1   RGIA: Fond 472, op. 32 (323/1125), d. 1408. Formuliarnyi spisok Pomoshchnika Nachal’nika 2 Otdeleniia Gubernskogo Sekretaria Aleksandra Osipovicha Koritskogo [Service Record of Provincial Secretary Aleksandr Osipovich Koritskii, Assistant to the Director of the Second Department [of the Imperial Hermitage] (hereafter, RGIA: A.O. Koritskii), fol. 1v. This service record was compiled on 3/15 March 1854 and goes only as far as 1/13 May 1853. Attempts made by me to locate Koritskii’s final service record have proven unsuccessful. I wish to thank Galina Andreeva, curator of Russian Painting of the Eighteenth and First Half of the Nineteenth Century at the State Tret’iakov Gallery and head of Research and Projects, for sharing with me the brief unpublished entry on Koritskii she was preparing in 1989 for a forthcoming biographical dictionary of Russian artists. It has since appeared in Gosudarstvennaia Tret’iakovskaia Galereia: Katalog sobraniia. Seriia Zhivopis’ XVIII–XX vekov [State Tret’iakov Gallery: Catalog of the Collection Series Painting of the Eighteenth–Nineteenth Centuries], vol. 3, p. 198. A recent brief biography of Koritskii, together with a photograph of him, appeared in Sotrudniki Imperiatorskogo Èrmitazha. 1852–1917: Biobibliograficheskii spravochnik [Staff of the Imperial Hermitage, 1852–1917: Biobibliographical Handbook] (St. Petersburg: Izd-stvo Gosudarstvennogo Èrmitazha, 2004), pp. 85–86. The entry was prepared by V.F. Marishkina.

2   Shtukenberg, Memuary, vol. 1, fol. 151.

3   For an explanation of the Vyshnii Volochek navigation system, the first canal to link the Upper Volga and the Baltic Sea, see Haywood, Beginnings, pp. 5–6. Material about Aleksandr Osipovich Koritskii’s father comes from A.I. Shtukenberg, “Osip Ivanovich Koritskii. Biografiia” [“Osip Ivanovich Koritskii. A Biography”] Zhurnal Glavnogo upravleniia putei soobshcheniia i publichnykh zdanii [Journal of the Main Administration of Transport and Public Buildings] 33, no. 1 (1861): pp. 37–94, as well as from Polovtsov, Russkii biograficheskii slovar’, vol. 9, pp. 254–255, and RGIA: A.O. Koritskii, fol. 1v.

4   Shtukenberg, Memuary, vol. 1, fol. 59.

5   V.M. Karev, ed., Nemtsy Rossii Èntsiklopediia [The Germans of Russia: An Encyclopedia], 3 vols. (Moscow: ÈRN, 1999–2006), vol. 2, p. 455.

6   Shtukenberg, Memuary, vol. 2, fol. 467. Meingard studied at the Institute of the Corps of Transport Engineers from 1827–1832. In 1829, he was made an ensign and received hereditary nobility. He graduated with the rank of lieutenant. He participated in the building of the St. Petersburg–Moscow Railway (as lieutenant colonel of engineers) and of the St. Petersburg–Warsaw Railway (as colonel of engineers in the 1850s). He superintended the building of the railroad station in Tver’. In 1851, together with his wife and children, he was registered in the second part of the genealogical book of the nobility of Tver’ Province. He later served in Yaroslavl’, where he was in charge of the Transport District. He was decorated many times. The family name of Meingard was registered in the eighteenth part of Obshchaia Geral’dika Vserossiiskoi Imperii [The General Heraldry of the All-Russian Empire]. In 1868, he was made actual state councilor (4th grade) (Karev, Nemtsy Rossii, vol. 2, p. 455).

7   Anton Ivanovich Shtukenberg (15/27 August 1816 – 7/19 March 1887) was a transport engineer, writer, and poet. He graduated from the Institute of the Corps of Transport Engineers in 1836 with the rank of lieutenant and was sent to Eastern Siberia, where he spent four years exploring the Transbaikal Mountains and carrying out preliminary surveys of the Krugobaikal Road. In 1842, he was appointed to carry out investigation and then to be in charge of the section of the St. Petersburg–Moscow Railway being built between the stations of Vyshnii Volochek and Kalashnikov. Beginning in 1851, he served for four years as director of the completed and operational section from the Okulovka station to Bologoe. In 1855, he was sent to the Crimea, where for two years he built military roads. In 1865, he was made a member of the Technical and Construction Committee of the Ministry of Internal Affairs, and in 1873 senior mechanical engineer at the St. Petersburg Municipal Council Governing Board. He remained in these two posts until his death. His writing career began in 1857 and included published biographical essays on both his father, Ivan Fyodorovich Shtukenberg, a well-known hydrographer and engineer-statistician, and his uncle, Aleksandr Osipovich Koritskii’s father; technical articles; and poetry. His collected poems appeared in three separate volumes: Osennie list’ia [Autumn Leaves], Sibirskie melodii [Siberian Melodies], and Melodii [Melodies]. He also published memoirs of the building of the St. Petersburg–Moscow Railway. The manuscripts of the three volumes of memoirs he wrote from 1836–1861 are held in the LIIZhT in St. Petersburg. He was married to Olga Aleksandrovna Meingard (25 June / 7 July 1833 – 16/28 February 1902) (Polovtsov, Russkii biograficheskii slovar’, vol. 23, pp. 449–450; D.D. Iazykov, “Russkie pisateli, umershie v 1887 godu” [“Russian Writers Who Died in 1887”], in Obzor zhizni i trudov pokoinykh russkikh pisatelei [Survey of the Life and Works of Deceased Russian Writers], no. 7 (Moscow: A.I. Snegireva, 1893), pp. 96–97 (addenda appeared in no. 8 of the Survey, [Moscow: Universitetskaia, 1900], pp. 152–153); Böhm, Wolkowo Luterischer Friedhof, p. 89.

8   According to the Statute of 1802, a tutor (guvernyor) was assigned to maintain order and discipline in the first and second age groups and to teach Russian grammar and composition, foreign languages (French and German), and arithmetic. He received a separate salary for each of these two duties (Kondakov, Iubileinyi spravochnik, vol. 1, p. 169). The Statute of 1830 made clearer his first duty by qualifying that the tutor was a supervisor (nadziratel’) (Kondakov, p. 181). One person in the group of supervisors was assigned to serve as the class inspector’s assistant (Kondakov, p. 181). He might also teach Russian or French (Kondakov, p. 181). In the Statute of 1840, the word “tutor” was replaced by “supervisor,” and there were no teaching duties, because the general education school at the Academy had been eliminated (Kondakov, p. 187).

9   Nikolai Dmitrievich Bykov (1812–1884) came from the family of a Petersburg civil servant. He was an external student at the Academy, where he was the pupil of the portrait painter, A.G. Varnek (Warneck) (1782–1843). In 1835, he received the title of non-class artist in portrait painting. In his younger days, he was a supervisor/tutor at the Academy, which both enabled him to get to know many artists who later became famous and awakened his interest in collecting works of art. He married Klara Ivanovna Shtukenberg, sister of Anton Ivanovich Shtukenberg and first cousin of Aleksandr Osipovich Koritskii. He eventually came into a large fortune, which made it possible for him to become an art collector, in which pursuit he showed exceptional taste and knowledge. His magnanimity was well known to students of the Academy, to whom he gave financial aid. He was an honorary free associate (pochotnyi vol’nyi obshchnik) of the Academy and an actual member of the Society for the Encouragement of Artists. He was also a member (glasnyi) of the St. Petersburg City Duma. At his death, he held the civil service rank of actual state councilor (4th grade).

Bykov obtained many interesting pieces from the heirs of the sculptor, B.I. Orlovskii (1796–1837), who executed the figure of the angel for the Alexander column, and from the collector, Count A.I. Musin-Pushkin (1744–1817). He gradually amassed paintings by both Russian (Varnek, Venetsianov, Shchedrin, Basin, Briullov) and foreign (Rubens, Guido Reni, Murillo, Holbein the Younger, Pieter de Hooch) masters. The journal Rossiia [Russia] wrote that “this foreign portion of [Bykov’s] gallery is extremely rich, and hardly any other private collection in Russia can compare with it in terms of the gems it contains. A good half of it can and ought to embellish the Hermitage.” The collection was characterized not only by paintings but also by drawings, watercolors, engravings, and etching plates, as well as by letters and memoirs for biographies of nineteenth-century Russian artists.

After Bykov’s death, the collection passed to his heirs. A substantial portion of it – seventy-six paintings – was put up for auction at the Society for the Encouragement of Artists in October 1884. Twenty-four pictures were sold. A significant portion of these was acquired by P.M. Tret’iakov (1832–1898). The majority of the paintings, however, remained in the hands of Bykov’s relatives and eventually found their way into museums.

This biography is a composite from the following sources: Polovtsov, Russkii biograficheskii slovar’, vol. 12, p. 577; Nadezhda Polunina and Aleksandr Frolov, “Russkie kollektsionery. Opyt biograficheskogo slovaria” [“Russian Collectors. An Attempt at a Biographical Dictionary”], Pamiatniki Otechestva [Monuments of the Fatherland] 29 (1994), p. 121; Shtukenberg, Memuary, vol. 1, fol. 127; Chistiakov, Pis’ma, pp. 121, 161, 546, 555; and from obituaries in Vsemirnaia illiustratsiia [Universal Illustration] 793 (1884), p. 258, and Khudozhestvennye novosti [Art News] 6 (1884), pp. 162–163. The dates in the footnotes of the Russkii biograficheskii slovar’ entry are incorrect.

10  RGIA: Fond 789, op. 19, d. 731. Spisok Imperatorskoi Akademii Uchenikov poseshchaiushchikh Risoval’nye Klassy v techenie 1844 goda [List of pupils of the Imperial Academy attending drawing classes during 1844], fol. 15v; Fond 789, op. 19, d. 733. Kniga dlia zapisi biletov, vydavaemykh uchashchimsia na poseshchenie risoval’nykh klassov na 1845 g. [Book for registering tickets issued to pupils to attend drawing courses in 1845], fol. 15r.

11  RGIA: A.O. Koritskii, fols. 1v, 2r.

12  Shtukenberg, Memuary, vol. 1, fol. 128.

13  It would seem that a special arrangement was made for him. Usually, “less capable [students] went from the Institute into the Construction Division with the rank of Ensign, where they served on various projects under the supervision of more senior engineers” (Haywood, Russia Enters the Railway Age, p. 127). Koritskii chose to make this transfer and was almost immediately switched to a position in the Main Administration, where his artistic talents would be put to use.

14  RGIA: A.O. Koritskii, fols. 1v, 2r, 2v, 3r; Shtukenberg, Memuary, vol. 1, fol. 128.

15  Shtukenberg, Memuary, vol. 1, fol. 128.

16  N.P. Sobko (1851–1906), in referring to the catalogues of Academy exhibitions, writes that in 1839 Koritskii was a student in Zauerveid’s battle scene class (RNB OR: Fond 708, N.P. Sobko, d. 83 Vystavki v AKh, s 1768 po 1867 gg. Obzor katalogov i ukazatelei. B.d. [N.P. Sobko, Exhibits in the Academy of Fine Arts from 1768 through 1867. Survey of catalogues and guides. No date], fol. 151.

17  Shtukenberg, Memuary, vol. 1, fol. 129.

18  V.V. Sadoven’, Russkie khudozhniki batalisty XVIII-XIX vekov [Russian Battle Scene Artists of the Eighteenth–Nineteenth Centuries] (Moscow: Iskusstvo, 1955), p. 85.

19  RGIA: Fond 789, op. 1, 1840 g., d. 66 III/2542. Delo o vol’noprikhodiashchikh uchenikakh AKh. 11 Marta 1839 g. – 23 Fevralia 1846 g. [File on external students of the Academy of Fine Arts 11 March (OS) 1839 – 23 February (OS) 1846].

20  RGIA: Fond 789, op. 1, 1840 g., d. 66 III/2542 (see previous note for document title).

21  RGIA: Fond 789, op. 19, d. 728. Spisok uchenikov Akademii khudozhestv. Obshchii alfavitnyi spisok na 1841 g. [List of pupils of the Academy of Fine Arts. General alphabetical list for 1841], fol. 11r. This list contains the names of pupils in history, portrait, battle scene, landscape, and perspective painting. The information recorded for each pupil includes the category of medals received by him, the names of the works awarded medals, and when. Koritskii is listed here as the pupil of K. Briullov.

22  Karl Pavlovich Briullov (originally Brudeleau) (12/23 December 1799 – 11/23 June 1852) was the son of an artist descended from Huguenots (John Bowlt, ed., The Art of Russia 1800–1850 (Minneapolis: University of Minnesota Art Gallery, 1978), pp. 50–51). He received his early art training at home from his father, whose field of expertise was ornamental wood carving. Briullov entered the Imperial Academy of Fine Arts in 1809 and graduated in 1821 as a pensioner, with the privilege of further study abroad. The Academy was unable to send its pensioners abroad because of a lack of funds, but in 1822 the privately established Society for the Encouragement of Artists gave Briullov a fellowship to study in Italy. He remained there, chiefly in Rome, from 1823 to 1834. While in Italy, he painted portraits in oil and watercolor of prominent Italians and Russians, a genre he had begun to work in while still in St. Petersburg and would continue to work in all his life. His most famous painting of this period, however, was the historical painting The Last Day of Pompeii (Poslednii den’ Pompei) (1830–1833) (in the State Russian Museum), which has been called “comparable in its kind to Géricault’s Raft of the ‘Medusa’ or Delacroix’s Massacre at Chios” (Bowlt, Art of Russia, p. 32) (see Images 204–205). The overwhelming success of the painting resulted in Briullov’s election to the academies of Bologna, Florence, and Parma (he was already a member of the Academy of Milan) (Atsarkina, Briullov, pp. 94, 129; Bowlt, Art of Russia, p. 47). The painting was also awarded the first gold medal at the Paris Salon of 1834 (Atsarkina, Briullov, p. 132). In the late autumn of 1835, after taking part in an expedition to Greece and Turkey, Briullov returned to Russia, recalled by Nicholas I (see Images 420–423). In late May 1836, he arrived in St. Petersburg, where he was appointed a junior professor (senior in 1846) at the Academy and was put in charge of the class in history painting (Atsarkina, p. 177). Briullov attempted a second historical painting, this time on a Russian subject, The Siege of Pskov (Osada Pskova) (1839–1843), but did not complete the work. He proposed doing mural paintings on subjects from Russian history in the Winter Palace, which was being restored after the fire of 1837, but was turned down by Nicholas I (Atsarkina, p. 187). In January 1839, he married Emilia Timm, an accomplished pianist. The marriage ended in divorce at the year’s end (Atsarkina, pp. 239, 241, 509). Briullov hoped to decorate the ceiling of the dome of the Pulkovo Observatory with a monumental painting, but again the emperor did not give his permission (Atsarkina, p. 188). In 1843, Briullov was invited to take part in the decoration of the interior of St. Isaac’s Cathedral and was assigned to paint the ceiling frescos (Atsarkina, pp. 188, 190). During this period, he also painted some of his best portraits (about eighty), although a large number remained unfinished. Many of them reflect his talent for capturing the sitter’s spiritual qualities (Atsarkina, p. 206). In 1847, Briullov’s heart condition necessitated his withdrawal from the St. Isaac’s Cathedral project. He left St. Petersburg on 9 May 1849, traveling through Poland, Prussia, Belgium, and England, from where he was to sail for Portugal and thence to the island of St. Catherine near Brazil. However, he changed his mind and from Portugal went instead to Madeira, where he lived for about a year. He next traveled to Spain and then settled in Rome in the spring of 1850. He died on 23 June 1852 in the town of Marciano, and is buried in the cemetery of Monte Testaccio in Rome.

23  RGIA: A.O. Koritskii, fols. 2v, 3r.

24  RGIA: Fond 789, op. 1, 1840 g., d. 66 III/2542 (see Note 19 in this biography for document title). For regulations concerning copying in the Hermitage, see Levinson-Lessing, Istoriia Kartinnoi galerei Èrmitazha, pp. 166–167.

25  Petrov, Sbornik materialov, vol. 2, p. 438, entry no. 24 for 26 September [8 October NS] 1842. This is the date the decision was taken by the Council. He seems to have been informed on 27 September / 9 October 1842 (RGIA: Fond 789, op. 19, d. 728, fol. 11r [see Note 21 in this biography for document title]). See also RGIA: Fond 789, op. 19, d. 735. Spisok uchenikov Akademii, koim vydany bilety dlia poseshcheniia klassov s pokazaniem poluchennykh imi na èkzamenakh medalei. S 1845 po 1849 g. [List of Academy pupils to whom tickets were issued to attend classes, showing the medals received by them on examinations. From 1845 through 1849], fol. 22v.

In 1849, after leaving Russia, Briullov wrote Koritskii that in Cologne he had seen Rubens’s Crucifixion of St. Peter and assured him that Rubens’s depiction of the cross in this painting was worse than the barrel depicted by Koritskii in his painting Diogenes in a Barrel (M. Zheleznov, ed., Neizdannye pis’ma K.P. Briullova i dokumenty dlia ego biografii [Unpublished Letters of K.P. Briullov and Documents for His Biography] [Geneva, 1867], p. ix; M. Zheleznov, “Neskol’ko slov o puteshestvii K.P. Briullova na Maderu” [“A Few Words about K.P. Briullov’s Journey to Madeira”], Moda [Fashion] 9 [1851]: p. 67).

26  Petrov, Sbornik materialov, vol. 2, p. 452, entry no. 14 for 12 March [24 March NS] 1843.

27  Petrov, vol. 2, p. 452, entry no. 14.

28  RGIA: Fond 789, op. 1, ch. 2, 1821–1849, d. 2789. Delo po khodataistvu ob uvol’nenii praporshchika [sic] A. Koritskogo iz voennogo vedomstva dlia postupleniia v Akademiiu. 27 sent. 1843 g. [File concerning the attempt to have Ensign [sic] A. Koritskii released from the military department in order to enter the Academy. 27 Sept. (OS) 1843], fols. 1–4; Petrov, Sbornik materialov, vol. 3, p. 8, entry no. 12 for 24 September (OS) 1843. Although incorrectly called an ensign in this document, Koritskii is correctly called sub-lieutenant in other documents in the same file.

29  RGIA: Fond 789, op. 1, ch. 2, 1821-1849, d. 2789 (see previous note for document title).

30  RGIA: Fond 446, op. 6, d. 27. Prikazy Glavnokomanduiushchego GUPSiPZ 1 Ianv. 1844 g. – 30 Aprelia 1844 g. [Orders issued by the Head of Transport and Public Buildings 1 Jan. (OS) 1844 - 30 April (OS) 1844], fol. 24r. The order concerning Koritskii is dated 8/20 January 1844. See also RGIA: Fond 200, op. 1, ch. 4 1829–71. Korpus inzhenerov putei soobshcheniia 1844 Ob arkhitektorskikh pomoshchnikakh pravleniia IV okruga Sikorskom, Eremeeve i Koritskom [Corps of Transport Engineers 1844 Concerning architects’ assistants of the Board of District IV Sikorskii, Eremeev and Koritskii].

31  RGIA: Fond 446, op. 6, d. 27, fols. 24r and v (see previous note for document title). This appointment does not appear in his cited service record.

32  Atsarkina, Briullov, p. 194. The “Karnitskii” mentioned by P.P. Sokolov (1826–1905), Briullov’s nephew and himself later a famous artist, in his memoirs is probably Koritskii; Sokolov, Briullov, and “Karnitskii” were on their way to St. Isaac’s Cathedral (Sokolov, Vospominaniia, p. 76).

33  RGIA: Fond 789, op. 19, d. 731, fol. 15v (see Note 10 in this biography for document title) and Fond 789, op. 19, d. 733. Kniga dlia zapisi biletov vydavaemykh uchashchimsia na poseshchenie risoval’nykh klassov na 1845 g. [Book for registering tickets issued to pupils to attend drawing courses in 1845], fol. 15 r.

33b  Others included Mikhail Ivanovich Zheleznov (1825 – after 1880) and Nikolai Alekseevich Lukashevich (d. 1884), both of whom accompanied Briullov abroad in 1849; Il’ia Ivanovich Lipin, a serf who attended the Imperial Academy of Fine Arts although not registered as a student, lived in Briullov’s apartment, and was supported by him (N.L. Priimak, ed., Dnevnik khudozhnika A.N. Mokritskogo [Diary of the Artist A.N. Mokritskii] (Moscow: Izobrazitel’noe iskusstvo, 1975), p. 208); Apollon Nikolaevich Mokritskii (1810–1870), who has left both a diary and memoirs of Briullov; and Taras Grigorievich Shevchenko (1814–1861), a Ukrainian serf emancipated partly through Briullov’s efforts, a painter, and a noted poet.

34  RGIA: Fond 789, op. 1, ch. 2, 1821–1849, d. 2789 (see Note 28 in this biography for document title).

35  Zheleznov, Neizdannye pis’ma Briullova, p. x.

36  Shtukenberg, Memuary, vol. 2, fol. 456. Shtukenberg frequented the home of his brother-in-law, N.D. Bykov, where Briullov was also often a guest, and has left some interesting remarks about the latter (Shtukenberg, Memuary, vol. 1, fols. 129–132, 400; II, fols. 401, 449–457). Some of his remarks have been published in Kornilova, Karl Briullov, pp. 52, 161–162.

37  GRM OR: Koritskii, Zapisi, fol. 22; Atsarkina, Briullov, p. 324. In January 1845, Liubov’ Stepanovna Borozdna-Voeikova (1813–1894), a young woman who had been Briullov’s student in 1834–1835 in Rome, came to St. Petersburg with her mother. She remained there until at least mid-May of that year and met frequently with Briullov. She also visited his studio a number of times when he was not present, approved of by him, as otherwise he insisted that visitors not be allowed. One of the works she examined was the almost-completed St. Alexandra Being Assumed into Heaven (see Image 453), painted in memory of the deceased Grand Duchess Aleksandra Nikolaevna (see Images 434, 444, 451). Borozdna-Voeikova’s letters are interesting as well, because there are no entries for January–mid-April 1845 in Anna Whistler’s diaries. Briullov is depicted as being in a bad humor a good part of the time. Although no mention is made of Koritskii by name, the letters, in referring to Briullov’s work on the cupola of St. Isaac’s Cathedral, mention that alongside him were working two officer–artists. One of them had to be Koritskii. There are also interesting accounts of her copying a Van Dyke in the Hermitage at Briullov’s suggestion and of Briullov’s ice-cold, messy studio (Tsentral’nyi gosudarstvennyi arkhiv literatury i iskusstva (TsGALI) [Central State Archive of Literature and Art], Moscow: Fond 707, op. 1, d. 22. Papka “Memuary” o khudozhnitse Liubovi Stepanovne Borozdne-Voeikovoi M.S. (sostvalena khudzhnikom Petrom Fyodorovichem Vimpfen). 1931 god. [File “Memoirs” about the artist Liubov’ Stepanovna Borozdna-Voeikova M.S. (compiled by the artist Petr Fyodorovich Vimpfen). 1931], fols. 31r, 32r, 32v, 36r, 36v, 40r, 40v, 41r, 41v, 42r, 42v, 43r, 43v, 44r, 44v, 45r, 45v, 46r, 46v, 47r, 47v, 48r). “M.S.” is Maria Stepanovna Voeikova, the sister of the artist. Petr Fyodorovich Vimpfen is the grandson of Maria Stepanovna Voeikova. I wish to express my gratitude to O.M. Verbitskaia, the Moscow researcher who copied for me the passages in the folder that she deemed relevant for my work.

38  There was a bedroom and small dining room on the mezzanine; the studio comprised the rest of the apartment (Kornilova, Karl Briullov, pp. 77–78). Briullov also had another studio, along with several other professors, in the “Foundry Courtyard” of the Academy (Atsarkina, Briullov, p. 299).

39  Kornilova, Karl Briullov, p. 140.

40  Atsarkina, Briullov, p. 305.

41  Atsarkina, p. 243; N.G. Mashkovtsev, comp., K.P. Briullov v pis’makh, dokumentakh i vospominanaiiakh sovremennikov [K.P. Briullov in Letters, Documents and Memoirs of His Contemporaries], 2nd ed. (Moscow: Izdatel’stvo Akademii khudozhestv SSSR, 1961), p. 233. Briullov’s self-portrait (oil on cardboard 64.1 x 54 cm) is in the State Tret’iakov Gallery, whose collection it entered in 1925 (Gosudarstvennaia Tret’iakovskaia galereia. Katalog zhivopisi XVIII-nachala XX veka (do 1917) goda [State Tret’iakov Gallery. Catalogue of Paintings from the XVIII Century to the Beginning of the XX Century (to 1917)] [Moscow: Izobrazitel’noe iskusstvo, 1984], p. 68).

42  Atsarkina, Briullov, pp. 250–251, 366.

43  Atsarkina, pp. 194–195, 305.

44  Atsarkina, p. 302.

45  Atsarkina, p. 302; Levinson-Lessing, Istoriia Kartinnoi galerei Èrmitazha, p. 168; N.L. Priimak, ed., Dnevnik khudozhnika A.N. Mokritskogo [Diary of the Artist A.N. Mokritskii] (Moscow: Izobrazitel’noe iskusstvo, 1975), pp. 146–148; A.N. Mokritskii, “Vospominaniia o Briullove” [“Recollections of Briullov”], Otechestvennye zapiski 12, no. 12 (1855): pp. 180–182. When citing Mokritskii, it is important to consult both his diary and article, because details of the same event may vary between them.

46  Priimak, Dnevnik Mokritskogo, pp. 14, 146–147.

47  M. Melikov, “Zametki i vospominaniia khudozhnika-zhivopistsa” [“Notes and Memoirs of an Artist-Painter”], Russkaia starina 86 (April–June 1896), p. 659.

48  Priimak, Dnevnik Mokritskogo, pp. 97, 98, 102, 118, 121, 144.

49  Priimak, p. 107. It is not clear that Briullov ever set up evening classes of this kind. Kornilova, however, used this information from Mokritskii’s diary not as intention, but as fact (Kornilova, Karl Briullov, p. 142). Atsarkina points out only that Briullov made the students read aloud while he worked and would frequently lecture on the material (Atsarkina, Briullov, p. 302).

50  Priimak, Dnevnik Mokritskogo, p. 15; Kornilova, Karl Briullov, pp. 95, 100–101. In the 1840s, however, Briullov frequented these evenings less and less.

51  Priimak, Dnevnik Mokritskogo, p. 13; Kornilova, Karl Briullov, p. 96.

52  Mokritskii, “Vospominaniia,” p. 165.

53  These caricatures are in the collection of the State Russian Museum. Their range of subject may be seen in at the easel (inv. no. 100), with a cupid (inv. no. 99), painting the interior of St. Isaac’s Cathedral (inv. no. 2260), before the easel (inv. no. 2216), taking a shower (inv. no. 2216), reading in bed (inv. no. 2216), as a figure with a tail (inv. no. 96), dancing with girls (inv. no. 2215), in profile (inv. no. 2215), seen from the back (inv. no. 2215), sitting at a table (inv. no. 97), bandaging a body part of Briullov’s (the name of the body part said by Atsarkina to be illegible) (inv. no. 89). I have seen these caricatures. The illegible word is “fontaneli,” the Russian medical term for “blistering” (Maria Kamenskaia, Vospominaniia [Memoirs] [Moscow: Khudozhestvennaia literatura, 1991], pp. 181, 356n12; originally published in Istoricheskii vestnik 1 (1894): pp. 1 –10, 12). Kamenskaia was the daughter of Fyodor Petrovich Tolstoi (1763–1873), a famous artist–medalist and vice-president of the Academy of Fine Arts (1828–1859) (Kamenskaia, p. 6). A doctor friend of her father’s living in the country had purportedly given himself second-degree burns on all his limbs and felt that he had thereby rendered himself immune to catching cholera from his infected patients, whom he handled with bare hands. See also AWPD, Part II, note 540. In a number of the caricatures, Koritskii’s face is covered with heavy stubble and he has a dark spot on the left side of his brow that suggests a mole or a wart.

There are also several caricature portraits extant (GRM OR: inv. nos. 2217, 106, 28900; inv. no. A-4714, Gosudarstvennyi literaturnyi muzei Otdel rukopisei [State Literary Museum Manuscript Division], Moscow). Not all are dated, but the period in which they were executed ranges from 1843 to 1848 (Atsarkina, Briullov, pp. 418, 419, 428, 436, 441).

54  The sketch, dated 1846, is in the State Tret’iakov Gallery (see Image 167). The unfinished watercolor portrait head said to be of Koritskii, from the period 1843–1847, is in the collection of the State Russian Museum (inv. no. 16017, yellowish paper, graphite pencil, watercolor, 20 x 26.5 cm) (Atsarkina, Briullov, p. 472). While not described by Atsarkina as caricatures, these two portraits have been called such by others (V.M. Petiushenko, academic secretary of the State Tret’iakov Gallery, in his letter of permission to publish their sketch of Koritskii; O. Liaskovskaia, Karl Briullov [Moscow–Leningrad: Iskusstvo, 1940], p. 177), who use the Russian word “sharzh” to describe them (Atsarkina, Briullov, p. 174). “Sharzh” refers to a caricature of a person, but is gentler than “karikatura,” which may be a caricature of a person or a scene. I disagree that the sketch is a caricature. It resembles, rather, the drawing of the head of a man in the Hermitage attributed to the school of Donatello (Nikolai Makarenko, ed., Khudozhestvennye sokrovishcha I`mperatorskogo Èrmitazha Kratkii putevoditel’ [Art Treasures of the Imperial Hermitage: A Brief Guide] [Petrograd: Obshchina Sv. Evgenii, 1916], p. 223). I do not think the unfinished watercolor portrait head is of Koritskii. On the card in the catalogue it says only: “A rosy-cheeked smiling man, with his eyeglasses pushed up on his forehead. Shown waist length, in left profile.”

55  Petrov, Sbornik materialov, vol. 3, pp. 15–16, entry no. 26 for 29 March and 7 April [10 and 19 April NS] 1844.

56  RGIA: Fond 789, op. 19, d. 735, fol. 20v (see Note 25 in this biography for document title) and Fond 789, op. 19, d. 728, fol. 11r (see Note 21 in this biography for document title). The date on which the examination was held is seen to be wrong in Petrov when compared with Fond 789, op. 19, d. 728, fol. 11r. Petrov gives the date of the examination as 25 December 1844 [6 January (NS) 1845] (Petrov, Sbornik materialov, vol. 3, p. 28, entry no. 13 for 2 and 16 January [14 and 28 January (NS)] 1845).

57  Petrov, Sbornik materialov, vol. 3, pp. 31–32, entry no. 8 for 28 March [9 April NS] 1845.

58  Anna Whistler says in her diary entry for 5/17 April 1845, only that James had begun to take private drawing lessons from an “officer who … is a pupil” at the Academy (entry for April 5/17 [1845], NYPL: AWPD, Part II). She does not mention his surname, Koritskii, until more than a year later (entry for Saturday afternoon. May 30th [1846], NYPL: AWPD, Part II). Unless one already knew, it could be difficult to deduce from these two entries that they refer to the same person, given the turnover in the Whistlers’ tutors.

If those who have had access to the manuscript of the diaries might fail to deduce this, how much more difficult the task of Russian scholars, who had no access to it. Their success in identifying Koritskii as James’s drawing teacher came to depend on the extent of their access to Western secondary sources. The topic of young James Whistler in St. Petersburg was taken up in Russian art historical literature in 1928, when the art historian, Erikh Fyodorovich [Bakh] Gollerbakh (Tsarskoe Selo 23 March 1895 – Moscow 1945), published an article entitled “Pevets zhemchuzhno-golubykh dalei” [“The Singer of Pearly Pale Blue Distances”] (Vestnik znaniia [Harbinger of Knowledge] 21–22 [1928]: pp. 1039–1041) for the twenty-fifth anniversary of Whistler’s death. The manuscript of the article shows that Gollerbakh had called it simply “Uistler v Peterburge” (“Whistler in Petersburg”), and that it differed considerably from the published article in length and text (GRM OR: Fond 32, ed. khr. 81. E.F. Gollerbakh. “Uistler v Peterburge” [E.F. Gollerbakh, “Whistler in Petersburg”], fols. 18–19). Gollerbakh referred only briefly to Anna Whistler’s diaries, “which do not exist in a Russian translation” (Gollerbakh, “Uistler v Peterburge,” fol. 18), but did not say from what source he knew of them. Later he wrote an extensive article (unpublished) entitled “Dzhems Uistler i Akademiia Khudozhestv” (“James Whistler and the Academy of Fine Arts”), in which he explained that he had now been able to consult a French translation of the Pennells’ biography of Whistler (James McNeill Whistler, sa vie et son oeuvre. Tradui et adapté de l’ouvrage original de E. et J. Pennell [Paris, 1913]) (GRM OR: Fond 32, ed. khr. 81. E.F. Gollerbakh, “Dzhems Uistler i Akademiia Khudozhestv” [“James Whistler and the Academy of Fine Arts”], fol. 2). In this way, he was able to draw upon the extensive excerpts they quoted, which had been copied for them from Anna Whistler’s diaries by her step-niece, Emma W. Palmer, for their chapter on St. Petersburg (Emma W. Palmer to E.R. Pennell, Stonington, Sept. 25th [1906], Letters Relating to Whistler, LC: P W, box 296). However, the diary entries in which Koritskii was actually named had not been copied out for the Pennells, so Gollerbakh did not know who Whistler’s private drawing teacher was. In fact, the information about the “young officer” puzzled him, and he confused him with James’s teacher at the Academy. For this and other reasons, Gollerbakh “Dzhems Uistler” contains many errors. For Gollerbakh’s biography, see Jeremy Howard, “Gollerbakh, Erikh (Fyodorovich)[Bakh],” Grove Art Online, 2003, accessed 13 September 2023.

In 1970, E. Nekrasova published a translation into Russian of The Gentle Art of Making Enemies, which marked the first appearance of Whistler materials in Russian. In addition to Nekrasova’s introduction and translation of Whistler’s essay, the book contains his biography and a section of quotations from Whistler’s correspondents, critics, friends, and enemies about him in all phases of his life. In this same year, Nekrasova also published a very brief article about young James Whistler (E. Nekrasova, “Uistler v Peterburge” [“Whistler in Petersburg”], Khudozhnik [Artist] 1 (1970): pp. 43–45. In both her publications, she erroneously proposed that because a young officer was giving James drawing lessons, and because Pavel Andreevich Fedotov (1815–1852), a student at the Academy, was a young officer, James’s private drawing teacher may have been Fedotov (Nekrasova, Iziashchnoe iskusstvo, pp. 3, 265; Nekrasova, “Uistler v Peterburge,”, pp. 43–44, 45.)

A member of “the Finland regiment of the Life-Guard [the Imperial Household troops] stationed in St. Petersburg,” Fedotov retired from military service in 1844 to “devote himself entirely to art,” having attended classes at the Academy part-time since 1835. He painted oil portraits but also became a well-known painter of satirical contemporary genre scenes. He eventually encountered negative “official” reaction to his satirical works and, as a result of the restrictions placed on them and his ensuing poverty, had a nervous breakdown. He died in a mental hospital at the age of thirty-seven (Bowlt, Art of Russia, pp. 50–51). Nekrasova supports her choice of Fedotov by pointing out that in the winter of 1844–1845 he was twenty-nine years old, had just retired from the army at the rank of captain, was attending the Academy and giving private lessons (Nekrasova, Iziashchnoe iskusstvo sozdavat’ sebe vragov, p. 265). Her choice of Fedotov was plausible, since the Western sources she cited in her notes to the text did not identify Koritskii as James’s private drawing teacher.

The Russian who correctly named Koritskii as James’s drawing teacher was Valentina Barashkova, a librarian, who in 1983 published an article entitled “Ia khudozhnik i ‘rodilsia’ v Peterburge” [“I Am an Artist and I Was ‘Born’ in St. Petersburg”] in Iunyi khudozhnik [The Young Artist] 8 (1983): pp. 32–37. She knew that Koritskii was Whistler’s teacher, because she had read a book not yet published when Nekrasova was writing on Whistler: Roy McMullen, Victorian Outsider: A Biography of J.A.M. Whistler (New York: E.P. Dutton, 1973), in which McMullen not only mentions Koritskii but cites a letter of James’s that mentions him (V. Barashkova, Moscow, to E. Harden, 22 December 1990; McMullen, Victorian Outsider, pp. 31, 32, 36, 37, 43).

59  Shtukenberg’s extensive memoirs contain admiring comments about Major Whistler, who he felt taught him a great deal (Shtukenberg, Memuary, vol. 2, fols. 514–515; Harden, “Whistler,” pp. 152, 159; and Shtukenberg, “Iz istorii zheleznodorozhnogo dela v Rossii” 46, pp. 309–322; 48, pp. 309–336; and 49, pp. 97–128). Shtukenberg’s comments appear in the biography of Major Whistler in “The Whistlers as They Were in the 1840s.”

60  RGIA: Fond 789, op. 19, d. 735, fol. 7v (see Note 25 in this biography for document title).

61  RGIA: A.O. Koritskii, fols. 2v, 3r.

62  RGIA: Fond 789, op. 19, d. 735, fol. 7v (see Note 25 in this biography for document title).

63  Anna Whistler to James Whistler, St. Petersburg, Wednesday November 1. 1848, GUL: Whistler Collection, W366.

64  Anna Whistler to James Whistler, St. Petersburg, Wednesday November 1. 1848.

65  Anna Whistler to James Whistler, St. Petersburg, Wednesday November 1. 1848.

66  Italian Morning was painted by Briullov in Rome in 1823 and sent to Russia. It was presented to Empress Aleksandra Fyodorovna by the Society for the Encouragement of Artists. It is now in the Town Museum of Kiel, Germany (Andreeva and MacDonald, Whistler and Russia, p. 84n42 and Uistler i Rossiia, p. 84n46). Noonday or Italian Noonday was painted by Briullov in Rome in 1827 and also sent to Russia. It is now in the State Russian Museum. A study for the painting is in the State Tret’iakov Gallery (Atsarkina, Briullov, pp. 54, 56, 335). In the Gosudarstvennaia Tret’iakovskaia Galereia 1984, this study is described as a “smaller variant-repetition of the painting of 1827.” Its measurements are 27 x 22 cm. At the lower left is written in Italian “C.B. Roma”; on the reverse of the canvas is the inscription in Russian “K.P. Briullov Rim 1831” (inv. no. 11017) (Gos. Tret’iakovskaia Galereia 1984, p. 64). In 1835, Mokritskii wrote in his diary of going to see both Italian Morning and Noonday in the empress’s boudoir in the Winter Palace (Priimak, Dnevnik Mokritskogo, pp. 46, 171, 183).

67  Anna Whistler to James Whistler, St. Petersburg, Wednesday November 1. 1848, GUL: Whistler Collection, W366.

68  Briullov was painting The Nuns of the Monastery of the Sacred Heart in Rome Singing at the Organ (Monakhini Monastyria Sv. Serdtsa v Rime, poiushchie u organa) (see Image 176). The painting entered the collection of the State Tret’iakov Gallery in 1971. The study (1849) for the painting (oil on paper, 20.1 x 31.6 cm.) is in the State Tret’iakov Gallery (inv. no. 11018), whose collection it entered in 1929 (Atsarkina, Briullov, p. 366; Gos. Tret’iakovskaia Galereia 1984, pp. 68–69).

69  Anna Whistler to James Whistler, St. Petersburg, Wednesday November 1st. 1848, GUL: Whistler Collection, W366.

70  Atsarkina, Briullov, pp. 302, 364.

71  L.M. Zhemchuzhnikov, Moi vospominaniia iz proshlogo [My Recollections of the Past], ed. A.E. Vereshchagina and M.N. Shumova (Leningrad: Iskusstvo, 1970), pp. 55, 398; Kornilova, Karl Briullov, pp. 158–159.

72  Anna Whistler to James Whistler, [St. Petersburg], Thursday 3/15 February [1849], GUL: Whistler Collection, W382.

73  RGIA: Fond 789, op. 1, ch. 2, 1821–1849, d. 2789 (see Note 28 in this biography for document title).

74  Zheleznov said in 1867 that few of Briullov’s letters were known, and that he had written few. He recalled one to Koritskii from Madeira in June 1849 (Zheleznov, Neizdannye pis’ma Briullova, p. ix). There is an extant letter from Koritskii to Briullov, dated 15/27 July 1849, acknowledging a letter from him, which may be the one of June 1849 (GRM OR: Fond 31, ed. khr. 170. Pis’mo Koritskogo Aleksandra Osipovicha, ist. zhivopisets, uchenik Briullova – Briullovu Karlu Pavlovichu s pripiskoi Lukashevichu. 15/27 iiulia - 1849 g. [Letter of Koritskii Aleksandr Osipovich, hist. painter, student of Briullov—to Briullov Karl Pavlovich, with a P.S. to Lukashevich. 15/27 July 1849], fols. 1r and 1v.

75  I was given very limited access to Briullov papers in the archives of the State Russian Museum and allowed to have photocopies only of two pages from Koritskii’s notes because, they said, a Russian scholar, who was not identified, was working on him.

76  Ukazatel’ khudozhestvennykh proizvedenii, vystavlennykh v zalakh Imperatorskoi Akademii khudozhestv [Index of the Works of Art Exhibited in the Salons of the Imperial Academy of Fine Arts] (St. Petersburg: Imperatorskaia Akademiia Nauk, 1849), p. 20.

77  RGIA: Fond 446, op. 1, d. 378. Min-stvo Imp. Dvora. Kantseliariia Otdelenie 3. V Tsarskom Sele. 4 Maia 1850 g. No. 1771. Otvet na No 2704 [Ministry of the Imperial Court. Chancery. Division 3. In Tsarskoe Selo. 4 May 1850. No 1771. Answer to No 2704] Minister of the Imperial Court Prince Volkonskii to Mr. Marshal Count Shuvalov.

78  RGIA: A.O. Koritskii, fols. 2v, 3r.

79  RGIA: A.O. Koritskii, fols. 2v, 3r, 3v, 4r.

80  In the 1851 “Regulations” reorganizing the Hermitage, its five departments were reduced to two. The First Department encompassed medals, coins, engraved stones, the library, engravings, and antiquities (Levinson-Lessing, Istoriia Kartinnoi galerei Èrmitazha, p. 181).

81  RGIA: A.O. Koritskii, fols. 2v, 3r, 3v, 4r.

82  Arkhiv GE: Fond 1, op. 2, d. 35. O raznykh predmetakh i prikazaniiakh G. Ober Gofmarshala … [Concerning various subjects and orders of the Lord Marshal] fol. 2; Arkhiv GE: Fond 1, op. 2, d. 1. O chinovnikakh i sluzhiteliakh [Concerning civil servants and servitors]), fol. 63.

83  Arkhiv GE: Fond 1, op. 2, d. 1, fols. 78r and v, 79r and v, 80r, 81r and v, 89r and v, 90r and v. See previous note for document title.

84  Shtukenberg, “Osip Ivanovich Koritskii,” pp. 91–92; Polovtsov, Russkii biograficheskii slovar’, vol. 9, p. 255.

85  Koritskii’s date of death has been variously published as 1867 and 1873, but the exact date of his death is announced in the report of 10/22 February 1866 by the Director of the Hermitage to the Lord Marshal of the Court: “junior assistant to the curator of paintings, Court Councilor Koritskii, died suddenly [during the night of] the 8th to 9th of February” (Arkhiv GE: Fond 1, op. 5, d. 2. O skoropostizhnoi smerti mlad. pom. khranit. kartin Ermitazha, Koritskogo, posledovavshei 9/II/1866 g. [Concerning the sudden death on 9/II/1866 [OS] of Koritskii, junior assistant to the Curator of Paintings of the Hermitage], fol. 9). This announcement of his death also included the customary request for funds to bury the deceased.

86  Arkhiv GE: Fond 1, op. 5, d. 2 (see previous Note for the document title).

87  RGIA: A.O. Koritskii, fol. 2r.

88  Arkhiv GE: Fond 1, op. V, d. 4. O priobretenii kartin, graviur, estampov i proch. Nachalos’ 6 Ianvaria 1866 g. Koncheno 6 Fevralia 1867 g. [Concerning the acquisition of paintings, engravings, prints, etc. Begun 6 January [OS] 1866. Concluded 6 February [OS] 1867], fols. 5, 12, 13, 16, 39. The card in the card catalogue clarifies: Kartiny predlozheniia k priobreteniiu. O predlozhenii materi umershego khranitelia Ermitazha N. Koritskoi priobresti dlia Ermitazha, prinadlezhavshikh ee synu, semi kartin … [Pictures: Proposals for acquisition. Concerning the proposal made by N. Koritskaia, mother of the late curator of the Hermitage, that the Hermitage acquire seven paintings belonging to her son].

89  Arkhiv GE: Fond 1, op. V, d. 4 (see previous Note for document title. There is a study (1834) called Christ Appearing to Mary Magdalene after the Resurrection (Iavlenie Khrista Marii Magdaline posle Voskreseniia) in the State Tret’iakov Gallery (43.5 x 60.4 cm.) (inv. no. 2510). The preliminary study with the figure of an angel is in the State Russian Museum (Gos. Tret’iakovskaia galereia 1984, p. 159). It is not possible to say which of these two studies was in Koritskii’s collection.

90  Arkhiv GE: Fond 1, op. V, d. 4, fol. 39 (see Note 88 in this biography for document title).

91  Mashkovtsev, K.P. Briullov, p. 229.

92  Atsarkina, Briullov, p. 260.

93  Atsarkina, p. 360. See also Leontieva, Karl Pavlovich Briullov, pp. 76, 189, 193; M.M. Rakova, Russkoe iskusstvo pervoi poloviny XIX veka [Russian Art of the First Half of the XIX Century] (Moscow: Iskusstvo, 1975), p. 154; and M.M. Rakova, Russkaia istoricheskaia zhivopis’ serediny deviatnadtsatogo veka [Russian History Painting from the Mid-Nineteenth Century] (Moscow: Iskusstvo, 1979), pp. 108-109. Rakova reproduces in both her books a sketch for the painting bearing the title The Sleeping Juno and a Parca with the Infant Hercules (Spiashchaia Iunona i parka s mladentsem Gerkulesom), 1839–1845. The sketch (52.5 x 67.1 cm., inv. no. 220) is in the State Tret’iakov Gallery, whose collection it entered in 1914 (Gos. Tret’iakovskaia Galereia 1984, p. 67). The unfinished painting (oil on canvas, 163 x 239 cm.) is in the State Russian Museum (inv. no. Zh 3356), whose collection it entered in 1937 (G.V. Smirnov, Gosudarstvennyi Russkii muzei Zhivopis’: XVIII – nachalo XX veka: katalog [State Russian Museum Painting: Eighteenth – Beginning of the Twentieth Century: Catalog] [Leningrad: Avrora, 1980], p. 64). It is listed as executed in the period 1839–1845 (Atsarkina, Briullov, p. 359; Gos. Tret’iakovskaia Galereia 1984, p. 67).

94  Atsarkina, Briullov, p 327.

95  Atsarkina, p. 381.

96  Atsarkina, p. 415.

97  Atsarkina, p. 417.

98  Atsarkina, p. 420.

99  Atsarkina, p. 473.

100  Atsarkina, p. 478. This work has also been called Minerva Restraining Art and Driving Pleasure from the Temple (Minerva uderzhivaet iskusstvo i gonit iz khrama udovol’stvie).

101  At the lower right, scratched into the dry paint, is written “A. Koritskii. In the collection of S.A. Bakhrushin until 1920, when it entered the collection of the Tretiakov Gallery” (inv. no. 4761). In the Gosudarstvennaia Tret’iakovskaia Galereia 1984, it is given the title Venus in Vulcan’s Forge (Venera v kuznitse Vulkana), with the explanation that its subject is taken from ancient mythology. Koritskii’s date of death is incorrectly given as 1867 (Gos. Tret’iakovskaia Galereia 1984, p. 215).

102  Portrait of Nicholas I. Oil on canvas. 34.5 x 26.7 cm. Signed on the stretcher: “Karitskii. Entered the collection of the Russian Museum in 1912 from Iu. A. Iakovleva” (inv. no. Zh-3465) (Smirnov, Gosudarstvennyi Russkii muzei, p. 142).

103  Under the drawing there is a very faint signature in Russian. It begins “A. Kop”; the “р” is the Russian equivalent of the English “r.” This is followed by “ицк,” the Russian equivalent of “itsk,” while the last letters (ий) are illegible. Under the signature is a date, also written in Russian, which I read as “1847 Май 17.” Salmina-Haskell, to whom I showed a photograph of the drawing, reads it as “1847 Май 19.” MacDonald says the drawing is “signed illegibly, ‘A [Koritskii] 1847 - March 17.—’” (MacDonald, Catalogue Raisonné, p. 4). She does not, however, explain that the name she gives in brackets is a transliteration of a signature in Russian. Moreover, her interpretation of the month as “March” seems to be based on reading the three-letter Russian word as though it were the English abbreviation “Mar.” In Russian the word “March” is four letters long (Март) while “May” is three. A transliteration would correspondingly be four or three letters long. Since Koritskii wrote his name and the month under the drawing in Russian, it seems likely that he rendered the date in Old Style as well. If so, the New Style equivalent for May 17 would have been May 29, a Saturday; for May 19 it would have been May 31, a Monday. It is recorded in the diaries that Koritskii was in the Whistler home on Saturdays and a Monday.

104  The whereabouts of Briullov’s Annunciation (c. 1849; also given as 1848–1850) are unknown (Atsarkina, p. 367); Koritskii’s copy of this painting was among his possessions when he died (Arkhiv GE: Fond 1, op. V, d. 4, fol. 13 [see Note 88 in this biography for document title]). Koritskii’s copy of Briullov’s self-portrait of 1848 was listed in 1972 as being in the collection of P.I. Kutuzov (Atsarkina, Briullov, p. 364, 51, 52, 329).

105  Atsarkina, p. 339.

106  Anna Whistler to James Whistler, [St. P.] Tuesday morning Dec. 12th [1848], GUL: Whistler Collection, W372.

107  Entry for “Saturday morning March 1/13” [1847]; entry for Wednesday, March 23 [1847], NYPL: AWPD, Part II. Wednesday was actually March 24.

108  GRM OR: Koritskii, Zapisi, fol. 22v. See also the entry for January 23 [1847], NYPL: AWPD, Part II.

109  Shtukenberg, Memuary, vol. 2, fol. 643.