Which artist headed the Tretyakov Gallery. Tretyakov Gallery: halls and their description

With the acquisition of a large Turkestan series of paintings and studies by V.V. Vereshchagin, the issue of building a special building for the art gallery was resolved by itself. Construction began in 1872, and in the spring of 1874 the paintings were relocated to the two-story, consisting of two large halls (now halls No. 8, 46, 47, 48), the first room of the Tretyakov Gallery. It was erected according to the project of Tretyakov's son-in-law (sister's husband), architect A.S. Kaminsky in the garden of the Zamoskvoretsky Tretyakov estate and connected to their residential building, but had a separate entrance for visitors. However, the rapid growth of the collection soon led to the fact that by the end of the 1880s the number of gallery halls had increased to 14. The two-story building of the gallery surrounded the residential building on three sides from the side of the garden up to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in affiliation, public in nature, a museum free of charge and open for almost all days of the week for any visitor, regardless of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.

By decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its life trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own funds, transferring such acquisitions already as a gift to the “Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov” (such was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P. M. Tretyakov, the Board of Trustees, elected by the Duma, became in charge of the gallery's affairs. In different years, it included prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I. N. Grabar. For almost 15 years (1899 - early 1913), Pavel Mikhailovich's daughter, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.

In 1899-1900, the empty residential building of the Tretyakovs was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and vestibules of the 1st floor). In 1902-1904, the entire complex of buildings was united along Lavrushinsky Lane with a common facade built according to the project of V.M. Vasnetsov and gave the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow sights

TRANSFER OF THE P.M.TRETYAKOV GALLERY AS A GIFT TO MOSCOW. 1892-1898

In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, died unexpectedly. He left a will in which he asked to attach his paintings to the art collection of his older brother; the will also contained the following lines: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate an art collection to the city of Moscow and, in view of this, to give ownership of the Moscow City Duma to his part of the house ... where his art collection is located ... then I am part of this house, which belongs to me, I give it to the property of the Moscow City Duma, but in order for the Duma to accept the conditions under which my brother will provide her with his donation ... ”The testament could not be fulfilled while the gallery belonged to P.M. Tretyakov.

On August 31, 1892, Pavel Mikhailovich wrote an application to the Moscow City Duma to donate his collection to the city, as well as the collection of Sergei Mikhailovich (along with the house). In September, at its meeting, the Duma officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (Sergei Mikhailovich’s son) for the gift, and also decided to petition for the donated collection to be named the City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov. P. M. Tretyakov was approved as a trustee of the Gallery. Not wanting to participate in the celebrations and listen to thanks, Pavel Mikhailovich went abroad. Soon thank-you addresses, letters, telegrams really rained down. Russian society did not remain indifferent to Tretyakov's noble deed. In January 1893, the Moscow City Duma decided to allocate 5,000 rubles annually for the acquisition of works of art for the Gallery, in addition to the amounts bequeathed by Sergei Mikhailovich Tretyakov. In August 1893 the Gallery was officially opened to the public (Pavel

Mihailović was forced to close it in 1891 due to the theft of works).

In December 1896, P.M. Tretyakov became an honorary citizen of the city of Moscow, as stated in the verdict of the Moscow City Duma "... For the great service to Moscow, which he made the center of artistic education in Russia, bringing his precious collection of works of Russian art as a gift to the ancient capital" .

After the transfer of the collection to the city, Pavel Mikhailovich did not stop taking care of his Gallery, remaining its trustee until the end of his life. The paintings were bought not only with the money of the city, but also with the funds of Tretyakov, who donated them to the Gallery. In the 1890s, the collection was replenished with works by N.N.Ge, I.E.Repin, A.K.Savrasov, V.A.Serov, N.A.Kasatkin, M.V.Nesterov and other masters. Beginning in 1893, P.M. Tretyakov annually published catalogs of the collection, constantly supplementing and updating them. To do this, he corresponded with artists, their relatives, collectors, extracting valuable information bit by bit, sometimes offering to change the name of the picture. So N. N. Roerich agreed with Pavel Mikhailovich when compiling the catalog of 1898: “... For the language, indeed, a short name is better, at least such a “Slavic town. Messenger". It was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was again expanded, this time with an internal garden, in which Pavel Mikhailovich liked to walk, sacrificing everything for the sake of his beloved brainchild. The organization of the collection of Sergei Mikhailovich, the new re-hangling of paintings took away a lot of strength from Tretyakov. Trade and industrial affairs, participation in many societies, and charity required time and energy. Pavel Mikhailovich took an active part in the activities of the Moscow

society of art lovers, the Moscow Art Society, the Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnold School for the Deaf and Dumb, helping not only financially, but also entering into all the subtleties of the educational process, construction and repair of buildings. At the request of I.V. Tsvetaev, Tretyakov also contributed to the creation of the Museum of Fine Arts (now the Pushkin State Museum of Fine Arts). All the donations of P.M. Tretyakov cannot be listed, it is enough to mention the help of the expedition of N.N. Miklukha-Maclay, numerous scholarships, donations for the needs of the poor. In recent years, Pavel Mikhailovich was often unwell. He was also very worried about the illness of his wife, who was stricken with paralysis. In November 1898, Tretyakov went on business to St. Petersburg, returning to Moscow, he felt ill. On December 4, Pavel Mikhailovich Tretyakov died.

Gallery history. State Tretyakov Gallery

MONUMENT TO P.M.TRETYAKOV

Pavel Mikhailovich Tretyakov (1832-1898) was buried at the Danilovsky cemetery next to his parents and brother Sergei, who died in 1892; in 1948 his remains were transferred to the Serafimovskoye cemetery (Novodevichy Convent). Tombstone by sculptor I. Orlov, designed by artist I. Ostroukhov (granite, bronze).

After 1917, a monument-bust to V.I. Lenin was placed on a rectangular pedestal in front of the facade of the Tretyakov Gallery. Some time later, in 1939, a monument was erected on this site, a sculptural image of the Chairman of the Council of Ministers of the USSR. Sculpture S.D. Merkulova 3.5 meters high, depicting Stalin in full growth, made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has a high degree of preservation and is located in the courtyard of the main building of the Tretyakov Gallery (leaned against the wall). On April 29, 1980, on the site of the removed monument to Stalin, a monument was finally erected to the founder of the Tretyakov Gallery, Pavel Tretyakov, a sculpture that still exists today. This is a four-meter granite statue designed by sculptor A.P. Kibalnikov and architect I.E. Rozhin.

THE POST-DEATH JOURNEY OF THE TRETYAKOVS

The Danilovskoye cemetery used to be famous for its special “third estate” flavor, however, it has not been completely lost to this day. The Moscow historian A.T. Saladin stated in 1916: “The Danilovskoye cemetery can be safely called a merchant cemetery, and it could not be otherwise, being close to the merchant Zamoskvorechye. Perhaps, no other Moscow cemetery has such an abundance of merchant monuments as this one.” A lot has changed since then. You can’t find here now the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins ...

Perhaps the most famous merchant burial of the Danilovsky cemetery, and perhaps the whole of Moscow, was the site of Tretyakov Pavel Mikhailovich, Sergei Mikhailovich and their parents. A. T. Saladin left the following description: “On the grave of Sergei Mikhailovich there is a black marble, rather high, but completely simple monument with the inscription: “Sergei Mikhailovich TRETYAKOV was born on January 19, 1834. He died on July 25, 1892.” The monument to Pavel Mikhailovich is a few steps away, under a protective wire grill, it is almost the same, but in a slightly more refined treatment. Caption: “Pavel Mikhailovich TRETYAKOV 15 Dec. 1832 d. Dec 4 1898". However, today all this is not at the Danilovsky cemetery. On January 10, 1948, the remains of both brothers, as well as the wife of P. M. Tretyakov, Vera Nikolaevna, were transferred to the Novodevichy cemetery.

Formally, the reburial was carried out on the initiative of the Committee for Arts under the Council of Ministers of the USSR. Chairman of the Committee M. B. Khrapchenko, in a letter to the manager of the funeral home trust under the Moscow City Council, motivated his initiative as follows: are falling into disrepair. (...) Taking into account the petition of the Directorate of the State Tretyakov Gallery, as well as the request of the closest relatives of the founders of the Gallery, the Committee for Arts under the Council of Ministers of the USSR, for its part, petitions for the transfer of the remains of Pavel Mikhailovich, Vera Nikolaevna and Sergei Mikhailovich Tretyakov, as well as their artistic gravestones from the cemetery Danilovsky Monastery at the cemetery of the Novodevichy Convent, where the most prominent figures of Russian culture and art are buried.

That the chairman of the commissariat confused the cemeteries of the Danilovsky Monastery and Danilovsky is not so strange - they are still confused, although the first has not existed for more than seventy years. The justification for the need to move the graves sounds strange: in the old place, de they "fall into extreme decline." However, graves that are taken care of will never “fall into decay”, but if they are abandoned, the decline is guaranteed, even if they are at the very Kremlin wall. The urn with the ashes of Mayakovsky stood in the then best columbarium in the country of the Donskoy cemetery and could not “fall into decay” in any way - nevertheless, it was transferred to Novodevichy anyway.

The underlying reason for all these reburials was, of course, completely different, and, judging by Khrapchenko’s letter, the authorities did not really want to reveal it: a campaign was unfolding in Moscow to collect and concentrate the remains of famous personalities in the Novodevichy pantheon. Moreover, reburials were made not only from cemeteries subject to liquidation, but in general from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally the second largest after Novodevichy.

Some sources (for example, the encyclopedia "Moscow") indicate that Sergei Mikhailovich Tretyakov still rests at the Danilovsky cemetery. This is not true. In the archive of the Tretyakov Gallery there is an “Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakov and S. M. Tretyakov from the Danilovsky cemetery at the cemetery of the Novodevichy Convent dated January 11, 1948.” In addition to the act and other papers, there are several photographs in the archive: some show the moment of exhumation, others were already taken at the Novodevichy cemetery at the edge of a freshly dug grave. The photographs leave no room for doubt.

But here's what is curious: in the archives of the neighboring Danilovsky Monastery, among the cards for those buried here, there is also a card of Sergei Mikhailovich Tretyakov. It turns out that the Danilovsky monastery churchyard also claims to be the place of his burial? Of course not. Having the evidence of A. T. Saladin and the above-mentioned Act, this version can be safely discarded, but making the most interesting conclusion: since Sergei Mikhailovich was not buried in the monastery, but the documents were nevertheless “brought to him” there, obviously, the Danilovskoye cemetery was a kind of a branch of the monastery - maybe not always, but for some time.

At the Danilovsky cemetery, the grave of the parents of famous patrons has been preserved. Rather, their monument. To the left of the main path, almost immediately behind the memorial to those killed in the Great Patriotic War, surrounded by extremely rusted fragments of a forged fence, there is a strong, slightly rickety obelisk, reminiscent of a Russian stove, with the inscription:

Mikhail Zakharovich Tretyakov
Moscow merchant
died 1850 December 2 days.
His life was 49 years, 1 m. and 6 days.
Alexandra Daniilovna Tretyakova
was born in 1812.
died February 7, 1899."

Whether someone's remains lie under the obelisk today - we do not know for sure. It would seem, who could have thought of disturbing the bones of the older Tretyakovs? Ah, apparently it could. The transfer of the founders of the largest art gallery to the elite cemetery is somehow still understandable, but here’s what else their admirers came up with: according to the “guarantee letter” stored in the archive of the Tretyakov Gallery, Mytishchi Sculpture Factory No. 3 was obliged to produce at the Danilovsky cemetery: Tretyakov P. M. and his burial at the Novo-Devichy cemetery, b) The removal of the ashes of Tretyakov M. Z. and burial in the grave instead of the ashes of Tretyakov P. M., c) The movement of the monument to Tretyakov M. Z. to the place of the monument to Tretyakov P. M."

The Tretyakovs got it! Both older and younger. By the way, for some reason, not a word is said about Alexandra Daniilovna in the “guarantee letter”. The father, it turns out, was reburied in the place of the son (if they were reburied), but the mother was not? Mystery. So it turns out that it is impossible to say for sure whether the old Tretyakovs are now buried under their “nominal” tombstone.

In the depths of the Danilovsky cemetery, at the very apse of the St. Nicholas Church-chapel, there is a barely noticeable monument - a low column of pink granite. There are buried brothers and sisters of Pavel Mikhailovich and Sergei Mikhailovich, who died almost simultaneously in infancy in 1848 during an epidemic of scarlet fever - Daniil, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family, which no one has ever encroached on.

The State Tretyakov Gallery, the State Tretyakov Gallery (also known as the Tretyakov Gallery) is an art museum in Moscow founded in 1856 by the merchant Pavel Tretyakov and has one of the largest collections of Russian art in the world. The exposition in the engineering building "Russian Painting of the 11th - early 20th centuries" (Lavrushinsky pereulok, 10) is part of the All-Russian Museum Association "The State Tretyakov Gallery", founded in 1986.

Pavel Tretyakov began building his art collection in the mid-1850s. This, after some time, led to the fact that in 1867 the “Moscow City Gallery of Pavel and Sergei Tretyakov” was opened for the general public in Zamoskvorechye. Her collection included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters. In 1892, Tretyakov bequeathed his gallery to the city of Moscow. The facades of the gallery building were designed in 1900-1903 by the architect V. N. Bashkirov based on the drawings of the artist V. M. Vasnetsov. The construction was managed by the architect A. M. Kalmykov.

In August 1892, Pavel Mikhailovich donated his art gallery to Moscow. By that time, the collection included 1287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons. On August 15, 1893, the official opening of the museum took place under the name "Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov."

On June 3, 1918, the Tretyakov Gallery was declared "state property of the Russian Federative Soviet Republic" and was named the State Tretyakov Gallery. Igor Grabar was appointed director of the museum. With his active participation in the same year, the State Museum Fund was created, which until 1927 remained one of the most important sources of replenishment of the State Tretyakov Gallery collection.

Ilya Efimovich Repin, Portrait of Pavel Mikhailovich Tretyakov

From the first days of the Great Patriotic War, the Gallery began dismantling the exposition - like other museums in Moscow, the State Tretyakov Gallery was preparing for evacuation. In the middle of the summer of 1941, a train of 17 wagons left Moscow and delivered the collection to Novosibirsk. Only on May 17, 1945, the State Tretyakov Gallery was reopened in Moscow.

In 1985, the State Art Gallery, located at Krymsky Val, 10, was merged with the Tretyakov Gallery into a single museum complex under the general name of the State Tretyakov Gallery. Now the building houses an updated permanent exhibition "Art of the 20th century".

A part of the Tretyakov Gallery is the Museum-Temple of St. Nicholas in Tolmachi, which is a unique combination of a museum exposition and a functioning church. The museum complex in Lavrushinsky Lane includes the Engineering Corps intended for temporary exhibitions and the Exhibition Hall in Tolmachi.

The structure of the federal state cultural institution All-Russian Museum Association State Tretyakov Gallery (FGUK VMO GTG) includes: Museum-workshop of the sculptor A.S. Golubkina, House-Museum of V.M. Vasnetsov, Museum-apartment of A.M. Vasnetsov, House-Museum of P.D. Korina, Exhibition Hall in Tolmachi.

Paintings from the collection of the State Tretyakov Gallery

Ivan Kramskoy. Unknown, 1883.

This is perhaps the most famous work of Kramskoy, the most intriguing, which remains misunderstood and unsolved to this day. Calling his painting "Unknown", Kramskoy fixed an aura of mystery forever behind it. Contemporaries were literally at a loss. Her image caused anxiety and anxiety, a vague premonition of a depressing and dubious new - the appearance of a type of woman who did not fit into the old system of values. “It is not known who this lady is, but a whole era sits in her,” some stated. In our time, Kramskoy's "Unknown" has become the embodiment of aristocracy and secular sophistication. Like a queen, she rises above the foggy white cold city, driving in an open carriage along the Anichkov Bridge. Her outfit - a Francis hat trimmed with elegant light feathers, "Swedish" gloves made of the finest leather, a Skobelev coat decorated with sable fur and blue satin ribbons, a clutch, a gold bracelet - all these are fashionable details of a women's costume of the 1880s. years, claiming expensive elegance. However, this did not mean belonging to the high society, rather the opposite - a code of unwritten rules excluded strict adherence to fashion in the highest circles of Russian society.

I.E. Repin. Autumn bouquet, 1892

In the picture, the artist captured his daughter, Vera Ilyinichna Repina. She collected the last autumn flowers while walking around Abramtsevo. The very heroine of the picture is full of vitality. She only stopped for a moment, turning her beautiful bright face towards the viewer. Vera's eyes narrowed slightly. It seems that she is about to smile, giving us the warmth of her soul. Against the backdrop of fading nature, the girl looks like a beautiful, fragrant flower, cheerful youth and beauty emanates from a strong and stately figure. The artist skillfully and truthfully portrayed her in full growth - radiating energy, optimism and health.

Repin wrote:

I begin the portrait of Vera, in the middle of a garden with a large bouquet of coarse autumn flowers, with a boutonniere of thin, graceful ones; in a beret, with an expression of a sense of life, youth, bliss.

Looking at this blooming girl, one believes in the eternal triumph of life, its infinity and renewal. Painting by I.E. Repin's "Autumn Bouquet" gives hope for the inevitable victory of good over evil, beauty over fading and the immortality of human talent.

In the legacy of Ilya Efimovich Repin, the portrait occupies a prominent place. Everything attracted the artist in his models - expressiveness of the face, poses, temperament, clothes ... And each work is distinguished by its vitality and versatility of characteristics. The artistic vigilance of the master made it possible not only to convey the features of the depicted person, but also to create a generalized image - an image of the time in which he lives.

Valentin Alexandrovich Serov. Girl with peaches, 1887.

Valentin Aleksandrovich Serov stayed for a long time in Abramtsevo, the estate of Savva Ivanovich Mamontov near Moscow. Here, in the dining room of the manor house, the famous painting “Girl with Peaches” was painted - a portrait of Vera Mamontova (1875–1907), the twelve-year-old daughter of a patron. This is one of the first works of impressionistic painting in Russia. Pure colors, a lively energetic stroke give birth to an image of youth, full of poetry and happiness. Unlike the French Impressionists, Serov does not dissolve the objective world in light and air, but takes care of conveying its materiality. This showed the artist's closeness to the realists, his predecessors and teachers - I.E. Repin and P.A. Chistyakov. He pays special attention to the girl's face, admiring the clarity and seriousness of his expression. Combining the portrait with the image of the interior, the artist created a new type of portrait-painting.

Valentin Serov spoke about the work on this picture:

All I wanted was freshness, that special freshness that you always feel in nature and you don't see in pictures. I wrote for more than a month and exhausted her, poor thing, to death, I really wanted to preserve the freshness of painting with complete completeness - that's how the old masters

Mikhail Alexandrovich Vrubel. The Swan Princess, 1900.

The prototype of the image was the artist's wife Nadezhda Ivanovna Zabela-Vrubel. The master was amazed by her stage performance of the role of the Swan Princess in Rimsky-Korsakov's opera The Tale of Tsar Saltan. Nadezhda Ivanovna, a well-known singer and muse of the artist, brought the charm of feminine charm into the inner world of the painter. The art of Vrubel and the work of Zabela were connected by invisible but strong threads. The Russian epic epic and national folklore traditions also served as a source of inspiration for Mikhail Alexandrovich. Based on legend, myth, epic, the artist did not illustrate them, but created his own poetic world, colorful and intense, full of triumphant beauty and at the same time disturbing mystery, the world of fairy-tale heroes with their earthly longing and human suffering.

In the very depths of our souls, the princess's wide-open charming "velvet" eyes peer into the depths of our souls. She seems to see everything. Therefore, perhaps, sable eyebrows are raised so sadly and slightly surprised, lips are closed. She seems to be bewitched. But you hear the heartbeat of a Russian fairy tale, you are captivated by the gaze of the princess and are ready to look endlessly into her sad kind eyes, to admire her charming, sweet face, beautiful and mysterious. The play of emerald semi-precious stones on the kokoshnik of the princess, the position of the feathers on the wings, the artist conveyed with rhythmic strokes, strokes similar to a mosaic. This rhythm gives the image musicality. It is “heard” in the shimmer and play of airy, weightless colors in the foreground, in the finest gradations of gray-pink, in the truly intangible pictorial matter of the canvas, “transforming”, melting. All the languid, sad beauty of the image is expressed in this special pictorial matter.

... There is a princess beyond the sea,
What you can't take your eyes off:
During the day, the light of God eclipses,
Lights up the earth at night.
The moon shines under the scythe,
And in the forehead a star burns ...

Alexander Sergeevich Pushkin

Ivan Shishkin, Konstantin Savitsky. Morning in a pine forest, 1889.

The picture is popular due to the entertaining plot. However, the true value of the work is the beautifully expressed state of nature. It is not a dense forest that is shown, but sunlight breaking through the columns of giants. You can feel the depth of the ravines, the power of centuries-old trees. And the sunlight, as it were, timidly looks into this dense forest. The frolicking bear cubs feel the approach of morning. We are observers of wildlife and its inhabitants.

The idea of the picture was suggested to Shishkin by Savitsky K.A. Bears wrote Savitsky in the picture itself. These bears, with some differences in posture and number (at first there were two of them), appear in preparatory drawings and sketches. The bears turned out so well for Savitsky that he even signed the painting together with Shishkin. And when Tretyakov bought this painting, he removed Savitsky's signature, leaving the authorship to Shishkin.

Viktor Vasnetsov. Alyonushka, 1881.

The artist began work on the painting in 1880. At first he painted landscape sketches on the banks of the Vori in Abramtsevo, by the pond in Akhtyrka. Many sketches of this time have been preserved.

Painting "Alyonushka" V.M. Vasnetsova became one of his most touching and poetic creations. A girl sits on the shore of a dark pool, sadly bowing her head in her hands. Around her, yellowing birch trees shed their leaves into still water, behind her back, a spruce forest stood up like a dense wall.

The image of Alyonushka is both real and fabulous at the same time. The sad appearance and dilapidated, poor clothes of the young heroine recreate in memory the artist’s sketch from nature, made from an orphan peasant girl in the year the picture was painted. The vitality of the image is combined here with fabulously poetic symbolism. Above the head of Alyonushka, sitting on a gray cold stone, a thin branch with chirping swallows curved like an arch. According to the famous researcher of the Russian folk tale A.N. Afanasyev, whom Vasnetsov knew through the Abramtsevo circle, the swallow brings good news, consolation in misfortune. The dark forest, pool and loose hair were identified in ancient beliefs with misfortune, danger and heavy thoughts, and a birch growing near the water was a sign of healing.

Even if the artist did not put such detailed symbolism into the canvas, it does not give the impression of hopelessness, perhaps because we remember a fairy tale with a happy ending.

Vasnetsov himself spoke of his painting in the following way: “Alyonushka” seemed to have been living in my head for a long time, but in reality I saw her in Akhtyrka when I met one simple-haired girl who struck my imagination. There was so much longing, loneliness and purely Russian sadness in her eyes ... Some kind of special Russian spirit emanated from her.

Critic I. E. Grabar called the painting one of the best paintings of the Russian school.

Alexei Kondratievich Savrasov. Rooks have arrived, 1871.

"The Rooks Have Arrived" is a famous painting by the Russian artist Alexei Savrasov, created in 1871. The painting is the most famous work of Savrasov, in fact, he remained "the artist of one picture."

The sketches for this painting were painted in the village of Molvitino (now Susanino) in the Kostroma province. The finalization of the painting took place in Moscow, in the artist's studio. At the end of 1871, the painting "The Rooks Have Arrived" first appeared before the public at the first exhibition of the Association of Traveling Art Exhibitions. "Rooks" became a discovery in painting. The static landscapes of Kuindzhi and Shishkin immediately lost their innovative status.

The work was immediately bought by Pavel Tretyakov for his collection.

Konstantin Dmitrievich Flavitsky. Princess Tarakanova, 1864.

The fundamental basis for the creation of the picture was the story of Princess Tarakanova, an adventurer who posed as the daughter of Empress Elizabeth Petrovna and sister of Emelyan Pugachev. By order of Empress Catherine II, she was arrested and in May 1775 was taken to the Peter and Paul Fortress, subjected to a lengthy interrogation by Field Marshal Prince Golitsyn, during which she gave various testimonies. She died of consumption on December 4, 1775, hiding the secret of her birth even from the priest.

The painting was painted in 1864, and in the same year it was first exhibited at the Academy of Arts exhibition. V. V. Stasov, a well-known critic of that time, who highly appreciated the painting, called the painting by Flavitsky:

"a wonderful picture, the glory of our school, the most brilliant creation of Russian painting"

The painting was acquired by Pavel Tretyakov for his collection after the death of the artist.

The plot for the picture was the legend of the death of Tarakanova during the flood in St. Petersburg on September 21, 1777 (historical data indicate that she died two years earlier than this event). The canvas depicts a casemate of the Peter and Paul Fortress, behind the walls of which a flood is raging. A young woman is standing on the bed, escaping the water coming through the barred window. Wet rats get out of the water, creeping up to the feet of the prisoner.

For the painting "Princess Tarakanova" the artist Konstantin Flavitsky was awarded the title of professor of historical painting.

Vasily Vladimirovich Pukirev. Unequal marriage, 1862.

The work was written in 1862, immediately after graduating from the Moscow School of Painting, Sculpture and Architecture. The painting "Unequal Marriage" was delivered to the academic exhibition of 1863, with its general idea, strong expression, unusual size for an everyday plot and masterful execution, which immediately nominated the artist to one of the most prominent places among Russian painters. For her, the Academy awarded him the title of professor.

The plot of the picture is an unequal marriage of a young beautiful girl and a decrepit rich old man. There are indifferent faces around, only one young man with his arms crossed looks accusingly at the couple. It is believed that the artist portrayed himself in this person, as if expressing his protest.

Isaac Levitan. March, 1895.

The whole picture is filled with that special human joy that comes in the spring. The open door, the horse Dianka left at the porch speak of the invisible presence of people. Isaac Ilyich knew how to talk about a person through the landscape, he knew how to "seek and discover in nature - in the words of Mikhail Mikhailovich Prishvin (1873-1954) - the beautiful sides of the human soul."

The canvas was painted in 1895 in the Tver province on the estate of acquaintances Turchaninov Gorki. Isaac Ilyich observed and wrote the first days of spring, and its swift approach made him hurry. In several sessions, without any etude preparation, the master painted his radiant March entirely from nature. What is on the canvas? The backyards of an ordinary estate, warmed and illuminated by the sun, melting snow with blue shadows, thin branches of trees against the sky, a bright wall of the house ... So much spring melody in all this!

The revival of nature in this composition is revealed through the poetry of light, the dazzlingly bright March sun, and only then is reinforced by loosened snow. We used to call it “white”, but for the keen eye of a landscape painter, whiteness is created from many shades of color. The snow in Levitan's painting lives - breathes, shimmers, reflects the blue sky. The picturesque range with its color shades is built on an impressionistic combination of complementary colors. If the Impressionists dissolve color in light, then Levitan sought to preserve the color of the depicted object. Canvas March is written in bright, joyful colors. To an unpretentious, ordinary motif, drawn from village life, the author managed to give emotional richness, to charm the viewer with the immediacy of conveying a lyrical feeling. By means of painting, not only visual, but also other sensations are caused. We hear all the rustles and sounds of nature: the rustle of tree branches, the singing of drops. Levitan created a landscape full of life, sun, filled with light and air.

Ivan Kramskoy. Christ in the Wilderness, 1872.

Conceived in 1868, the painting required several years of intense inner work. The completed work was immediately purchased directly from the artist's studio by Pavel Tretyakov. "In my opinion, this is the best picture in our school in recent times," he wrote.

Presented at the Second Traveling Exhibition, "Christ in the Wilderness" became a sensation. Heated discussions flared up in front of the picture, the audience was looking for some hidden meaning in this strong but hopelessly lonely figure, lost in a barren stone desert. Kramskoy succeeded in creating an image of exceptional expressiveness equal, perhaps, to the most tragic pages of the gospel story. The asceticism of color and pictorial techniques only enhances the focus on the moral side of the content of the work. The heavy spiritual experiences of Christ, perhaps for the first time in Russian fine art, make us think about the problem of personal choice. In this deep drama, the inadequacy of the expectation of Christ and human capabilities is already revealed from the very beginning.

“I see clearly that there is one moment in the life of every person, more or less created in the image and likeness of God, whether to take a ruble for the Lord God or not yield a single step to evil. We all know how such hesitation usually ends,” the artist wrote .

Kuzma Sergeevich Petrov-Vodkin. Bathing a red horse, 1912.

The most famous painting by the artist Kuzma Petrov-Vodkin. Written in 1912, it became a milestone for the artist and brought him worldwide fame.

In 1912, Petrov-Vodkin lived in southern Russia, on an estate near Kamyshin. It was then that he made the first sketches for the picture. And also the first, unpreserved version of the canvas, known from black and white photography, was written. The picture was a work of everyday rather than symbolic, as happened with the second option, it depicted just a few boys with horses. This first version was destroyed by the author, probably shortly after his return to St. Petersburg.

Petrov-Vodkin painted the horse from a real stallion named Boy, who lived on the estate. To create the image of a teenager sitting on top of him, the artist used the features of his nephew Shura.

On a large, almost square canvas, a lake of cold bluish hues is depicted, which serves as a background for the semantic dominant of the work - a horse and a rider. The figure of a red stallion occupies the entire foreground of the picture almost completely. He is given so large that his ears, croup and legs below the knees are cut off by the frame of the picture. The rich scarlet color of the animal seems even brighter compared to the cool color of the landscape and the light body of the boy.

From the front leg of the horse entering the water, waves of a slightly greenish hue scatter compared to the rest of the surface of the lake. The whole canvas is an excellent illustration of the spherical perspective so beloved by Petrov-Vodkin: the lake is round, which is emphasized by a fragment of the shore in the upper right corner, the optical perception is slightly distorted.

In total, the picture shows 3 horses and 3 boys - one in the foreground riding a red horse, the other two behind him on the left and right sides. One leads a white horse by the bridle, the other, visible from the back, riding an orange one, rides deep into the picture. These three groups form a dynamic curve, emphasized by the same curve of the front leg of the red horse, the same curve of the boy rider's leg and the pattern of waves.

It is believed that the horse was originally bay (red), and that the master changed its color, having become acquainted with the color range of Novgorod icons, which he was shocked by.

From the very beginning, the painting caused numerous controversies, in which it was invariably mentioned that such horses did not exist. However, the artist claimed that he adopted this color from ancient Russian icon painters: for example, on the icon “The Miracle of the Archangel Michael”, the horse is depicted completely red. As in the icons, this picture does not show a mixture of colors, the colors are contrasting and, as it were, collide in confrontation.

The picture so impressed contemporaries with its monumentality and fatefulness that it was reflected in the work of many masters of brush and word. So Sergei Yesenin's lines were born:

“Now I have become more stingy in desires.
My life! Or you dreamed of me!
Like I'm a spring echoing early
Ride on a pink horse.

The red horse acts as the Destiny of Russia, which the fragile and young rider is unable to hold. According to another version, the Red Horse is Russia itself, identified with Blok's "steppe mare". In this case, it is impossible not to note the visionary gift of the artist, who symbolically predicted the “red” fate of Russia in the 20th century with his painting.

The fate of the picture was extraordinary.

The canvas was first shown at the World of Art exhibition in 1912 and was a resounding success.

In 1914 she was at the "Baltic Exhibition" in the city of Malmö (Sweden). For participation in this exhibition, K. Petrov-Vodkin was awarded a medal and a diploma by the Swedish king.

The outbreak of the First World War, then the revolution and civil war led to the fact that the painting remained in Sweden for a long time.

After the end of the Second World War and after stubborn and exhausting negotiations, finally, in 1950, the works of Petrov-Vodkin, including this canvas, were returned to their homeland.

The artist's widow donated the painting to the collection of the famous collector K. K. Basevich, who in 1961 presented it as a gift to the Tretyakov Gallery.

F. Malyavin. Whirlwind, 1906.

The painting "Whirlwind" - the pinnacle of the work of Philip Andreevich Malyavin - was conceived by him in 1905 (this year is dated a sketch for it from the collection of the Tretyakov Gallery). The events of the first Russian revolution of 1905–1907 influenced the choice of subject and the pictorial and plastic manner of the huge monumental canvas. The scale of the canvas emphasizes the significance of the idea. The entire field of the picture is filled with a violent whirlwind of colors, skirts and shawls fluttering in a dance, among which the heated faces of peasant women flash. The prevailing red color, due to the expression of the brush and the intensity of the glow, loses its properties of designating the objective world, but acquires a symbolic meaning. It is associated with fire, fire, uncontrollable elements. This is a harbinger of a brewing popular revolt and, at the same time, the element of the Russian soul. The symbolic perception of color in Malyavin largely comes from the icon - as a child, he studied icon painting for several years at the Athos Monastery in Greece, where he was noticed by the sculptor V.A. Beklemishev and sent to the Academy of Arts in St. Petersburg.

Kazimir Malevich. Black Square, 1915.

The Black Square is the most famous work of Kazimir Malevich, created in 1915. It is a canvas measuring 79.5 by 79.5 centimeters, which depicts a black square on a white background.

The work was completed by Malevich in the summer and autumn of 1915. According to the artist, he painted it for several months.

The work was exhibited at the last futuristic exhibition "0.10", which opened in St. Petersburg on December 19, 1915. Among the thirty-nine paintings exhibited by Malevich in the most prominent place, in the so-called "red corner", where icons are usually hung, hung the "Black Square".

Subsequently, Malevich made several copies of the "Black Square" (according to some sources, seven). It is reliably known that in the period from 1915 to the early 1930s, Malevich created four versions of the "Black Square", which differ in pattern, texture and color. One of the "Squares", although dated by the author in 1913, is usually attributed to the turn of the 1920s-1930s. He also painted the paintings "Red Square" (two copies) and "White Square" ("Suprematist composition" - "White on white") - one.

There is a version that "Square" was written for the exhibition - because the huge hall had to be filled with something. This interpretation is based on a letter from one of the organizers of the exhibition to Malevich:

I have to write a lot now. The room is very large, and if we, 10 people, paint 25 paintings, then it will only just happen.

Initially, the famous Malevich square first appeared in the scenery for the opera Victory over the Sun as a plastic expression of the victory of active human creativity over the passive form of nature: a black square instead of a solar circle. It was the famous scenery for the fifth scene of the 1st act, which is a square within a square, divided into two areas: black and white. Then, from the scenery, this square migrated to an easel work.

The largest art critic at that time, the founder of the association "World of Art" Alexander Benois wrote immediately after the exhibition:

Undoubtedly, this is the icon that the futurists put in place of the Madonna.

At the landmark exhibition of 2004 in the Warsaw gallery "Zachenta" "Warsaw - Moscow, 1900-2000", where more than 300 paintings, sculptures, installations were exhibited (in particular, many paintings of the Russian avant-garde) "Square" from the Tretyakov Gallery was presented as the central exhibition exhibit. At the same time, it was posted in the "red corner", as in the exhibition "0.10".

Currently, there are four "Black Squares" in Russia: in Moscow and St. Petersburg, two "Squares" each: two in the Tretyakov Gallery, one in the Russian Museum and one in the Hermitage. One of the works belongs to the Russian billionaire Vladimir Potanin, who bought it from Inkombank in 2002 for 1 million US dollars (30 million rubles) and transferred this first of the existing versions of the canvas depicting the “Black Square” by the founder of Suprematism to the Hermitage for indefinite storage.

One of the Black Squares, painted in 1923, is part of a triptych that also includes the Black Cross and the Black Circle.

In 1893, a similar painting by Alphonse Allais was already exhibited, entitled "The Battle of the Negroes in a Deep Cave on a Dark Night."

Yuri Pimenov. New Moscow, 1937.

The painting is part of a series of works about Moscow, on which the artist has been working since the mid-1930s. The artist depicted Sverdlov Square (now Teatralnaya), located in the city center, not far from the Kremlin. The House of the Unions and the Moskva Hotel are visible. The plot of the picture - a woman driving a car - is a rather rare occurrence for those years. This image was perceived by contemporaries as a symbol of new life. The compositional solution is also unusual, when the image looks like a frame captured by a camera lens. Pimenov focuses the viewer's attention on the figure of a woman shown from the back, and, as it were, invites the viewer to look at the morning city through her eyes. This creates a feeling of joy, freshness and spring mood. All this is facilitated by the artist's impressionistic style of writing and the gentle coloring of the picture.

History of the Tretyakov Gallery

The State Tretyakov Gallery is one of the largest museums in the world. Her popularity is almost legendary. To see its treasures, hundreds of thousands of people annually come to the quiet Lavrushinsky lane, which is located in one of the oldest districts of Moscow, in Zamoskvorechye.

The collection of the Tretyakov Gallery is devoted exclusively to national Russian art, to those artists who have contributed to the history of Russian art or who were closely associated with it. This is how the gallery was conceived by its founder, Moscow merchant and industrialist Pavel Mikhailovich Tretyakov (1832-1898), and this is how it has survived to this day.

The date of foundation of the Tretyakov Gallery is considered to be 1856, when the young Tretyakov acquired the first works of contemporary Russian artists, setting out to create a collection that in the future could develop into a museum of national art. “For me, who truly and passionately love painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts, bringing benefits to many, all pleasure,” the collector wrote in 1860, adding: “I would like leave the national gallery, that is, consisting of paintings by Russian artists."

Years will pass, and the good intentions of the young collector will be brilliantly executed. In 1892, Moscow, and with it the whole of Russia, received a large (about 2 thousand paintings, drawings and sculptures) and already famous gallery of genuine masterpieces of national art as a gift from Tretyakov. And grateful Russia, in the person of its leading artists, will declare to the donor: "The news of your donation has long spread around Russia and in everyone who cherishes the interests of Russian education, has caused lively joy and surprise at the significance of the efforts and sacrifices you have made in its favor."

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Together with the collection of Pavel Mikhailovich, a collection of his brother Sergei Mikhailovich, who had died shortly before, was also a collector, but already a collector of works by Western European artists of the middle and second half of the 19th century, was brought to Moscow as a gift. Now these works are in the collections of the State Museum of Fine Arts named after A.S. Pushkin and the State Hermitage.

Who was Pavel Mikhailovich Tretyakov and what guided him in his actions and undertakings? Throughout his life, Tretyakov remained a major business man, and in fame and obscurity he was a worthy successor to the trading business of his grandfather, a Moscow merchant of the 3rd guild, the lowest in the merchant's "table of ranks." Tretyakov died an eminent, honorary citizen of the city of Moscow, having greatly increased the capital of his ancestors.

But “my idea,” he will say at the end of the journey, “was from a very young age to make money so that what was acquired from society would also return to society (the people) in some useful institutions; this thought did not leave me all my life. " As you can see, the idea of public service, typical of his era, understood and interpreted by him in his own way, inspired him.

Tretyakov - the collector was in a certain way a phenomenon. Contemporaries were much surprised by the natural intelligence and impeccable taste of this hereditary merchant. "I must confess," the artist I.N. Kramskoy wrote in 1873, "that this is a man with some kind of diabolical instinct." He did not study anywhere specially (the Tretyakov brothers received home education, mainly of a practical nature), he nonetheless possessed broad knowledge, especially in the field of literature, painting, theater and music. “Tretyakov was a scientist by nature and knowledge,” the artist and critic A.N. Benoit.

Tretyakov never worked with prompters. Being closely acquainted with a huge number of artists, writers, musicians and very friendly with many, Tretyakov willingly listened to their advice and comments, but he always acted in his own way and, as a rule, did not change his decisions. He did not tolerate interference in his affairs. Kramskoy, who enjoyed undeniably the greatest disposition and respect of Tretyakov, was forced to remark: “I have known him for a long time and have long been convinced that no one has influence on Tretyakov both in the choice of paintings and in his personal opinions. If there were artists who believed that he could be influenced, they had then to renounce their delusion." Over time, high taste, strict selection and, of course, nobility of intentions brought Tretyakov a well-deserved and undeniable authority and gave him "privileges" that no other collector had: Tretyakov received the right to be the first to look at new works by artists either directly in their workshops, or at exhibitions, but usually before their public opening.

The visit of Pavel Mikhailovich to the artists has always been an exciting event, and not without spiritual trepidation, all of them, venerable and beginners, were waiting for Tretyakov's quiet: "I ask you to take the picture for me." What was tantamount to public recognition for everyone. “I confess to you frankly,” I.E. Repin wrote to P.M. Tretyakov in 1877, “that if you sell it (it was about Repin’s painting “Protodeacon” - L.I.), then only in your hands, I don’t feel sorry for your gallery, because I say without flattery, I consider it a great honor for myself to see my things there. Often, artists made concessions to Tretyakov, and Tretyakov never bought without bargaining, and reduced their prices for him, thereby providing all possible support to his undertaking. But the support here was mutual.

Artists and art historians have long noticed that “if P.M. Tretyakov had not appeared in his time, if he had not given himself entirely to a big idea, had not begun to collect Russian Art together, his fate would have been different: perhaps we would not have known "Boyar Morozova", nor "The Procession.", Nor all those large and small paintings that now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: ". Without his help, Russian painting would never have taken the open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and efficient in Russian art "(A. Benois).

The scope of collecting activity and the breadth of P.M. Tretyakov were truly amazing. Every year, starting in 1856, his gallery received dozens, if not hundreds, of works. Tretyakov, despite his prudence, did not stop even at very large expenses, if the interests of his business required it.

He bought the paintings that interested him, despite the noise of criticism and the dissatisfaction of the censorship, as was the case, for example, with V.G. Perov or with "Ivan the Terrible" by I.E. Repin. He bought, even if not everything in the picture corresponded to his own views, but corresponded to the spirit of the time, as was the case with the canvas of the same Repin's "Religious procession in the Kursk province", the social sharpness of which did not quite appeal to the collector. I bought it if very strong and respected authorities like L.N. Tolstoy, who did not recognize the religious painting of V.M. Vasnetsov. Tretyakov clearly understood that the museum he created should not so much correspond to his personal (or someone else's) tastes and sympathies as reflect an objective picture of the development of Russian art. Perhaps that is why Tretyakov the collector, more than other private collectors, was deprived of taste narrowness and limitation. Each new decade brought new names and new trends to his collection. The tastes of the creator of the museum developed and evolved along with the art itself.

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Giving, voluntarily or involuntarily, preference to contemporary art, Tretyakov, nevertheless, from the first to the last steps of his collecting activity stubbornly monitored and generously acquired all the best that was on the then art market from the works of Russian artists of past eras of the 18th - first half of the 19th centuries and even ancient Russian art. After all, he created, in essence, the first museum in Russia, reflecting the entire progressive course of the development of Russian art. Which does not mean that Tretyakov did not have miscalculations and mistakes at all. Thus, linking his hopes for the great future of the Russian school with the work of the Wanderers, Tretyakov almost did not acquire the works of artists of the academic direction of the 19th century, and their art is still poorly represented in the museum. Tretyakov also showed insufficient attention to the famous Aivazovsky. At the end of his life, the collector was obviously cautiously looking at the new artistic trends in Russian art of the 1890s. Passionately loving painting, Tretyakov created primarily an art gallery, rarely acquiring sculpture and graphics. A significant replenishment of these sections in the Tretyakov Gallery occurred after the death of its creator. And until now, almost everything that was acquired by P.M. Tretyakov, constitutes a genuine golden fund not only of the Tretyakov Gallery, but of all Russian art.

At first, everything that was acquired by Pavel Mikhailovich Tretyakov was placed in the rooms of his residential building in Lavrushinsky Lane, bought by the Tretyakov family in the early 1850s. But by the end of the 1860s, there were so many paintings that it was impossible to place them all in the rooms.

By decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its life trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own funds, transferring such acquisitions already as a gift to the "Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov" (such was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P.M. Tretyakov's affairs of the gallery began to be in charge of the Board of Trustees, elected by the Duma.

In different years, it included prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I.N. Grabar. For almost 15 years (1899 - early 1913), Pavel Mikhailovich's daughter, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.

At the beginning of the 20th century, the Tretyakov Gallery became one of the largest museums not only in Russia, but also in Europe. It is actively replenished with works of both new and old Russian art. In 1913-1918, at the initiative of the artist and art historian I.N. Grabar, who in those years was the trustee of the Tretyakov Gallery, its exposition is being reformed. If earlier new acquisitions were exhibited separately and were not mixed with the main collection of P.M. Tretyakov, now the hanging of all works is subject to the general historical, chronological and monographic principle, which is observed to this day.

A new period in the history of the Tretyakov Gallery began after the nationalization of the gallery in 1918, which turned it from municipal property into state property, securing its nationwide significance.

In connection with the nationalization of private collections and the process of centralization of museum collections, the number of exhibits in the Tretyakov Gallery increased by more than five times by the beginning of the 1930s. A number of small Moscow museums, such as the Tsvetkovskaya Gallery, the I.S. Ostroukhov, partly the Rumyantsev Museum. At the same time, the collection of works of Western European art formed from the collections of S.M. was withdrawn from the gallery and transferred to other museums. Tretyakova, M.A. Morozov and other donors.

Over the past half century, the Tretyakov Gallery has become not only a huge world-famous museum, but also a major scientific center engaged in the storage and restoration, study and promotion of museum values. The gallery's researchers are actively involved in the development of issues of the history and theory of Russian art, arrange numerous exhibitions both in our country and abroad, give lectures, conduct excursions, carry out extensive restoration and expert work, and introduce new forms of museum computer science. The Tretyakov Gallery has one of the richest specialized libraries in Russia, with more than 200,000 volumes of books on art; a one-of-a-kind photo and slide library; restoration workshops equipped with modern technology.

The rapid growth of the collection of the Tretyakov Gallery already in the 1930s raised the question of expanding its premises. Where possible, new halls were added, and residential houses and other buildings adjacent to its territory were rebuilt and included in the gallery complex. By the end of the 1930s, the exposition and service areas were almost doubled, but even this was not enough for the rapidly growing and developing museum. Projects for the reconstruction of the Tretyakov Gallery began to be developed, which included either the demolition of all buildings adjacent to the gallery and its expansion up to the Obvodny Canal embankment (designed by architects A.V. Shchusev and L.V. Rudnev, 1930s), or the construction of a new building in a new location and transferring the entire collection of the Tretyakov Gallery to it (the building on Krymsky Val, architect N.P. Sukoyan and others, 1950-1960s). As a result of many discussions, it was decided to keep the historical premises in Lavrushinsky Lane behind the Tretyakov Gallery. In the early 1980s, its reconstruction and expansion began with the active support of the director of the Tretyakov Gallery O.K. Queen (1929-1992). In 1985, the first building was put into operation - a depository, which housed spacious storage facilities for works of various types of art and restoration workshops; in 1989 - the second, so-called Engineering Building, with premises for temporary exhibitions, lecture and conference rooms, a children's studio, information and computer and various engineering services. The reconstruction of the main building, which began in 1986, was completed in 1994 and the gallery finally opened to visitors on April 5, 1995.

Over the years of reconstruction, a new concept of the Tretyakov Gallery has developed as a single museum on two territories: in Lavrushinsky Lane, where expositions and storages of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exposition areas of which are given over to art XX century. Exhibitions, both old and new art, are held in both territories. In the process of rebuilding the gallery building in Lavrushinsky Lane, many historical and architectural monuments located in the immediate vicinity of the gallery, now included in its composition, found a new life. Thus, the Church of St. Nicholas in Tolmachi (XVI-XIX centuries), restored after the ruin of the 1930s and restored, was given the status of a "house church" at the museum, that is, a church and a museum at the same time; The old city buildings of the 18th and 19th centuries along Lavrushinsky Lane (houses No. 4 and 6) will house additional museum expositions of Russian graphics and ancient Russian art. Projects are being developed for the construction of a new exhibition hall at the corner of Lavrushinsky Lane and Kadashevskaya Embankment.

The current collection of the Tretyakov Gallery has more than 100 thousand works and is divided into several sections: Old Russian art of the XII-XVIII centuries - icons, sculpture, small plastic arts, applied art (about 5 thousand exhibits); painting of the 18th - the first half of the 19th century, the second half of the 19th century and the turn of the 19th and 20th centuries (about 7 thousand works); Russian graphics of the 18th - early 20th centuries (over 30 thousand works); Russian sculpture of the 18th - early 20th century (about 1000 exhibits); a collection of old antique frames, furniture, applied art and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located indoors on Krymsky Val.

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State Tretyakov Gallery, GTG(also known as Tretyakov Gallery) is an art museum in founded by a merchant and having one of the largest collections of Russian fine art in the world. The exposition in the main building "Russian Painting of the 11th - early 20th centuries" ( , d. 10) is part of the All-Russian Museum Association "State Tretyakov Gallery", formed in .

Story

began to collect his collection of paintings in the mid-1850s. The year of foundation of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: “The Temptation” by N. G. Schilder and “Clash with Finnish Smugglers” , although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. AT for the general public in The Moscow City Gallery of Pavel and Sergei Tretyakov was opened. Her collection included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

In August Pavel Mikhailovich donated his art gallery to the city . By that time, the collection included 1287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons. the official opening of the museum under the name "Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov" took place.

The gallery was located in a house that the Tretyakov family bought back in . As the collection grew, new premises were gradually added to the residential part of the mansion, necessary for the storage and display of works of art. Similar extensions were made in 1873, 1882, 1885, 1892, and finally in 1902-1904, when the famous facade designed in— architect according to the artist's drawings . Architect supervised the construction .

The Tretyakov Gallery was declared "state property of the Russian Federative Soviet Republic" and was named the State Tretyakov Gallery. Re-appointed director of the museum who has held this post since . With his active participation in the same year, the State Museum Fund was created, which, up to remained one of the most important sources of replenishment of the museum's collection.

AT Academician of architecture became the director of the museum . The very next year, the Gallery received a neighboring house on Maly Tolmachevsky Lane (the former house of the merchant Sokolikov). After the restructuring in the administration of the Gallery, scientific departments, a library, a department of manuscripts, graphics funds were located here. Later, in 1985-1994, the administrative building was built on the project of the architect A. L. Bernshtein with 2 floors and was equal in height to the exposition halls.

In 1928, the gallery underwent a major overhaul of heating and ventilation, electricity has been provided.

In 1929, the Church of St. Nicholas in Tolmachi was closed, and in 1932 its building was transferred to the Gallery and became a repository of painting and sculpture. Later it was connected to the exhibition halls by a built two-story building, the upper floor of which was specially designed for exhibiting the painting. " "(1837-1857). A passage was also built between the halls located on both sides of the main staircase. This ensured a continuous overview of the exposition. The development of a new concept for the placement of exhibits began in the museum.

AT a new two-story building was opened on the north side of the main building - the so-called "Shchusevsky building". These halls were first used for exhibitions, and with were included in the main route of the exhibition.

From the first days The dismantling of the exposition began in the Gallery - like other museums in Moscow, it was preparing for evacuation. In the middle of summer a train of 17 wagons set off from Moscow and delivered the collection to. Only The gallery was reopened in Moscow.

AT , in honor of the 100th anniversary of the Tretyakov Gallery, the A. A. Ivanov Hall was completed.

AT - Tretyakov Gallery headed . Due to the increased number of visitors, he actively dealt with the issue of expanding the exposition area. Construction work began in 1983. AT A depository was put into operation - a repository of works of art and restoration workshops. AT reconstruction of the main building of the Tretyakov Gallery began (architects I. M. Vinogradsky, G. V. Astafiev, B. A. Klimov and others). AT a new building was built on the south side of the main building, which housed a conference room, an information and computing center, a children's studio and exhibition halls. The building was called the "Engineering Corps" because most of the engineering systems and services were concentrated in it.

From 1986 to The Tretyakov Gallery in Lavrushinsky Lane was closed to visitors due to major reconstruction. The only exposition area of the museum for this decade was the building at Krymsky Val, 10, which in 1985 was merged with the Tretyakov Gallery.

Members of the All-Russian Museum Association "State Tretyakov Gallery"

Tretyakov Gallery in Lavrushinsky Lane, 10,
Museum-temple of St. Nicholas in Tolmachi,
Tretyakov Gallery on Krymsky Val, 10,

In 1985 located on , 10, was merged with the Tretyakov Gallery into a single museum complex under the general name of the State Tretyakov Gallery. Now the building houses an updated permanent exhibition "Art of the 20th century".

Part of the Tretyakov Gallery is , representing a unique combination of a museum exposition and a functioning temple. The museum complex in Lavrushinsky Lane includes the Engineering Corps intended for temporary exhibitions and the Exhibition Hall in Tolmachi. The museum offers services .

Heads of the State Tretyakov Gallery

(- present time)
( — )
( — )
(1926—1929)
(1913—1925)

Museum collection

By 1917, the collection of the Tretyakov Gallery consisted of about 4,000 works, by 1975 - 55,000 works. The Gallery's collection constantly grew due to systematic government purchases.

Currently, the collection includes Russian paintings, drawings, sculptures, individual works of arts and crafts.- began.

Second half

Russian painting of the second half of the 19th century is especially well represented. The Tretyakov Gallery has the best collection of works( , , , , , , , , and etc.).

Art is multifaceted (including "We didn't expect",) and (including "", "", "")), sculptor.

Late XIX - early

The main artists represented in the collection:, , , , , , , masters ( ,