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Nikolai
Zakharovich Panov

Russia • 1871−1931

Biography and information

In 1910, academician of engraving.

(Kondakov)

One of the best students of the famous engraver academician Vasily Vasilyevich mate (1856 – 1917), was endowed by nature with the rare talent of drawer, bright appearance, mind. Good education and communication with artists completed the formation of this interesting person and an outstanding artist.

He was born in St. Petersburg province, in the village of Imperial Porcelain Factory of the parish Church of the Transfiguration. In the register for 1871 at No. 26 reads: "St. Petersburg Craft Council fitting and blacksmith shop, ranked by Decree of the exchequer on 12 Nov, 1870 No. 12618 apprentice Zachary Petrova, Panova and his lawful wife Maria Ivanova of the Orthodox faith and first marriage 16 Feb 1871 a son Nicholas. Baptized February 21, godfather: the St.-Petersburg merchant of the 2nd Guild Nikolay Ivanov Gerasimov and state Councilor Alexander Ivanovich Geld daughter girl Mary." In all likelihood, both the godfather and the parent has provided material assistance in the education and training of boys.

In August 1886, Nikolay Panov, entered the St. Petersburg Central school of technical drawing of Baron Stieglitz, where she attended the theoretical course of studies, in parallel with learning the basics of artistic skill, in the class of V. V. Matai. Over time, he became a worthy successor to the art teacher, and later into the pedagogical field, retaining in his work "true to its traditions in the technique of tone prints and drawing pen".

In 1894 Nikolay Panov graduated from school and was sent for training in the best workshops of Europe. In Paris and Berlin with renowned masters Klose and Manessa he studied the technique of wood engraving and etching; inspired by the paintings of the great Spanish artists, especially velázquez, executed a few portraits in the original technique with the paintings in the museums of Paris, Berlin, Madrid, and private collections. In 1895 N. Z. Gentry was admitted to the "Salon de Champs Elуsees" and received the award, holding fourteen works. Of them prints "the Count of Olivares", "General borough" and etchings for "Nun" and "Saint Sebastian" was then exhibited at the exhibition of 1897 – 1898 years in the halls of the Imperial Academy of fine arts and was purchased for her Museum. The number of works created abroad, Demeshko gave the class of the etching of the native school, a few sheets conveyed to the Nizhny Novgorod city art and historical Museum.

After that, N. Z. Panov received the title of academic painter, and the Council of the Stieglitz school assigns him a teacher. In 1897 he led a class of etching and pen drawing, and later, a drawing class, sketching and sculpting at elementary school at school. From the memoirs of a contemporary: "Lessons in pen drawing was led by a young Professor Panov. It was a handsome man. Pupils were thrilled when he walked by or sat down to correct them pattern. He is very ably shown how the reed pen to transfer items from glass, metal, wood, plaster, different tissues".

The only signed pictures, pasted into a personal matter (possibly a previous self-portrait, executed in the technique of mezzotint), was able to attribute the identity of the artist on a number of group photos.

One of the closest friends N.Z. Panova was a genre painter and portrait painter, academician of painting Nikolai Petrovitch Bogdanov-Belsky (1868 – 1945), who lived and worked in St. Petersburg. He presented to Professor S. Panova A. Raczynski and historians the brothers A. P. and N. P. Barsukov. Probably in a Bogdanov-Belsky, who painted portraits of members of the family of count Sergei Dmitrievich Sheremetev, gentry also received an order from the Earl. They made etchings were shown at the exhibition 1897 – 1898 in the Imperial Academy of arts, was repeatedly reproduced etching Board. Portraits of count S. D. Sheremetev (1897) and Countess E. P. Sheremeteva (1898), written by Bogdanov-Belsky, was exhibited at the Academy of fine arts and the St. Petersburg society for the encouragement of artists in 1899. Work N.Z. Panov and N. P. Bogdanov-Belsky was a success that brought a lot of private orders.

Then N. Z. Gentry meets with the artist and historian count Pavel Sergeevich Sheremetev (1871 – 1943). Acquaintance awakened his interest in the history of Russian estate; this topic has found rich reflection in his work. In the summer of 1901 Mr. Demeshko stayed in the Sheremetev estate Headdresses Zvenigorod district, Moscow province. Here was born the idea of "Suite-Dresses", made sketches from nature: "Landscape with Church", "the window of the Church", "Church door." Etchings had been toned with watercolors.

Pavel Sergeevich Sheremetev and Nikolay Zaharovich Panov conceived of publishing historical art collection "Russian farms", dedicated to the suburbs. The work started with the ancient Piece. Text wrote Sheremetev, gentry worked on the illustrations, which delighted guest artists K. J. kryzhitskogo, N. P. Bogdanov-Belsky, A. P. and N. P. Barsukova, as well as members of the family Sheremetev. Countess Yekaterina Pavlovna wrote of the Piece is the husband of S. D. Sheremetev: "...went from Michael's in Caps... Paul traveled to meet us. Drank tea, walked around the garden and for the garden to young pines, then the shaft went home, and now going to dinner. The peasants came to say Hello... still the lords here showed one watercolor is quite beautiful, which I just started today".

In the summer of 1902, Paul S. asked N. Z. Panova in the estate – to complete the first issue of the collection – "Caps". By the fall did typesetting (metal plate with text on a wooden base), but money for the publication was not. In addition, the publication needed the permission of the owner of all of the Sheremetev estates of the Earl S. D. Sheremetev. N. Z. The lords in the letter to N. P. Barsukov wrote: "I'm not talking about material any kind of help, we did not expect and did not hint about this. Try to find money on the side, as some have. But what do You say to that? Even earlier in St. Petersburg we had a chance to ask him (S. D. Sheremetev. – N. A.) permissions on one of the old estates (village Chirkina. – N. A.) in order to hasten things. He reluctantly answered all questions and tried to crush this conversation. And he meanwhile asked several times and apparently was interested in how things are going and what we going to do after "Piece", at the same time, our proposals were silent... Because our cause he did not believe her and, therefore, to expect help is difficult." In the end, a collection of "Caps" was never released, but work on the preparation of the next issue – "Chirkin" – stopped.

Nikolay Zaharovich Panov has visited many of the Sheremetev estates, including "Ostafyevo", where the Sheremetevs in 1899 it opened a public Museum. Every visit Nikolay Zaharovich left rave entry in the guest book. I was especially fascinated by his unique collection of prints and paintings of the XVIII century collected by the first owner of the estate of Prince Andrei Ivanovich Viazemsky, who created here a Palace and wonderful Park. N. Z. Gentry believed Ostafyevo an outstanding monument of Russian culture and wanted to write their own page in the annals of the manor.

After 1905, the estates and manors began looting and arson. Pavel Sergeevich was taken in Ostafyevo of wooden houses in the unique Hats, books, archival documents, manuscripts, works of art. Continuing to live in the Headgear, the count is now often frequented in Ostafyevo, especially in summer. Stayed here for weeks and gentry. Count Sergei Dmitrievich Sheremetev asked him to artistically arrange album "Ostafyevo". In early August 1906 N. Z. Lords made a number of drawings and watercolors: the first leaf before the text – view of the estate from the pond (with a picture of the Prince Pavel Petrovich Vyazemsky), the pen drawings in the style of old engravings, watercolors "Karamzin's alley", "Karamzin's room" perspective "average round halls". By October, when N. Z. Panov and S. D. Sheremetev was found in St. Petersburg, the artist has already prepared for the album "Ostafyevo" all pictorial material. Unfortunately, this album was issued, and the work of Nikolay Zakharovich was only in the originals (some sheets were kept in the Museum of Ostafievo to 1930). However all subsequent years, bumping in Ostafyevo, Demeshko continued to sketch the local places.

N. Z. Gentry is the author of many portraits in the technique of etching and pen drawing. So, at the invitation of Sergei Alexandrovich Rachinsky he traveled to his ancestral estate in the village Tatevo the province of Smolensk, where he created etchings stored in the archive of the master of the portraits of N. In. Gogol (E. A. Dmitriev-Mamonov and V. A. Rachinsky), as well as a portrait-etching N.In. Gogol on his own drawing pen.

In August, 1903 N. Z. The lords gathered in Crimea to improve their health. N. G. Garin-Mikhailovsky wrote Chekhov in Yalta: "I will go a little later and Nikolay Zaharovich Panov. I persuaded him to engage in artistic correspondence". On 9 August they visited Chekhov, Anton Pavlovich agreed to pose for the artist. The session took place the next day. Later the portrait was engraved and multiplied, for the magazine "Pictorial review"..Z. Gentry led the art section on the fresh memory, he created a correspondence Session (to operate in "Picturesque review" Panov was invited by the editor of I. N. Potapenko, a fine portrait-etching which work Panova was published in magazine "Niva").

Nikolay Zaharovich Panov and fruitfully taught in the Central school of technical drawing of Baron Stieglitz School of drawing. Suffice it to say that the school was entrusted to represent his work in the printmaking Department in the exhibition "international exhibition on printing industry" (Leipzig, 1904).

"May 25, 1910 at a meeting of the Imperial Academy of Arts were presented the proposals of members of the Academy about udostoeny certain persons who have attained fame for their literary works, an honorary title of academician, on the base 81 and 82 of the Charter of the Academy..." among the newly elected academicians were and engraver Nikolay Zaharovich Panov (his candidature was proposed by M. Botkin, E. E. Volkov and K. Y. Kryzhitsky). The most striking event of his artistic biography – participation in exhibitions of the "Salon de Champs Elуsees", "Blanc et Noir", and also in the exhibitions arranged annually by the Imperial Academy of arts; his major literary achievements are the portraits of A. I. Herzen, N.. Korsakov, S. Y. Latgalskogo, I. N. Potapenko, Princess Volkonskaya, S. F. Khilkov, I. F. Gorbunov, A. P. Chekhov, count S. D. Sheremeteva, Countess E. P. Sheremeteva, L. N. Tolstoy, V. I. Davydov, A. A. Polovtsev, N. In. Gogol, count S. D. Sheremetev (etching, woodcut, mezzotint and line drawings), a series of watercolors with nature to the periodical "Russian house".

Count Sergei Dmitrievich Sheremetev, which opened in Ostafievo Museum and continued here conversion, Panov invited to participate as artist and architect in the creation of projects of monuments N.M. Karamzin, A. S. Pushkin, V. A. Zhukovsky, P. A. Vyazemsky and his son p. P. Vyazemsky. Nikolai Zakharovich undertook this work with enthusiasm. Etchings, drawings, artistic details, drawings, made by him, acted in workshops of St. Petersburg and Moscow. The monuments installed in 1911 – 1913 (except for the monument to P. P. Vyazemsky installed later). The press noted the high craftsmanship and beautiful architectural and artistic taste of academician N. Z. Panova. He was elected to the Committee of the Second all-Russian Congress of artists who are actively involved in its preparation and conduct, as Secretary of the Department of "Russkaya Starina", which was chaired by count Pavel Sergeevich Sheremetev.

Meanwhile, the health of Nikolay Zakharovich steadily deteriorated. Large teaching loads, engraving work requiring considerable physical effort and a constant voltage of view, resulted in serious neurological disease. For Spa treatments, prescribed by doctors needed money to produce them were only allowed to work, which was exacerbated by the illness: a vicious circle. In 1913, the disease was aggravated, not helped even the long-awaited trip to Kislovodsk. The disease threatened with loss of vision, doctors insisted on an immediate departure to Finland in the sanatorium "Serena" on the river Imatra. Everything comes down again to money. Despite fifteen years of acquaintance N.Z. Panov family, the Sheremetevs, a friendly attachment to him wife and children of count Sergei Dmitrievich, the count belonged to the artist emphasized officially. Treasurer of the St. Petersburg office, A. A., Soest received from S. D. Sheremetev several letters, in which he wrote about Panov as hopelessly sick and dying man. Surprised AA Soest took the liberty to explain to the count that the petition in front of the Academy and help in the future needed, but now need above all is a sanatorium, and Panova doesn't have 500 rubles to pay for the stay. Nikolay Zakharovich thought possible for themselves to not accept the help of the graph, but the order and money for him. The count made an order for the production of three dozen copies of his portrait (N.Z. Panova 1910) etching Board and paid through the office 100, and limited. Countess Yekaterina Pavlovna and children – Anna S. Saburova and Pavel, after hearing from the Manager about the situation, sent the required amount in the St. Petersburg office, but Nikolai Zakharovich, cordially thanking everyone, from the money refused, noting that it may take them only for work. Then Anna, the person is emotional and sincere, persuaded AA Soest to tell the artist that the money from the count S. D. Sheremetev. Gentry was surprised, but took the money and soon went to Finland.

Anna continued to look for ways to further help Nikolai Zakharovich. She wrote a letter to the Emperor Nicholas Alexandrovich, whom she had known since his youth. From Grand Duchess Xenia Alexandrovna soon a telegram came: "Everything is settled, take the money myself." The Tsar sent 1,000 roubles, which was very timely: in March, 1914, N.Z. Gentry was in one of hospitals of Petersburg. Anna visited him every week. Barely recovering, he went for treatment in the sanatorium of Dr. salie, near Paris, intending to catch the beginning of classes in the school. The first world war destroyed all the plans: to return to Russia, Nikolai Zakharovich couldn't.

Correspondence of the family of Sheremetevs with the artist lasted two years, but there is only a single letter N.Z. Panova from the sanatorium (7/20 July 1916) to the Countess Yekaterina Pavlovna. He remembers the blessed St. Michael – the Sheremetev family estate, thanks all for the memory and good attention to him.

As soon as I felt better, Demeshko begins to make arrangements for his return home and retirement, wrote letters to the school of art and industry, Committee for Russian, find themselves in exile. 17 February 1917 the Petrograd Central school of technical drawing of Baron Stieglitz applied to the Ministry of foreign Affairs with a request to help a collegiate Advisor academician N. Z. Panov as soon as possible to examination about the health condition to assign him early retirement because he may 1914, resides in France and gravely ill, receives no salary and has no own funds. The address: Sanatorium de Boulogne-sur-Seine 145 route de Versailles. It is known that the Committee on Russian Affairs, found themselves in exile, case N. Z. Panov was doing. However, his fate is still unknown.

Author: N. Arkhangelsk

Moscow journal 1.07.2000