academy and he was awarded medals, which
paradoxically he did not have a right to accept
because of his serf status. Eventually, Golitsyn
granted him freedom, which allowed Tikhanov
to receive an offi cial diploma. He stayed at the
academy for two more years to improve his artistic
124
skills before receiving an invitation to join
Captain Golovnin’s crew as an expedition artist,
following a recommendation from the president
of the academy, Aleksey Olenin.
Tikhanov’s studious nature, combined with
the fortunate opportunity to see the world while
pursuing his métier, made him approach his
duty diligently. He worked in accordance with
instructions received from Olenin that encouraged
him to maintain the maximum resemblance
between artworks and their subjects rather than
to paint from imagination. Despite this advice,
Kamchatka’s itinerary was typical of that of
Russian explorers of the time: sailing around
Cape Horn to Kamchatka and eventually ending
up back in Kronstadt by way of the Cape
of Good Hope. Tikhanov’s voyage journal contains
captions for forty-four watercolors that
refl ect most of the frigate’s stopovers. While not
all of his works survive, the existing ones capture
Brazil, Peru, Alaska, the Aleutian Islands,
California, the Hawaiian Islands, and the Philippines.
Of this group, the greatest focus—twenty
in all—was on the indigenous peoples of Alaska
(Sitka and Kodiak) and the Aleutian Islands,
where Captain Golovnin’s crew spent around a
month. Tikhanov’s subjects were both ordinary
local individuals and their chiefs. Their clothing,
ornaments, jewelry, and weapons were portrayed
by the artist down to the smallest detail,
remaining relevant documentation to this day.
Another historically important work that Tikhanov
painted during this stay was a portrait of
Alexandr Baranov, the beleaguered fi rst governor
of Russian America. Painted in oil in August
of 1818, it is the only extant image of him (fi g.
13). He also did a watercolor of Baranov’s local
nemesis, Tlingit Chief Katlian (fi g. 4).
From there, Kamchatka sailed toward California,
visiting Bodega and Monterey Bays. Here
Tikhanov painted the local Bodega Bay Miwok
people and depicted their everyday lives and customs.
Five of these watercolors have survived.
Like the portrait of Governor Baranov, Tikhanov’s
images are the only known visual records of
this particular group (fi g. 6).
In the Hawaiian Islands en route to the Philippines,
Tikhanov continued working on portraits
of natives including local nobility: Kamehamemany
of his portrait images are highly stylized
and share the same block-like face, though it is
clear that he was capable of painting with great
naturalism. Tikhanov largely made drawings
and watercolors during this voyage, and in order
to obtain both likeness and scientifi c precision,
he systematically employed two angles in a
single image, usually the profi le and front views
of his subjects (fi g. 3). The same approach later
became characteristic of anthropometric documentation,
as it captured the greatest detail. But
despite their utilitarian nature, Tikhanov’s works
are warm, romantic, and honest, and they reveal
curiosity and admiration of the distant cultures
he encountered. His expedition mates noted that
he felt at ease among indigenous people, and he
often laughed and played with them while drawing
their portraits and documenting their everyday
lives.
FIG. 10 (below left):
Mikhail Tikhanov, Aleut at
Sea Hunt, Kodiak, 1818.
Watercolor and pencil on paper.
46.2 x 33.4 cm.
Russian Academy of Arts Museum,
St. Petersburg, inv. ƣƨ-610-Ʃ-21+2.
FIG. 11 (above):
Mikhail Tikhanov, Kolosh
Family from Sitka Island,
Sitka, 1818.
Watercolor and pencil on paper.
33.4 x 46.2 cm.
Russian Academy of Arts Museum,
St. Petersburg, inv. ƣƨ-610-Ʃ-2113.
FIG. 12 (above right):
Mikhail Tikhanov, Aleut in
Festive Attire Demonstrates
Hunting Methods, Kodiak,
1818.
Watercolor and pencil on paper.
33.4 x 46.2 cm.
Russian Academy of Arts Museum,
St. Petersburg, inv. ƣƨ-610-Ʃ21+2.
PORTFOLIO