karneev.” At this time, Vostokov led a half-starved existence and was preoccupied with looking for work. Korneev, in his position in the Commission for the construction of the Kazan Cathedral, had the opportunity to help a friend, especially since Vostokov received an architect's education at the Academy. The best artists - historical painters, as well as some portrait painters - painted images for the newly built Kazan Church. Korneev, who only returned to St. Petersburg in 1806 and during 1807 was busy with the program for the title of academician, did not have orders for paintings for the cathedral. But when F. I. Yanenko died in 1809, who was instructed to write three altarpieces and the Last Supper, the orders were transferred to Korneev and S. A. Bezsonov. Apparently, Yanenko had just begun the paintings, since, despite their colossal size, the Commission estimated the work done at only 300 rubles. All artists sought the honor of painting icons for the Kazan Church. Korneev received a very large order, its fulfillment, in addition to a solid payment, promised glory and rewards. In addition, the official position of Korneev in the Commission was regarded by contemporaries as quite high. This is clearly seen in the next episode. Vostokov, who used Korneev’s help in critical cases, apparently advised Frol Repnin the same, to which Repnin replied: “I don’t want to burden Emelyan Mikhailovich Korneev, God knows what he is now, having become a lover of fortune, so maybe not honor and listen to the children of poverty. And suddenly, on May 24, 1810, a year before the consecration of the cathedral, the artist, under the pretext of illness, leaves a profitable service and leaves for foreign lands. Paintings finished Bezsonov. The newspaper "Northern Post" names Bezsonov among the authors of the best paintings. Artists and employees during the construction were awarded orders, ranks, life-long pensions. Korneev abandoned everything, because suddenly he had the opportunity to surrender to his vocation. It is possible that his decision to leave the official service and leave Russia was to some extent the result of the intensified reaction in the country, which replaced the “days of the Alexandrovs, a wonderful beginning.” The artist, who returned from Italy in 1806, must have been acutely aware of these changes. Korneev's views of Russia attracted the attention of the Bavarian envoy to the Russian court, Count Karl Rechberg, a passionate collector of watercolors and drawings on Russian themes. Rekhberg invited Korneev to publish albums of engravings based on his drawings. It was just what the artist dreamed of: to show his works to a wide audience - views of remote corners of Russia, the appearance of the peoples inhabiting it. And Korneev went abroad with Rekhberg. There he worked hard on the creation of the two-volume album "Les peuples de la Russie" ("Peoples of Russia"), "All the drawings that make up this work were most excellently done by the honored master Mr. Korneev during his three-year stay in Munich", - said the publisher of the album. Munich, the capital of the Bavarian kingdom, was the hometown of K. Rechberg. Here E. Korneev made drawings according to his travel sketches, and then watched the creation of engraving boards. The album was printed in Paris already without the supervision of the author. Two luxurious volumes did not exhaust the supply of drawings, as well as the ideas of the publisher and artist. However, the war in Europe forced Korneev to return home, and Rekhberg to suspend publication. By the beginning of the Napoleonic invasion, Korneev was already at home. The exact date of the artist's return to Russia is unknown. But everything preparatory work, which were held in Munich, were completed around the beginning of 1812, since in 1812 the album was printed in Paris, and already without the supervision of the author. As you know, Russian artists did not stand aside from the events that shook the whole country. One of the most interesting and significant phenomena in art, generated by the heroic era Patriotic War , was a satirical graphic from 1812. If painters and even sculptors turned to political satire at that time, then for Korneev, a graphic artist, draftsman and engraver, who was accustomed to focusing his work on a wide audience, work in the genre of political caricature was completely natural. He owns several drawings, according to which engravings were made (or maybe Korneev himself engraved some of his sheets), glorifying the exploits of the Russian people in the fight against the invaders. On October 28, 1816, Korneev again entered the civil service - “to the Department of Mining and Salt Affairs for drawing medals” in place of F.P. Tolstoy. The production of medals was then under the jurisdiction of the Mining Department (1st division). Medal art, intended to praise the deeds of contemporaries, was given special importance in these years. “What times,” exclaims A. N. Olenin, “could medals be more needed to certify later posterity in almost incredible events and in unparalleled exploits of kings, warriors and peoples, if not our wonderful time?” He calls the medals "exquisite works of art that can testify to later centuries about the incredible events of our time." Sculpture in general was the leading and favorite form of art in the era of classicism. Medals were considered as "a miniature in sculpture". From the medal was required clarity of expression of ideas, conciseness, rigor and impeccability of lines. But in the first decade of the 19th century, medal work was still far from meeting these requirements. In 1809, F. P. Tolstoy came to work at the Mint. In his "Notes" he notes the low artistic level of the medals, the complexity of the interpretation of the plots. The reason for this was mainly the lack of special artists to draw medals. The carving of the stamps was made according to the drawings "very badly composed and drawn ... which were sent ... to the Mint Department from various government places, institutions and establishments." Through the efforts of F. P. Tolstoy, the medal art was raised to a great height and reached its peak in the first quarter of the 19th century. Speaking against the abstract and allegorical plots, Tolstoy develops new principles of medal art: the historical authenticity of the place, action, setting, costumes, portraiture of faces, knowledge of the laws of perspective, images of architecture, and finally, the execution is elegant and strict, "in accordance with nature." The vidographer was guided by the same provisions in his practice, and therefore they were close to Korneev. Korneev spent two years as an artist for drawing medals, and just at the time when serious attention was already paid to the execution of drawings for medals. However, no work has been found in this area. Obviously, he did not sign his drawings here either. It is only known that "during the course of his service in the Department, he corrected his position with very satisfied information and abilities." But it is unlikely that an artist who has tasted independence, who has known long periods of free creativity, could be carried away by this service.

CIRCUMNAVIGATION

In January 1818, Korneev left the Mint. He had his own, already established interests and reputation as a well-known travel artist, engraver and draftsman. Therefore, he gladly responded to the proposal of the Minister of Spiritual Affairs and Public Education, Prince A. N. Golitsyn, handed over to the artist by the new president of the Academy of Arts A. N. Olenin, - a proposal to go on a long voyage. A round-the-world voyage was being prepared on two military sloops (as it was originally supposed, then the expedition was expanded to four sloops). The tasks of the expedition were complex - geographical discoveries, research in various branches of knowledge, the search for convenient sea routes. It was a grandiose research enterprise, mainly to study the high latitudes of both hemispheres. The expedition was divided into two parties - to the southern and northern seas. And two artists were required. At the same time, another four-month voyage "to describe Novaya Zemlya" was supposed, where an artist was also needed. At the Council of the Academy of Arts, held on March 29, 1819, ten artists were proposed for this trip: A. A. Vasilevsky, Konstantin Volkov, M. P. Dubrovin, E. M. Korneev, P. N. Mikhailov, V. P. Mokhnachev, V.P. Sukhanov, Khvorinov, Ivan Chervinsky and F.F. Chernyavsky. Four of them, Olenin tells Golitsyn, “Mr. Mr. Mikhailov, Korneev, Dubrovin and Chernyavsky personally announced to me their desire to participate in this journey and willingly agree to use their abilities to deliver the desired success to the mentioned expedition in all those cases where it may need the help of artists. ... Mr. Korneev, who has the title of academician, had already traveled for many years in Asia and Europe; the fruits of his labors are known to the Learned World according to the description of the costumes of the peoples living in Russia published by Count Reichberg. Mr. Cherniavsky was also already on a journey to the Chinese borders. ... G. G. Dubrovin and Mikhailov08, who were uniformly formed at the Academy, had excellent successes in the arts. Therefore, there is no shortage of good artists for this expedition.” However, Olenin distinguishes Korneev as an artist in particular. In the same letter, reminding Golitsyn about the conditions of remuneration of Tikhanov, "barely released from the Academy of Arts", sent in 1807 on a similar expedition on the sloop "Kamchatka" under the command of Captain V. M. Golovnin, he adds: "... I think that the first two (Korneev and Mikhailov) from among those who have now volunteered for the new navigation should be given great benefits against these: for they are superior to Mr. Tikhanov, especially Mr. Korneev, who, during many years of travel, has acquired great skill in exercises and studies , which are characteristic of a wandering artist. But the artists were offered such a meager salary that everyone refused to participate in the expedition on such conditions. “I can’t decide to accept this position for the reason,” Mikhailov wrote to Olenin, “that the benefits associated with it are much less than those that I have here from practicing my art and that I donate the latter for those offered with the most sensitive loss for my I don’t dare and shouldn’t.” Olenin comments on their refusal in the following way: “... although the love for fine arts is not yet so high in Russia ... nevertheless, the taste in them has already spread so much that there is almost not a single even the most mediocre painter who would not win with his art up to one and a half thousand rubles a year. Therefore, the president explains, he could not convince any of the previously agreed artists to go on a long voyage. This correspondence has been going on for a month. Olenin stubbornly seeks pay for artists corresponding to their work, and also takes care of providing for them in the future. “Because after the end of their travels, they will certainly have to use a year and even more of that time to make clean drawings from their sketches, because during the continuation of the journey it will be impossible for them to do this and all the time it will be almost impossible for them to do any other work to help out the necessary for their maintenance amount, then it will be necessary to provide them with this part of the production of them within one or two years of the same salary that they now determine ... especially when they are obliged to finish drawings cleanly ... for engraving prints from them or for storage in imperial libraries. By June 1, 1819, these issues were finally agreed upon. Now Olenin began to rush the Minister of the Navy, the Marquis I. I. de Traverse, with the issuance of lifting money to the artists, which is necessary for the acquisition of "art supplies." He reminds that artists must have at least three weeks' worth of money in order to be ready on time. In addition, he says, if the conditions of travel and work are different, then it will be necessary to distribute the painters (Korneev and Mikhailov) to ships by lot, since "one ship can have the most advantageous assignment against another." Dubrovin was sent on a four-month voyage. He set off first. The story of his failed voyage reveals the dismissive attitude towards artists on the part of the highest officials. Arriving in Arkhangelsk, Dubrovin learned that the ship had already left. The artist was in a hopeless position. In letters to Olenin, he reported that he had "reached the extreme", he forwarded these letters to the Minister of Marine, and finally Traverse was ordered to give Dubrovin runs to St. Petersburg. Dubrovin was not to blame: he left for Arkhangelsk four days after receiving the money. In the meantime, the preparations for those who were going on a long voyage continued. On June 23, 1819, the artists received an appointment, an order to immediately arrive at the port of Kronstadt to their commanders, as well as an “instruction on the artistic part” written by Olenin, each one special. For the first time, the “instruction” was compiled by Olenin shortly after he took the post of president of the Academy of Arts in 1817 for the artist M. Tikhanov, who was setting off on a round-the-world voyage with captain V. M. Golovnin. Korneev and Mikhailov also received a copy of the "instruction", which differed from Tikhanov's version, but not fundamentally. It is curious that the provisions developed by F. P. Tolstoy for the medal business are almost interchangeable with Olenin's “instruction on the artistic part”. Thus, the same trends of the epoch reveal themselves in different types of art. The main requirement is to follow nature in everything. In addition, it can be seen from the “instruction” that an artist going on a journey was supposed to work in all genres - to perform portrait, household, ethnographic images, still lifes, to make naturalistic sketches of the flora and fauna of the places visited, but first of all he had to draw “views "- documentary, "portrait" views. Thus, the need to combine work in the landscape and everyday genre was dictated not only by the logic of the development of both genres, but also by the requirements of the customer - the scientific institution that sent the expedition. Both were reflected in Olenin's "instruction". The artists were divided into groups of the round-the-world expedition in this way: Mikhailov was assigned to the southern detachment, the route of which was calculated for two years. F. F. Bellingshausen commanded them, he also led flagship"East". The commander of the second sloop, which bore the name "Peace", was M. N. Lazarev. With this expedition, captains Bellingshausen and Lazarev entered their names in the chronicle of great achievements as the famous discoverers of Antarctica. Korneev ended up in the northern division, which consisted of the sloops "Discovery" and "Blagonamerenny", which were led by captains M. N. Vasiliev (head of the expedition) and G. S. Shishmarev. It is possible that the artists were assigned to the courts by lot, as suggested by Olenin. But it is possible that Korneev, as an experienced traveler, himself chose a longer, three-year route. The task of the second division included research in high latitudes northern hemisphere and "finding a northwestern passage" - through the Bering Strait and the Arctic Ocean to the Atlantic. rounding South America, the expedition reached the Bering Sea and spent two summer seasons working in Arctic Ocean off the coast of Asia and America. Russian navigators rose to 70 ° 40 "North latitude, they managed to go deeper 25 miles north than Captain D. Cook. Then solid ice blocked the path. The allotted time has passed. All four ships returned safely to the Kronstadt port. Both artists brought a large number of drawings Mikhailov's works are in the Russian Museum (286 sheets), where they were transferred from the Museum of the Academy of Arts.In addition, the Historical Museum has an album of Mikhailov's completed watercolors prepared for printing with notes by F.F. Bellingshausen.Emelyan Korneev also brought his works. However, they were not published, and we could not find them.

THE HISTORY OF DRAWINGS FROM THE CIRCUM AROUND THE WORLD

An extensive correspondence is devoted to Korneev's drawings of the second trip, revealing their history. On June 25, 1822, more than a month before arriving in Kronstadt, Captain Vasiliev demanded that the artist, according to the instructions, hand over his works to him while still on the ship. Then Vasiliev asked the chief of the naval headquarters, Rear Admiral A.V. Moller, where to send the drawings, adding that "the paintings have not yet been prepared for engraving and some are not finished." In response, Korneev was ordered to hand over everything that he had left to the Minister of Marine, and Vasilyev - “all collected views and drawings of Academician Korneev ... submit ... to the State Admiralty Department, which, after considering them, will not leave to do further regulations about them." But since the watercolors made on the road were not yet finished, Korneev tried to get them back through Olenin. In August 1822, Olenin asked A. V. Moller to send Korneev's drawings to him in order to give them to the artist to finish his sketches clean. Among the papers of the Vasiliev expedition there is a “list of sketches coastline islands made by the Academician of painting Korneev. Under the title "The title of the species collected on a journey around the world" follows a list of thirty-nine drawings with a detailed name for each. These drawings are purely specific - islands, coasts, bays. Now the same object is taken from different points of view (No. 28-30: “Cape Lisbourne from the south side”, “Cape Leesbourne from the anchorage”, “Cape Lisbourne and Ice Cape”), then several drawings make up a common panorama (five sheets - "Coasts of America in the Arctic Sea from Cape Kruzenshtern to NW" (Russian coast of Alaska), four more - the coast of Kamchatka with its hills, capes and bays. images are, like Mikhailov's sketches, a scientific fixation of geographical studies of travel, but at the same time landscapes... The "list" contains neither ethnographic nor everyday sketches, despite the fact that Korneev loved such subjects, and he had to carry out such work according to the instructions From the notes of Lieutenant A.P. Lazarev, although he met little with the artist, since he sailed on the sloop "Blagonamerenny", and Korneev - on the sloop "Discovery", it turns out that among the works of the latter there was an image of a waterfall in the vicinity of Rio de jean euro. “Our painter Korneev took a view of the onago,” Lazarev reported. On the Sandwich Islands, which Vasiliev's expedition visited in April 1821, the English missionary X. Bingham asked for the school he organized "our painter to make him initial drawings for children, which Korneev, with the permission of the expedition leader, did very well." Bingham pursued quite practical goals and in a businesslike manner disposed of the "initial drawings" received from Korneev. At that time, he compiled the Hawaiian alphabet, and already in January 1822, the missionaries published a primer, the first book in the Hawaiian language, and in 1829, a special textbook for children, an alphabet with pictures. Ironically, a trifle was destined to see the light, while the fruits of three years of serious work were wasted in vain. In the magazine of the sloop "Good-meaning", which was kept by midshipman N. D. Shishmarev, there is also a story about how Korneev painted Polynesians in national clothes in Honolulu. Korneev should have had naturalistic drawings as well. It is known that the expedition was left without naturalists. Two Russian students sought this position, but they preferred foreigners - Martens and Dr. Kunze, who were expected on trial in Copenhagen. However, naturalists did not appear on the ship. Their duties were divided among themselves by the artist Mikhailov and the astronomer Simonov in the southern detachment, in the northern - by the headquarters doctor Stein and Korneev. Mikhailov has such works, they are very accurate, they convey not only the appearance of animals, but also their habits. But thirty-nine numbers of the list far from exhausted the entire stock of Korneev's drawings. Soon after the arrival of the ships in Kronstadt, in the “Notes of the Fatherland” by P. P. Svinin, in the section “A look at new excellent works of art”, there appeared a correspondence “On the portfolio of Academician Karneev”. "G. Karneev, - it is said there, - already known from the most advantageous side by a magnificent creation about Russia, published in Paris by Count Rekhberg, now compiled a no less interesting portfolio of drawings during his journey to the North Pole ... His portfolio contains up to 200 drawings and divided systematically: one (for example) section is devoted to Brazil and southern America, the other to Pacific Ocean, the third - New Holland, the fourth - our American possessions and the Northern Ocean, etc. The observant artist did not miss to notice anything curious, nothing distinctive, not only in the form of people and other objects of such different climates, but presented with a skillful brush the opposition of tastes and habits that change in man for the most part by the influence of Nature. It is highly desirable that these drawings appear sooner in the light .., ". In documents relating to the next period (from the spring of 1823), there are also references to exactly two hundred, and then three hundred drawings from the trip. These documents reflect the artist's anxiety about his future, as well as about the fate of the brought works. The year ends. In five months, he will be left without a livelihood, not having time to finish the work. Korneev's circumstances were complicated by the fact that a few months after returning from swimming, he got married. On January 21, 1823, he took from A. N. Olenin a certificate stating that he was single and could freely enter into a legal marriage. The persistence with which the artist subsequently seeks his rights and seeks a livelihood is explained by his responsibility for his family. On March 5, 1823, Korneev petitioned A.N. Olenin to extend his salary and refers to the difficulties he encountered: he received a salary on a par with a midshipman, and not with a lieutenant, as was agreed at the beginning, he did not have enough money for equipment, he had to to sell things for nothing before leaving, paper and other art supplies during the three years of travel deteriorated from heat and dampness. Here the artist also indicates that upon arrival he presented to the Maritime Department sixty-five drawings completed during the voyage, and from the time of arrival - thirty-six more. Captain Vasiliev intercedes for Korneev, as well as the Maritime Department, which asks for a salary of 2,000 rubles a year for the artist, as well as for Academician Vorobyov, who traveled around Syria and Palestine (“The Department, considering the works of Mr. Korneev, concluded that this academician had excellent art in painting »); A. N. Olenin also supported the artist’s request to pay him a salary until “until the drawings are completed and they are compiled short description". The Minister of Education A. N. Golitsyn refused the application. Thus, Korneev continued to work on drawings from the circumnavigation, but did not receive any more money. Apparently financial situation the artist was really extremely difficult, and the president of the Academy of Arts knew about it. Korneev's petitions, accompanied by Olenin's petitions, follow annually. In February 1824, Korneev was inquiring about a pension: “... following the example of Mr. Academician Kurlyandtsov, 1,000 rubles, the artist Tikhanov, 600 rubles. and, finally, to Academician Vorobyov 2000 a year, and in addition, the drawings of their work remained in their property. Here the artist complains that "in addition to frustrated affairs, he lost his sight." At the same time, he seeks help from the Society for the Encouragement of Artists and turns there with a request to give him a job. At a meeting of the Committee of the Society on March 18, 1824, “member Kikin presented various drawings by the artist Korneev for consideration by the Committee and announced that he (Korneev) wished to receive work from the Society. It is supposed: to demand from Mr. Korneev that he submit some completely finished drawing, so that by it one can judge what kind of occupation the Society can give him. At a meeting on May 6, 1824 (through one meeting) “... we were considering a trial drawing presented by Mr. Korneev. It is necessary to have this artist in mind in case of meeting possible occupations consistent with his abilities. The direction of Korneev's creativity was quite consistent with the nature of the activities of the Society, which, supporting everything advanced and new in art, willingly helped the printers, as well as the students of Venetsianov. Pursuing educational goals, the Society valued art publication, prints and provided extensive support for graphics. However, having approved the work of Korneev, the Society was in no hurry to use it. The fact is that the Society for the Encouragement extended its charity to young artists during their formation. Korneev was an artist who had long been formed. In August 1825, Korneev again collects all the papers (a certificate from Vasiliev, from the Mining Department, an extract from the form and from the journal of the Admiralty Department) and with the next petition he turns directly to the tsar. Each petition of the artist contains details about his life, as well as new information about the drawings made during the circumnavigation. “To complete the more than 300 drawings I collected during the voyage, I am left without a position,” the artist writes. Moreover, “during the flood on November 7 last year, I lost all my property and my wife’s property for more than 20,000 rubles, and according to the testimony of my misfortune, Mr. Adjutant General E.I. Majesty Benckendorff, who supported my existence with my family before that, according to the decision of the main committee on the flood, was allocated to me as a reward for the irretrievable loss of my 1900 rubles. ". Deteriorating vision further complicates the life of the artist. He complains about the impossibility "with a weakness of vision ... to feed himself with his family ...". And after the flood of 1824, Korneev fell into dire need. The fact is that he lived in the "3rd Admiralty part in the 2nd quarter near the Semenovsky bridge (in the house of Major General Stal No. 128)", that is, on the banks of the Fontanka River at the intersection of its Gorokhovaya, where the water was very high - from five to six inches. The artist really lost all his property. This is evidenced by the size of the allowance issued to him. According to the established procedure, this amount was in direct proportion to the volume of losses. Persons who lost a fifth of their property were compensated for a quarter of the losses, with the loss of a quarter, a third and a half, half of the loss was compensated. But the one-time allowance was limited to 1000 rubles, and only with the special permission of the Central Committee for Assistance to the Victims could it be increased. Temporarily, the artist and his family settled in the house of his relative, State Councilor Korneev, on the 4th line of Vasilyevsky Island, No. 16596. A. N. Olenin tried to help Korneev. In February 1826, he reminds A. N. Golitsyn that "the consent of this skillful artist to participate in a new journey, when no one else dared to be exposed to the dangers associated with long-term navigation, was a very happy acquisition for the equipped expedition." Olenin draws attention to the high quality of the artist's work and asks for his pension and the next rank. Finally, the matter ended in May 1826 with the appointment of Korneev's pension in the amount of 720 rubles a year. Then the last stage of the “drawing case” begins. This time the correspondence is between A. N. Golitsyn, the Minister of the Navy A. V. Moller and A. N. Olenin. The reason for this correspondence was Korneev’s petition, filed in June 1826 to the highest name, with a request to return to him one hundred and one drawings of “species different parts light, costumes of different peoples, animals, birds, fish, etc.", since "he intends to publish his journey, adding to it the mentioned species." Korneev hoped to publish the drawings created during the circumnavigation of the world, similar to the album "Peoples of Russia", published on the materials of his first trip. This work was his calling. The implementation of the enterprise conceived by Korneev would undoubtedly be a contribution to the treasury of Russian culture. In the publication with a circulation of three hundred copies, the author intended to place one hundred and fifty drawings with an explanatory text. “Starting to publish this,” Golitsyn reports to Moller from the words of the artist, “he had the intention to protect the six-year-old works of his journey from complete oblivion, which many similar journeys have already undergone, which remained completely unknown to the learned world, as it is: drawings by artists Martynov, Aleksandrov and Vasiliev, who were at the embassy of Count Golovkin to China, Tikhanov to the Aleutian Islands with Captain Golovnin, Kurlyandtsev to Kamchatka with Captain Kruzenshtern, Vorobyov to Syria and Palestine, Mikhailov to the South Pole with Captain Bellingshausen, and many others. According to Korneev's calculations, the entire publication would have cost 45,000 rubles. Lacking, of course, funds, the artist turns to the tsar with a request to give him a one-time loan - an allowance from the amounts allocated "10,000 rubles a year from the office for rewarding artists" and to allow him to open a subscription to the publication. Regarding the proposed publication, the Minister of Education first of all requested the opinion of Olenin. The President of the Academy of Arts, as always, gave a flattering review of the artist's work. “I have the honor to inform your Excellency,” he replied, “that the talent of Academician Korneev in terms of drawing has long been known to me from a very good side. His drawings, belonging to his last journey, are also known to me and will be curious in relation to history and art. Therefore, it is very possible to allow him to open a subscription to the publication of his travels with drawings belonging to it. However, Olenin naturally refused the allowance from the sums of the Academy of Arts, explaining that it was more important for the Academy to use this money for its own needs. (The Academy was generally in constant budgetary difficulties.) But the Minister of Marine was categorically against the publication of drawings by the artist himself. In his opinion, "the description of the journey of Captain Vasilyev has to be published by the Naval Department, which is why the drawings of the works of Academician Korneev belonging to it cannot be returned to this artist." This conclusion was "highly" approved. Why was Korneev so excited about publishing his drawings? His whole life was a service to the ideals of enlightenment. In 1802, he interrupted his retirement, without thinking about the consequences of this step for his academic career, and set off on a three-year journey. Then, for the sake of publishing the album "Peoples of Russia", he refused a profitable service in the Kazan Cathedral and large government orders. Finally, he left his job at the Mint to go on a long and difficult voyage. Lying motionless watercolors, which, undoubtedly, were of great educational value and, judging by the reviews, as well as Korneev’s previous works, artistic value waiting for publication. But due to the severe government reaction that came in the second half of the 1820s, the situation with private publications became extremely complicated. Golitsyn, Moller - everyone was afraid to take responsibility. The tsar ordered Korneev not only not to demand back his works from now on, but to hand over another hundred drawings. But during these years, Korneev no longer worked as an artist. The main reason, apparently, was weakened vision. However, he still had seventy more drawings in his hands, which he stubbornly tried to save. In 1828, the affairs related to the publication of all sea voyages came under the jurisdiction of the Naval Scientific Committee. The chairman of this institution, Prince L. I. Golenishchev-Kutuzov, zealously took up the concentration of all the drawings of Korneev in his hands. First of all, he demanded from the Admiralty Department one hundred and one drawings that were stored there, and then called Korneev to him and convinced him, referring to the order of the king, to hand over the rest of the work. “He (Korneev) has now given away these drawings, which are accepted and stored in the committee along with the previous ones,” Golenishchev-Kutuzov reported. The drawings were taken from Korneev under the pretext of publishing them. But the materials of navigation in the northern latitudes were not published by the Naval Ministry. Vasiliev himself did not have such authority as Bellingshausen to achieve this. In 1830, Lieutenant A.P. Lazarev, a member of the Vasiliev expedition, offered his diary for publication - a description of the journey - but the authorities did not sanction the publication. Lazarev was given to understand that it was inconvenient to print his diary in front of Vasiliev. This work remained in manuscript until 1950. It does not contain significant details about the work of the expedition artist, since Lazarev sailed on another ship and their paths rarely crossed. But Lieutenant Lazarev asked to be allowed to attach to his notes "various drawings and maps taken and composed during the aforementioned expedition", and this was the second real opportunity for the publication of E. Korneev's drawings, which then also did not materialize. So, one hundred and seventy drawings of great historical and artistic value - views of the coasts and islands, images of peoples met by the expedition on their way, flora and fauna of those places - everything turned out in 1828 in the Marine Scientific Committee. But have not been able to find them yet.

THE LAST YEARS OF THE ARTIST'S LIFE

After the return of Korneev from the circumnavigation, life smiled at him. He got married, was full of hopes and creative plans related to the publication of a new series of drawings. Then a series of blows of fate followed: the termination of the payment of salaries, the loss of property and all finished works flooding, partial loss of vision, long and humiliating worries about pension. But there was a family, a child was born, and money was needed. In 1825, Korneev borrowed 1,500 rubles from court adviser Rezvoi, and then 2,440 rubles from court adviser P. Shubin. The pension of 720 rubles a year, finally appointed in 1826, not only did not give the artist the opportunity to pay off his debts, but amounted to approximately only half of the subsistence minimum. The only way out of this situation could be a permanent service. At the end of 1825, Korneev applied for a job in the office of the imperial theaters for the opening vacancy of a wardrobe master. In the petition, he reports that at the Academy he studied not only historical, but also landscape painting. He notes this circumstance, trying to emphasize his involvement in the theater, since theatrical scenery was painted by perspectivists, and sometimes by landscape painters. Further, Korneev reminds the theater directorate that his work has already been used in the theater. They were "presented ... to the Imperial Russian Theater for the play Souliota through His Excellency Alexei Nikolayevich Olenin ..," (among Korneev's engravings were images of types of the population of Asia Minor, including sheets of "Soulieta" and "Soulieta." - Album " Collection of costumes, boards LVIII and LIX). The theater was generally close to the academicians of the late 18th century. He especially flourished from the time Korneev entered the Educational School, from 1789. Dramatic performances alternated here with "theatrical ballets". Academicians wrote the scenery, performed on stage, and the orchestra consisted of them. And only in 1798 the academic theater was transferred by the highest decree to a professional German troupe. At the same time, a certain Natje claimed the same position as Korneev. April 27, 1826 Natya was appointed wardrobe master, and Korneev - chief props with a salary of 1000 rubles a year. At that time, the role of the artist in the theater was very modest and limited to scenery sketches, and even then not for every performance. Moreover, the role of the main props man, who, in essence, designed the performances, increased. In addition, the work of Korneev consisted in buying everything necessary for performances, concluding contracts with artists in cases where it concerned the prop part. So, for writing portraits, Korneev repeatedly invited his classmate Pavel Remezov. When, less than a year later, it turned out that Natya was not coping with his work, he was fired, and the duties of a wardrobe master were also assigned to Korneev. He was supposed to "have oversight of the wardrobe and manage the rest of the wardrobe belonging to it, like shoes, flowers and wigs." In fact, he became the main artist. This is how N. P. Sobko regards his work, pointing out that Korneev was appointed the chief artist of the imperial theaters. At the same time, the directorate of the imperial theaters saved money, since for the second position the artist received not 1000, but 500 rubles a year. The work was troublesome, the actors' wardrobe was ending up, and everyone who left this place, including Natya, paid the shortfall. However, in addition to many organizational duties, also associated with financial responsibility, the position required Korneev to mobilize his artistic abilities. Only a person with sufficient versatility, artistic artistic taste could be a theater artist. The years of service in the theater were the last creative period in the life of Korneev. At that time, he was also working on his watercolors from the circumnavigation with Vasiliev, and also fussed about the right to publish them. But all the seething activity of the artist at the end of 1828 was cut off at once. It began with the fact that Rezvoy and Shubin filed bills for protest. Korneev offered to give them 1,500 rubles a year. He could not go for more, because in this case, losing his entire salary, he condemned himself and his family to the most modest existence, possible only due to the fact that the apartment and firewood at the position of wardrobe master were state-owned. But the court adviser Shubin demanded "to describe the movables of Mr. Karneev, consisting in paintings, furniture and other decorations, and the serf Peter with his mother and sister, which can serve to the speedy satisfaction of the claim, with the addition of the salary of Mr. Korneev." The St. Petersburg Deanery Council decided to describe Korneev's property. It was a hard blow. Almost simultaneously, the prohibition of his own publication of drawings and the order to hand over the last seventy works to the Marine Scientific Committee followed, which finally broke Korneev. He leaves the theatre. But the artist generally stops creative activity. Part of the reason for this was the weakened vision. Watercolors, a miniature technique, required a keen eye, and Korneev had not been engaged in oil painting for more than twenty years. But the main reason was that last years left a deep imprint on his soul. In connection with the intensification of the reaction after the tragedy that broke out on Senate Square, a deep chasm lay between the state and the progressive public. “The first years following 1825 were horrendous. It took at least ten years to come to your senses in this ill-fated atmosphere of enslavement and persecution,” recalled A. I. Herzen. The conflict between the artist and society is escalating. A. O. Orlovsky abandoned art, O. A. Kiprensky rushed about in a hopeless struggle with reality. Facts illustrating the collapse creative personality eras of romanticism during the period of the Nikolaev reaction are numerous, especially among writers, and are well known. Yemelyan Korneev, a man of the 1800-1810s proud of his moral strength and independence, as he appears in self-portraits, for a number of years was put in the position of an annoying petitioner, and then was forced to leave art altogether. On December 31, 1828, Korneev entered the service of the State Control Department as an official for special assignments and moved to live in Moscow. But for another three years, he gives his pension to pay off debts to Rezvoi and Shubin, as well as to pay off the shortage in the wardrobe. Further information about Korneev is fragmentary and random. In 1833, he continued to serve as a titular adviser in the department of State Control. In connection with fifteen years of service in the ranks of the chief officer, he receives here the insignia of impeccable service. There is evidence of this in the archives of the Academy of Arts. In 1835, the Commissariat Department of the Naval Ministry discovered that thirteen years ago, the artists Korneev and Mikhailov, who were on a long voyage, were given money in excess of the amount due. And therefore, they “should be charged for the portions they did not deserve during the voyage ... from Korneev 59 rubles. 68 kop. and from Mikhailov 97 rubles. 56 kop. As a result, the Commissariat Department of the Naval Ministry humbly asks the Imperial Academy of Arts to deliver information about where exactly Academicians Korneev and Mikhailov are now. The Academy replied that about the stay of “Mr. Academician Korneev of this (Academy) is completely unknown. G. Academician Mikhailov has a residence in the house of the Imperial Academy of Arts in the apartment of Mr. Professor Varnek. Were collected from Korneev “59 rubles. 68 5 kop. - unknown. In 1836, Korneev, through Benckendorff, turned to Olenin with a request to assign his eleven-year-old son to the Academy of Arts for state support. “Taking part in it due to its insufficient condition,” writes the all-powerful minister, “I have the honor to humbly ask your excellency to honor Korneev’s request with your gracious attention and, in a special favor to me, not to refuse.” But, according to the rules in force in 1836, children no younger than fourteen years old entered the Educational School. And if an exception had been made for little Korneev, he could not compete in science exams with older children. So Olenin answered Benckendorff. This exhausts the biographical information about the artist Emelyan Mikhailovich Korneev. About him later life almost nothing is known, and the exact date of death has not been established. According to the materials available to N. P. Sobko, Korneev lived in Moscow from 1830, and died in 1839. S. K. Isakov writes that the artist spent his last years (what exactly is unclear) in Warsaw, where he died. According to S. N. Kondakov, Korneev died after 1839. Emelyan Mikhailovich Korneev lived a life full of anxieties, changes and quests. It may seem that he scattered, took up one thing, then another: a historical painter, a graphic artist, a landscape painter and a genre painter, an engraver, a book graphic artist, a traveler, an artist in the Commission for the construction of the Kazan Cathedral, for whom he painted images, a draftsman of medals, a theater artist. But it is precisely this artistic versatility itself, the absence of a narrow specialization, the feeling of the breadth of one's creative possibilities that are characteristic of the masters of the first third of the 19th century, of the art of the Romantic era. To a greater or lesser extent, the same can be said about almost all the artists of this time. Enlightenment classicism and romanticism are inseparably intertwined in Korneev's work. In his life, he was a typical romantic - always striving somewhere, unsatisfied, unsettled, and so on until the complete collapse of life.