The State Tretyakov Gallery is one of the most famous art museums in the Russian capital, and throughout the country. It was founded in 1856 by the merchant and philanthropist Pavel Tretyakov. It is here that one of the world's largest collections of Russian fine art is kept.

History of the gallery

The State Tretyakov Gallery actually began to take shape in the mid-1850s. The official year of its opening is considered to be 1856. It was then that Tretyakov acquired two paintings by Russian artists - "Clash with Finnish smugglers" by Khudyakov and "Temptation" by Schilder. They became the basis for the formation of the collection.

Although his interest in art began to appear even earlier. So, two years before, Tretyakov had already taken possession of 9 paintings by old Dutch masters and 11 graphic sheets.

The first prototype of the State Tretyakov Gallery was the Moscow City Gallery of Pavel and Sergei Tretyakov. It first opened its doors in 1867, with more than a thousand paintings, as well as sculptures and drawings by Russian artists. 84 works were presented by foreign masters.

Moscow as a gift

An important event for the State Tretyakov Gallery took place in 1892, when it was actually donated to Moscow. The collection of works of art by that time had grown considerably. A year later, the gallery officially opened.

At the same time, Pavel Tretyakov remained its official manager until his death. In 1898, a board of trustees was created to manage the gallery, headed by Ostroukhov. They began to support it on a percentage of the capital of 125,000 rubles, which its founder himself bequeathed to the Tretyakov Gallery. Additionally, a certain amount was allocated annually by the City Council.

Location

The building that housed the State Tretyakov Gallery in Moscow was purchased by the merchant's family in 1851. With the increase in the collection, new premises were constantly attached to the mansion, in which works of art were demonstrated and stored. The first such building was erected back in 1873, and from 1902 to 1904 a facade famous throughout the capital appeared, which was developed by the architect Bashkirov according to the drawings of Vasnetsov. The architect Kalmykov directly supervised the construction.

Tragedy with a painting by Repin

Many works of the State Tretyakov Gallery were of great value for Russian and world culture. Therefore, the whole world was struck by an incident that occurred in 1913. The vandal attacked the painting by Ilya Repin "Ivan the Terrible and his son Ivan." She was seriously injured by the knife. Because of this, the artist had to actually recreate the faces in the image. Khruslov, who at that time was the curator of the Tretyakov Gallery, upon learning of this incident, threw himself under the train. Shortly thereafter, the City Council elected Igor Grabar as the new trustee of the gallery.

Soon after the victory of the October Revolution, the gallery was declared the property of the Soviet Republic, and it was then that it received the name 1st State Tretyakov Gallery. Grabar was appointed its director. With his direct participation, the museum fund was created, which until 1927 remained one of the key sources of full-fledged replenishment of the collection.

In 1926 the director changed in the gallery. He becomes the academician of architecture Shchusev. The next year, a certain part of the collection moves to a house on Maly Tolmachiy Lane, located next door. A large-scale restructuring was carried out here, after which the administration was located here, as well as the library, scientific departments, funds, departments of manuscripts.

Already by 1985-1994, the administrative building was built on according to the project of the architect Bernstein, after which it was equal in height to the exposition halls. In 1929, electricity was brought to the gallery.

During the Great Patriotic War

When the Great Patriotic War began, the gallery began to urgently dismantle the exposition, as in most other museums in Moscow. She was being prepared for evacuation. The canvases were transferred to special wooden shafts, lined with tissue paper, and stored in waterproof boxes. Already in the middle of the summer of 1941, 17 wagons left Moscow for Novosibirsk. Works of art were evacuated until the autumn of 1942. When the turning point in the war became apparent, the collection began to be returned. In May 1945, the exposition reopened to Muscovites and guests of the capital.

Expansion of the exposition area

In the post-war period, Korolev played an important role in expanding the exposition area, who headed the Tretyakov Gallery in 1980. Already in 1983, he began active construction, and two years later the depository was put into operation. This is a specialized storage for works of art, and restoration workshops were also located at its base.

Since 1986, a full-scale reconstruction of the main building has been carried out. And in 1989, a new building was even built, which opened an information and computing center, a conference room, a children's studio, as well as additional exhibition halls. The building began to be called the Engineering Corps, because the main engineering services and systems were concentrated in it.

But the buildings located in Lavrushinsky Lane were closed from 1986 to 1995 due to major reconstruction. For a whole decade at that time, the building located on Krymsky Val remained the only exhibition site. In 1985, it was officially merged with the Tretyakov Gallery.

Tretyakov collection

The collection of exhibits of this museum is considered the most extensive in our country and one of the most significant in the world in general. The State Tretyakov Gallery, whose collection by 1917 numbered about four thousand works, was perhaps the richest in Russia. That is why it aroused such interest among numerous visitors.

In the future, it only replenished. By 1975, the State Tretyakov Gallery, whose collection already numbered about 55,000 works, was one of the largest in Europe. It was regularly replenished through government purchases. Today, in the collection of the State Tretyakov Gallery, one can find a collection of Russian paintings, sculptures, graphics, works of foreign authors, as well as works of arts and crafts of the 11th-21st centuries.

Separately, it is worth mentioning the collection of icons. Here are icons of the XI-XVII centuries, including the works of Simon Ushakov, Dionysius, the famous "Trinity" by Andrei Rublev.

Many famous paintings of the second half of the 19th century can be found in the Tretyakov Gallery. Here is the richest collection of the Wanderers. Among them are works by Kramskoy, Perov, Savitsky, Makovsky, Savrasov, Polenov, Shishkin, Vasnetsov.

There are many paintings by Ilya Repin, among the ones already mentioned in this article are "Ivan the Terrible and his son Ivan", "They did not wait." Many are familiar with Surikov's creations "Menshikov in Berezov", "Boyar Morozova", "Morning of the Archery Execution", as well as the works of Antokolsky and Vereshchagin.

Soviet art is widely represented. Here, Grabar, Kukryniksy, Konenkov, Serov, Mukhina, Brodsky, familiar to everyone and everyone.

The State Tretyakov Gallery, with a collection of more than 60 thousand works today, remains the most attractive place for numerous art lovers from all over the world.

Tretyakov gallery in philately

Stamps from the State Tretyakov Gallery have long become a value for philatelists. For example, a 1949 stamp is considered especially valuable, on which a monument to Joseph Stalin is depicted in front of the Tretyakov Gallery, which was later demolished. In 1956, a postage stamp dedicated to the 100th anniversary of the founding of the State Tretyakov Gallery was issued. And in 2006, a whole postal block appeared in circulation, which was released for the 150th anniversary of the gallery.

How to get there?

The main building of the Tretyakov Gallery, which is worth a visit if you expect to get acquainted with the richest collection gathered here, is located in Moscow at Lavrushinsky lane, 10.

The gallery's working hours are as follows: on Monday - a day off, on Tuesday, Wednesday and Sunday it is open from 10 am to 6 pm, and on Thursdays, Fridays and Saturdays from 10:00 to 21:00. Please note that the box office closes one hour before the gallery closes.

The Tretyakov Gallery is located almost in the very center of Moscow, so getting to it is not a big deal. The easiest way to do this is by using the metropolitan metro. To do this, you need to get to the stations "Polyanka" or "Tretyakovskaya", which are located on the Kalinin line, or to the stations "Oktyabrskaya" or "Novokuznetskaya" of the Kaluzhsko-Rizhskaya line. Another option is to get off the car at the Oktyabrskaya station of the Circle Line.

Ticket price

For adult visitors, a ticket to the Tretyakov Gallery will cost exactly 500 rubles. Such prices are determined in the gallery for 2018. Russian students and pensioners will have to pay 200 rubles each. Entry for minors under 18 is free.

Please note that the gallery offers free admission for Russian students on the first and second Sundays of the month.

After visiting the Tretyakov Gallery, take some time to see the sights nearby. These are the Church of St. Nicholas, Shmelev Square, the Tretyakov pier, the Kadashevskaya Sloboda Museum, Yakimansky Square, the Ore-Petrographic Museum.

If you are going to visit the Tretyakov Gallery, then do not try to embrace the immensity. Do not set yourself the task of seeing all the collections in one day. It is better to decide in advance on two or three masters or directions on which you will concentrate your attention this time. Leave the rest for the next visit.

A free guide will also help you get oriented, which you can install on your phone and use it to see the most interesting things without spending too much time.

In the museum itself, you can be offered an official audio guide, the use of which will cost you 350 rubles. Such audio guides exist in Russian, Italian, English, French, German, Chinese and Spanish. Remember, in order to use it, you will have to leave a deposit of two thousand rubles. An alternative to money as collateral can be any document proving your identity. The only exception is that you cannot leave your passport.

The State Tretyakov Gallery is one of the largest museums in the world. Hundreds of thousands of people annually get acquainted with the collection of the Tretyakov Gallery, dedicated exclusively to national Russian art, those artists who have made a great contribution to the history of Russian art
Muscovites call this museum warmly and with love - "Tretyakovka". He is familiar and close to us from early childhood, when we started coming there with our parents. Cozy, warm in Moscow style, located in a quiet Lavrushinsky lane among the streets and alleys of Zamoskvorechye, the oldest district of Moscow.
The founder of the Tretyakov Gallery was the Moscow merchant and industrialist Pavel Mikhailovich Tretyakov. At first, everything that was purchased by Pavel Mikhailovich Tretyakov was placed in the rooms of his apartment 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.
The founding date 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" by V. G. Khudyakov, although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. In 1867, the Moscow City Gallery of Pavel and Sergei Tretyakov was opened to 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.
P. M. Tretyakov, setting out to create a collection that in the future could develop into a museum of national art. “For me, who truly and ardently love painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts that will bring benefits to many, everyone will enjoy,” wrote P. M. Tretyakov in 1860, adding: "... I would like to leave the national gallery, that is, consisting of paintings by Russian artists." Throughout his life, Tretyakov remained a major business man who did not have a special education in the field of painting. Contemporaries were much surprised by the natural intelligence and impeccable taste of this hereditary merchant. Over time, high taste, strict selection, noble 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 studios or at exhibitions, but usually prior to their public opening. P. M. Tretyakov bought the paintings that interested him, regardless of the opinions of critics and the dissatisfaction of the censors. This was with such paintings as "Rural Procession for Easter" by V. G. Perov, "Ivan the Terrible" by I. E. Repin. P. M. Tretyakov clearly understood that the museum he created should not so much correspond to his personal tastes and sympathies as reflect an objective picture of the development of Russian art. 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.

In 1892, Pavel Mikhailovich donated his art gallery to the city of 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.
Pavel Tretyakov until his death was the manager of the gallery. In 1898, a Council was created to manage the gallery, chaired by a trustee, which at the beginning was I. S. Ostroukhov, and since 1913 - I. E. Grabar.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery.

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 again appointed director of the museum.
In 1926, Academician of Architecture A.V. Shchusev. The following year, the gallery received a neighboring house on Maly Tolmachevsky Lane (the former house of the merchant Sokolikov). After perestroika, the administration of the Gallery, scientific departments, a library, a department of manuscripts, and graphics funds were located here.
In 1932, the building of the church of St. Nicholas in Tolmachi was transferred to the Gallery, which became a storehouse of painting and sculpture. Later, it was connected to the exposition halls by a two-story building, the upper floor of which was specially designed to display A. A. Ivanov's painting "The Appearance of Christ to the People" (1837-1857). A passage was also built between the halls located on both sides of the main staircase. This ensured the continuity of the exposure review.
In 1936, 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 since 1940 they have been included in the main exhibition route.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the A.A. Ivanova. In 1980, a monument to P. M. Tretyakov, created by the sculptor A.P. Kibalnikov and architect I.E. Rogozhin.
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 repositories 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 to art XX century. Exhibitions, both old and new art, are held in both territories.
The current collection of the Tretyakov Gallery has more than 100 thousand works.

The Tretyakov Gallery is the most visited museum in the country. The gallery was founded at the end of the 19th century by famous merchants and philanthropists - Pavel and Sergey Tretyakov, who donated their collections to the city. The gallery is located in the former estate of the Tretyakov brothers in Lavrushinsky Lane. The museum fund was significantly replenished after the October Revolution of 1917 with collections of wealthy noble and merchant families. The spacious halls of the Tretyakov Gallery display ancient Russian icons and paintings from the Russian school of painting. Moving through the chronologically arranged halls of the museum, one can study in detail Russian fine art from the 17th century to the beginning of the 20th century.

The Tretyakov brothers lost their father when the eldest - Pavel - was seventeen years old, and the youngest - Sergei - fifteen. They turned out to be entrepreneurs from God. Very soon, the brothers expanded their business from ordinary trade in shops to their own large linen, paper and woolen goods store on the famous merchant street Ilyinka. They organize the trading house "P. and S. the Tretyakov brothers. In the mid-1860s, they acquired the Novo-Kostroma Linen Manufactory, which they later made one of the best in Russia. The historian of the Moscow merchants P.A. Buryshkin called the Tretyakovs among the five richest merchant families in Moscow

The Tretyakovs were well-known donors and philanthropists. Pavel Mikhailovich was a trustee of the Arnold School for the Deaf and Dumb, provided financial assistance to research expeditions, donated money for the construction of churches. Sometimes Tretyakov's donations exceeded the cost of acquiring paintings. Sergei Mikhailovich actively participated in the public life of Moscow. He was a member of the Moscow City Duma and the mayor. In this position, he did a lot for Moscow. Thanks to Tretyakov, Sokolnicheskaya Grove became Sokolniki City Park: he bought it with his own money.

In 1851, the Tretyakovs purchased from the merchants the Shestovs an estate in Lavrushinsky Lane with a two-story mansion, decorated with a classicist attic, and a vast garden. Alexandra Danilovna was the full owner of the house, and the Tretyakov brothers focused on trade. It was an ideal family and business union, rare among merchants. At the same time, the Tretyakovs differed in character. Pavel was reserved, he liked to work and read in solitude, he could look at and study paintings and engravings for hours. Sergey, more sociable and cheerful, was always in sight, he liked to flaunt.

Once Pavel Mikhailovich Tretyakov came to St. Petersburg on business and ended up in the Hermitage. He was so impressed by the richness of the art collection that he certainly wanted to start collecting. He soon acquired nine paintings by obscure Western artists. “The first two or three mistakes in such a difficult matter as determining the authenticity of old paintings forever turned him away from collecting paintings by old masters,” wrote I.S. Ostroukhov after the collector's death. “The most authentic painting for me is the one that I personally bought from the artist,” Tretyakov liked to say. Soon Tretyakov got acquainted with the collection of F.I. Pryanishnikov and decides to collect paintings by Russian artists.

In the Tretyakov Gallery, the year of foundation of the museum is considered to be 1856, when Pavel Mikhailovich Tretyakov acquired the first two paintings "Temptation" by N.G. Schilder and "Clash with Finnish smugglers" by V.G. Khudyakov. Today they hang side by side in the same room. The condition under which Pavel Mikhailovich selected paintings for his gallery can be found in his words addressed to the artists: “I don’t need rich nature, or magnificent composition, or spectacular lighting, no miracles, give me at least a dirty puddle, but so that in there was truth to it, poetry, and poetry in everything can be, this is the work of the artist.

But this does not mean at all that Tretyakov simply bought up all the paintings he liked. He was a bold critic who did not recognize other people's authorities, often made comments to artists, and sometimes even sought amendments. Pavel Mikhailovich usually bought a painting before the opening of exhibitions, right in the workshop, when neither critics, nor the audience, nor journalists had yet seen the painting. Tretyakov was well versed in art, but this was not enough to choose the best. Pavel Mikhailovich had a peculiar gift of a seer. No authority could influence his decision. An indicative case is described by S.N. Durylin in the book "Nesterov in life and work":

“At the preliminary, closed, vernissage of the XVIII Traveling Exhibition, where a few selected friends of the Wanderers were admitted, Myasoedov brought V.V. Stasov, tribune-apologist of the Wanderers, D.V. Grigorovich, secretary of the Society for the Encouragement of Arts, and A.S. Suvorin, editor of the Novoye Vremya newspaper. All four judged the picture with a terrible judgment; all four agreed that it was harmful... Evil must be uprooted. We went to look for a Moscow silent man in the exhibition, they found somewhere in the far corner, in front of some kind of picture. Stasov was the first to speak: this painting came to the exhibition due to a misunderstanding, it has no place at the exhibition of the Partnership.

The tasks of the Partnership are known, but Nesterov’s picture does not answer them: harmful mysticism, the absence of the real, this ridiculous circle around the old man’s head ... Mistakes are always possible, but they should be corrected. And they, his old friends, decided to ask him to give up the picture... A lot of clever, convincing things were said. Everyone found a word to stigmatize the poor "Bartholomew." Pavel Mikhailovich listened in silence, and then, when the words ran out, modestly asked them if they had finished; when he found out that they had exhausted all the evidence, he replied: “Thank you for what you said. I bought the picture back in Moscow, and if I hadn’t bought it there, I would have bought it here now, after listening to all your accusations.”

Sergei Mikhailovich Tretyakov began to collect his collection fifteen years later than his brother and managed to acquire only about a hundred pieces. However, his collection was the only one of its kind, because he was interested in modern Western painting - J.-B. C. Corot, Sh.-F. Daubigny, F. Milet and others. Pavel Mikhailovich, unlike his brother, who collected paintings for himself, sought to create a public museum of national art. Back in 1860 (and he was then only twenty-eight years old), he made a will, according to which he bequeathed one hundred and fifty thousand rubles for the establishment of an "art museum" in Moscow. Pavel Mikhailovich persuaded his brother to do the same.

In 1865, the wedding of Pavel Mikhailovich and Vera Nikolaevna Mamontova, the cousin of the famous philanthropist Savva Ivanovich Mamontov, took place. The Tretyakovs had six children - four daughters and two sons. Everyone in the family loved each other. Pavel Mikhailovich wrote to his wife: “I sincerely thank God and you with all my heart that I happened to make you happy, however, children have a big fault here: without them there would be no complete happiness!” Sergei Mikhailovich married much earlier than his brother, in 1856, but his wife died shortly after the birth of her son. Only ten years later, Sergei Mikhailovich entered into a second marriage.

Pavel Mikhailovich adhered to traditional merchant views on the upbringing of children. He gave the children an excellent home education. Of course, artists, musicians and writers who visited Tretyakov almost every day played a significant role in shaping the children. In 1887, Pavel Mikhailovich's son Vanya, his father's favorite and hope, died of scarlet fever complicated by meningitis. Tretyakov painfully endured this heavy loss. The second son Mikhail suffered from dementia and could not become a full-fledged heir and continuer of the family business. Alexander's daughter recalled: “Since that time, the character of my father has changed a lot. He became sullen and silent. Only the grandchildren made the former affection appear in his eyes.

For a long time, Tretyakov was the only collector of Russian art, at least on such a scale. But in the 1880s, he had a more than worthy rival - Emperor Alexander III. There are many legends associated with the confrontation between Tretyakov and the Tsar. Pavel Mikhailovich several times literally from under Alexander's nose took away paintings by artists who, with all due respect to the august person, preferred Tretyakov. Alexander III, who was called the “peasant tsar”, became furious if, visiting traveling exhibitions, he saw the marks “property of P.M. Tretyakov.

But there were cases when the representatives of the emperor simply interrupted the price of Tretyakov. For example, after the death of Alexander III, his son Nicholas II offered an incredible amount for those times for the painting “The Conquest of Siberia by Yermak” by V.I. Surikov - forty thousand rubles. The newly-appeared emperor did not want to skimp in memory of his father, who dreamed of acquiring this painting. Surikov already had an agreement with Pavel Mikhailovich, but he could not refuse such a lucrative deal. Tretyakov simply could not offer more. As a consolation, the artist gave the collector a sketch for the painting for free, which still hangs in the museum.

Sergei Mikhailovich died in 1892. Long before his death, the Tretyakov brothers decide to donate their collections to Moscow. In his will, Sergei Mikhailovich donated to the city half of the house in Lavrushinsky Lane, all the paintings and the amount of one hundred thousand rubles. Pavel Mikhailovich donated his huge collection (more than three thousand works) to Moscow during his lifetime together with his brother's collection. In 1893, the opening of the Moscow Gallery of Pavel and Sergei Tretyakov took place, with a collection of Western art hanging next to paintings by Russian artists. On December 4, 1898, Tretyakov died. His last words were: "Take care of the gallery and be healthy."

After the death of Tretyakov during 1899-1906, the main house was converted into exhibition halls. The facade, designed according to the drawing by V.M. Vasnetsov, became for many years the emblem of the Tretyakov Gallery. The central part of the facade was highlighted by a chic kokoshnik with a relief image of George the Victorious - the ancient coat of arms of Moscow. At that time, artists showed interest in the forms of ancient Russian art. Luxuriously decorated portals, lush window frames, bright patterns and other decorations - all this speaks of Vasnetsov's desire to turn the Tretyakov Gallery into an old Russian fairy-tale tower.

In 1913, the artist I.E. Grabar. The alteration of the exposition according to the scientific principle began, as in the best museums of the world. The works of one artist began to hang in a separate room, and the arrangement of the paintings became strictly chronological. In 1918, the Tretyakov Gallery was nationalized and transferred to the administration of the People's Commissariat of Education. It was at this time that the museum was significantly replenished with huge collections of P.I. and V.A. Kharitonenko, E.V. Borisova-Musatova, A.P. Botkina, V.O. Girshman, M.P. Ryabushinsky and collections from estates near Moscow.

In the 1980s, a grandiose reconstruction of the gallery took place. The project envisaged "the creation of a large museum complex, including storage facilities, an extensive exhibition space, a conference hall through the development of courtyards and the refurbishment of an old building while maintaining its historical appearance." Unfortunately, the new building, built at the intersection of Lavrushinsky and Bolshoy Tolmachevsky lanes, turned out to be alien to the architectural ensemble of the old buildings of the Tretyakov Gallery. The reconstruction turned into the actual death of the monument. The new corner building turned out to be outside the traditional ties with the environment.

As a result of the reconstruction, the exhibition area of ​​the Tretyakov Gallery has increased one and a half times. In 1998, the first permanent exhibition of art of the 20th century was opened in the new building of the museum on Krymsky Val, built according to historical, chronological and monographic principles. The collection of the museum now has about one hundred and fifty thousand works. The collection of Pavel Mikhailovich has increased more than fifty times. The Tretyakov Gallery is a huge educational and cultural center engaged in scientific, restoration, educational, publishing, popularization and other activities.

In one of the letters to the artist Vasily Vasilievich Vereshchagin P.M. Tretyakov wrote: “Your indignation against Moscow is understandable, I myself would have been indignant and would have abandoned my goal of collecting works of art long ago if I had in mind only our generation, but believe that Moscow is no worse than St. Petersburg: Moscow is only simpler and, as it were, ignorant . Why is Petersburg better than Moscow? In the future, Moscow will be of great, enormous importance (of course, we will not live to see this). Pavel Mikhailovich Tretkov was a true patriot and noblest man. And then he turned out to be a real visionary.

Every time we come to the gallery, we remember its great creator, not only because there is a monument to Tretyakov in front of the entrance (a wonderful monument, by the way). Pavel Mikhailovich is not just a collector, the founder of the museum, he, along with artists, created Russian fine art, and the role of Tretyakov here is objectively greater than the role of any of them. I.E. Repin (and he knew a lot about this) once said: “Tretyakov brought his work to grandiose, unparalleled proportions and bore the question of the existence of an entire Russian school of painting on his shoulders.”

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Introduction

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.

Pavel Mikhailovich Tretyakov

Pavel Tretyakov was born on December 15 (27), 1832 in Moscow, into a merchant family. Educated at home, he began a career in trade, working with his father. Developing the family business, Pavel, together with his brother Sergei, built paper mills, which employed several thousand people. The state of P. M. Tretyakov at the time of his death was estimated at 3.8 million rubles.

Pavel Mikhailovich did not marry for a long time. Only in August 1865 did his wedding take place with Vera Nikolaevna Mamontova, a cousin of the famous philanthropist Savva Ivanovich Mamontov. In 1866, the eldest daughter Vera (1866-1940) was born, then Alexandra (1867-1959), Lyubov (1870-1928), Mikhail (1871-1912), Maria (1875-1952), Ivan (1878 --1887). In 1887, Ivan, everyone's favorite, his father's hope, died of scarlet fever complicated by meningitis. There was no limit to the grief of Pavel Mikhailovich. The eldest son, Mikhail, was born sick, weak-minded and never brought joy to his parents.

In the 1850s, Pavel Tretyakov began amassing a collection of Russian art, which he intended almost from the start to donate to the city. It is believed that he acquired the first paintings in 1856 - these were the works "Temptation" by N. G. Schilder and "Clash with Finnish smugglers" (1853) by V. G. Khudyakov. Then the collection was replenished with paintings by I. P. Trutnev, A. K. Savrasov, K. A. Trutovsky, F. A. Bruni, L. F. Lagorio and other masters. Already in 1860, the philanthropist made a will, which said: “For me, who truly and ardently loves 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.”

In the 1860s, Tretyakov acquired the paintings "Halt of Prisoners" by V. I. Jacobi, "Last Spring" by M. P. Klodt, "Grandmother's Tales" by V. M. Maksimov and others. Pavel Mikhailovich highly appreciated the work of V. G. Perov, to whom he wrote in October 1860: “Take care of yourself for the service of art and for your friends.” In the 1860s, such works by Perov as "Rural religious procession at Easter", "Troika" and "Amateur" were acquired; in the future, Tretyakov continued to acquire paintings by Perov, ordered him portraits, and actively participated in organizing a posthumous exhibition of the artist's works.

In 1864, the first painting appeared in the collection, written on the plot of Russian history, “Princess Tarakanova” by K. D. Flavitsky. At the end of the 1860s, Pavel Mikhailovich ordered F. A. Bronnikov a work that later became the favorite painting of Vera Nikolaevna Tretyakova - “The Hymn of the Pythagoreans to the Rising Sun”.

In 1874, Tretyakov built a building for the collected collection - a gallery, which in 1881 was opened to the public. In 1892, Tretyakov transferred his collection, along with the gallery building, to the ownership of the Moscow City Duma. A year later, this institution was named the "City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov." Pavel Tretyakov was appointed lifelong trustee of the gallery and received the title of Honorary Citizen of Moscow. Shareholder of the Moscow merchant bank.

By the end of his life, Tretyakov received the title of commerce adviser, was a member of the Moscow branch of the Council of Trade and Manufactories, and also a full member of the St. Petersburg Academy of Arts (since 1893). He died on December 4 (16), 1898 in Moscow. The last words to his relatives were: "Take care of the gallery and be healthy." He was buried at the Danilovsky cemetery in Moscow next to his parents and brother Sergei, who died in 1892. In 1948, the ashes of the Tretyakov brothers were reburied at the Novodevichy Cemetery.

tretyakov gallery history art russian

Gallery history

Pavel Tretyakov began to collect his painting collection in the middle of 1850. The founding year 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” by V. G. Khudyakov, although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. In 1867, the “Moscow City Gallery of Pavel and Sergei Tretyakov” was opened for the general public in Zamoskvorechye in Lavrushinsky Lane of Zamoskvorechye, in the house that the Tretyakov family bought in 1851. The collection in the gallery consisted of 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

In August 1892, Pavel Mikhailovich donated his art gallery to the city of 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."

Since the growth of the collection constantly exceeded the exposition possibilities of the Gallery, 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 by the architect V. N. Bashkirov according to the drawings of the artist V. M. Vasnetsov appeared. The construction was managed by the architect A. M. Kalmykov. This facade became the emblem of the Tretyakov Gallery.

On January 16, 1913, the painting by Ilya Repin "Ivan the Terrible and his son Ivan on November 16, 1581" located in the Tretyakov Gallery was damaged by a vandal's knife. The artist had to actually recreate the faces of those depicted. The curator of the Tretyakov Gallery, E. M. Khruslov, having learned about the damage to the painting, threw himself under the train.

On April 2, 1913, the Moscow City Duma elected Igor Emmanuilovich Grabar, a prominent artist, architect and art historian, as a trustee of the Tretyakov Gallery. The main thing that marked the activity of Grabar was the reforms that turned the Tretyakov Gallery into a European-style museum with an exposition built on a chronological basis. In early December 1913, on the fifteenth anniversary of the death of the founder of the Gallery, the reformed museum was opened to the public.

On June 3, 1918, the Council of People's Commissars issued a decree declaring the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment the museum became known as the State Tretyakov Gallery. After nationalization, Igor Emmanuilovich Grabarm was appointed director of the Gallery. During the very first years of Soviet power, the collection of the Gallery increased significantly, which again sharply raised the question of expanding its area. 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 museum's collection.

Academician of architecture A.V. Shchusev, who became director in 1926, did a lot to expand the existing premises and add a new one. In 1927, the Gallery received a neighboring house on Maly Tolmachevsky Lane (the former house of Sokolikov). After the restructuring in 1928, it turned into a service building, which housed the administration of the Gallery, scientific departments, a library, a department of manuscripts, graphics funds. This building was attached to the Gallery with a special extension. In 1928, heating and ventilation were radically re-equipped. In 1929, the Gallery was electrified (before that it was open to visitors only during the daytime).

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 exposition halls by a newly built two-story building, the upper floor of which was specially designed to display A.A. Ivanov's painting "The Appearance of Christ to the People (The Appearance of the Messiah)" (1837-1857). A passage was also built between the halls located on both sides of the main staircase, which ensured continuity of the view. As a result of these changes, the exposition area of ​​the museum has increased and work has begun on the creation of a new concept for the placement of works.

In 1936, the construction of a new two-story building on the north side of the main building was completed - the so-called "Shchusevsky building", whose spacious halls were first used for exhibitions, and since 1940 were included in the main exhibition route.

From the first days of the Great Patriotic War, the Gallery began dismantling the exposition - like other museums in Moscow, it was preparing for evacuation. The canvases were rolled onto wooden shafts, shifted with tissue paper, and placed in boxes lined with waterproof material. In the middle of the summer of 1941, a train of 17 wagons left Moscow and delivered the collection to Novosibirsk. The evacuation of works of art was carried out until September 1942, part of the exposition was evacuated to the city of Molotov. Only on May 17, 1945, the Gallery was reopened in Moscow. .

The Gallery building was noticeably damaged by bombing during the Great Patriotic War (1941-1945): two high-explosive bombs that fell as a result of a German air raid in several places destroyed the glass roof covering, the interfloor ceiling of some halls, and the main passage was damaged.

The restoration of the Gallery began already in 1942, and by 1944 40 of the 52 halls had been repaired, which made it possible to return the exhibits from the evacuation. In honor of the 100th anniversary of the Tretyakov Gallery, celebrated in 1956, the AA Ivanov Hall was completed. By this time, the collection included more than 35,000 works of art.

By the mid-1980s, the increased number of visitors, excursions, and school circles could hardly fit in the halls of the museum. Once again, there was a need to expand the exposition area. Yu.K. Korolev (1929-1992), who headed the Tretyakov Gallery for a decade and a half (1980-1992), took up this issue.

Construction work began in 1983. Two years later, a depository was put into operation - a repository of works of art, where restoration workshops were also located.

Later, in 1985-1994, the administrative building was built on 2 floors according to the project of the architect A.L. Bernshtein and equaled the height of the exposition halls.

In 1986, the reconstruction of the main building of the Tretyakov Gallery began (architects I.M. Vinogradsky, G.V. Astafiev, B.A. Klimov and others), based on the idea of ​​preserving the historical appearance of the building.

In 1989, a new building was built on the south side of the main building, which housed a conference hall, an information and computing center, a children's studio and exhibition halls. In them, in 1992-1994, an exhibition of masterpieces from the Gallery's collection was held. Most of the engineering systems and services were concentrated in the same building, so it was called the Corps of Engineers.

The principal feature of the reconstruction plan was the inclusion in the museum ensemble of the church of St. Nicholas in Tolmachi (an architectural monument of the 17th century) after its restoration and consecration. The temple was approved in the status of a house temple-museum at the Tretyakov Gallery.

From 1986 to 1995, 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.

Construction in Lavrushinsky Lane took almost ten long years: from 1985 to 1995.

Now the complex of buildings of the Tretyakov Gallery, located between Lavrushinsky and Maly Tolmachevsky lanes, is a favorite place not only for Muscovites, but also for many guests of the capital.

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

· Tretyakov Gallery in Lavrushinsky Lane, 10

Museum-temple of St. Nicholas in Tolmachi

Tretyakov Gallery on Krymsky Val, 10

Museum-workshop of A. S. Golubkina

House-Museum of V. M. Vasnetsov

Museum-apartment of A. M. Vasnetsov

· House-Museum of P. D. Korin.

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 "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 museum offers an audio guide service.

Gallery Managers

Tregulova, Zelfira Ismailovna (2015 - present)

Lebedeva, Irina Vladimirovna (2009--2015)

Rodionov, Valentin Alekseevich (1993--2009)

Korolev, Yuri Konstantinovich (1980--1992)

Lebedev, Polikarp Ivanovich (1954--1979)

Zamoshkin, Alexander Ivanovich (1941-1951)

Lebedev, Polikarp Ivanovich (1939--1941)

Christie, Mikhail Nikolaevich (1930--1939)

Shchusev, Alexey Viktorovich (1926--1929)

Shchekotov, Nikolai Mikhailovich (1925-1926)

Grabar, Igor Emmanuilovich (1913-1925)

Ostroukhov, Ilya Semyonovich (1905 - 1913)

Faith in the school of Russian painting

Tretyakov's great historical merit is his unshakable faith in the triumph of the Russian national school of painting - a faith that arose in the late 50s of the last century and carried by him through his whole life, through all the difficulties and trials. It can be said with confidence that in the triumph of Russian painting that came at the end of the 19th century, the personal merit of P.M. Tretyakov is exceptionally great and invaluable.

Tretyakov's letters preserved evidence of his ardent faith. Here is one of them. In a letter to the artist Rizzoni dated February 18, 1865, he wrote: “In the past letter to you, my expression may seem incomprehensible: “That's when we would talk with non-believers” - I will explain it to you: many positively do not want to believe in the good future of the Russian art, and they assure us that if sometimes an artist of ours writes a good thing, it is somehow by accident, and that he will then increase the number of mediocrities. You know, I have a different opinion, otherwise I would not have collected a collection of Russian paintings, but sometimes I could not disagree with the facts presented; and every success, every step forward is very dear to me, and I would be very happy if I waited for the holiday on our street. And about a month later, returning to the same thought, Tretyakov writes: “I somehow involuntarily believe in my hope: our Russian school will not be the last - it was indeed a cloudy time, and for quite a long time, but now the fog is clearing up.”

This faith of Tretyakov was not a blind premonition, it was based on a thoughtful observation of the development of Russian painting, on a deep, subtle understanding of national ideals that were being formed on a democratic basis.

So, back in 1857, P.M. Tretyakov wrote to the landscape painter A.G. Goravsky: “About my landscape, I will humbly ask you to leave it, and write me a new one someday. I do not need rich nature, or great composition, or spectacular lighting, no miracles. Instead, Tretyakov asked to portray simple nature, even the most unprepossessing, "so that there is truth in it, poetry, and poetry in everything can be, this is the work of the artist."

This note expresses the same aesthetic principle of the formation of the gallery, which arose as a result of thinking through the ways of developing Russian national painting, guessing its progressive trends long before the appearance of Savrasov's painting "The Rooks Have Arrived", landscapes by Vasilyev, Levitan, Sery, Ostroukhov and Nesterov - artists who managed to true depiction of the nature of Russia to convey its inherent poetry and charm.

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,” wrote the artist I. N. Kramskoy in 1873, “that this is a man with some kind of diabolical instinct.” Nowhere specially studied, he possessed, nevertheless, 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. Benois would say in 1902 in his History of Russian Art.

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 to then 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 was always 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 hadn’t appeared in his time, if he hadn’t given himself entirely to a big idea, hadn’t begun to collect Russian Art together, his fate would have been different: perhaps we would not have known "Boyar Morozova", nor "The Religious 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)

Gallery today

In April 1995, a renewed exposition of classical Russian art was opened for visitors in the main building in Lavrushinsky Lane. The exposition area has increased In the reconstructed main building of the Tretyakov Gallery, it became possible to significantly expand the exposition of ancient Russian art, to allocate halls for sculpture of the 18th - first half of the 19th century and the turn of the 19th-20th centuries.

Graphics that require a special light regime are now exhibited in specially equipped halls, the Treasury has appeared, where you can see works of applied ancient Russian art, miniatures, icons in precious frames.

The construction of the courtyards made it possible to create new halls for paintings by the greatest masters of painting of the 19th century - K.P. Bryullov, A.A. Ivanov, I.N. Kramskoy, A.I. Kuindzhi. The largest of them was specially designed for the huge decorative panel "Princess of Dreams" by M.A. Vrubel (1896).

Back in 1953, a five-meter canvas by I.E. Repin "Reception of Volost Elders by Alexander III in the Petrovsky Palace in Moscow" (1886), created by the "highest" order, was transferred from the Grand Palace of the Moscow Kremlin to the Tretyakov Gallery. It was also included in the new exhibition.

In order to show the art of the 20th century as fully as possible, corresponding to the scale and level of the museum's collection, it was decided to divide the exposition into two buildings and in the Gallery building, located on Krymsky Val, to create a generalized exposition of the art of the 20th century, from the avant-garde to the latest trends.

On December 16, 1998, on the day of the 100th anniversary of the death of P.M. Tretyakov, the first permanent exhibition of art of the 20th century was opened on Krymsky Val, built according to historical, chronological and monographic principles. For the first time there was an opportunity to see the work of major artists as a whole, unbroken for the period before 1917 and after. In the anniversary year 2006-2007, the audience was offered a new version of the exposition.

The main emphasis is now placed on the diversity of styles in painting in the first half of the 20th century. Non-objectivity and neoclassicism of the 1910s, monumentalism and chamber lyrics of the 1920s, social realism and post-avant-garde painting of the 1930s form an expressive contrast and enrich the idea of ​​the artistic process and evolution of masters in the Soviet era. For the first time, along with the works of Soviet artists of the 1930s - 1950s, the works of Russian artists abroad are shown. In addition to traditional exhibits, reconstructions have been introduced into the new exposition. Viewers can see the famous counter-reliefs of V.E. Tatlin, the “spatial objects” of the constructivists, which have not survived to this day; the image of the 1920s is complemented by photographs by A. Rodchenko.

The exhibition activities of the Gallery are becoming more and more diverse and interesting. Every year, exhibitions are organized that arouse great interest of the public, among them should be mentioned the expositions “The Restored Treasures of Russia” (1995), “To the 150th Anniversary of I.E. Tsvetkov” (1995), “Treasures of Museums of the Moscow Region” (1996), “ Unforgettable Russia. Russia and Russians through the Eyes of British Artists. XVIII - the first half of the XIX century "(1997)," M. Larionov - N. Goncharova. Masterpieces from the Parisian heritage. Painting” (1999), “K.P. Bryullov. To the 200th Anniversary of the Birth” (2000), “Western European Art of the 16th-18th Centuries from the Collection of the Tula Museum of Fine Arts” (2000), “Return the Grozny Museum” (2002), works by N.N. Sapunov (2003) , “Prophet and dreamer. M.A. Vrubel, V.E. Borisov-Musatov. Graphics" (2005).

Works from the Gallery's collection are regularly exhibited both at international and domestic exhibitions in different cities.

Since the mid-1990s, the Tretyakov Gallery has been conducting serious research work on the preparation and publication of a consolidated catalog of the collection. This is a scientific and most complete multi-volume edition, representing the entire collection of the Gallery.

The Tretyakov Gallery is doing a lot of publishing and promotional work: books, albums, and other printed matter are published. In 2004, an innovative department for multimedia and Internet projects was created to create a modern website for the Tretyakov Gallery and publish electronic exhibition catalogs.

The collection of the Tretyakov Gallery now includes more than 170 thousand works.

Conclusion

Turning to the situation of modern Russia, it is difficult to imagine a person who could do something like creating a gallery. And the point is not even that, as many will say, “it’s not really necessary,” but that now is just a different time, other problems, other tasks that need to be addressed. Although this statement is not indisputable.

In terms of cultural heritage, scientific and technological progress every day opens up to us more and more new forms and results of human activity in the field of culture and art. And we, in our time, need to take care of them, preserve and increase them, at the same time not forgetting the past, in order to leave our vision of the world, our life to our descendants, as did a truly great man - Pavel Mikhailovich Tretyakov.

Bibliography

1. Botkina, A.P. Pavel Mikhailovich Tretyakov / A.P. Botkin - M: State Tretyakov Gallery, 1951. - 310 s

2. [Electronic resource] - Access mode: http://www.tretyakovgallery.ru/ - Access date: 10/30/2015

3. [Electronic resource] - Access mode: https://ru.wikipedia.org/wiki/State_Tretyakov_gallery - Access date: 10/29/2015.

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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 fine 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 the artist's muse, brought the charm of feminine charm into the artist's inner world. 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 beating of the heart 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:
In the daytime, 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 like this: “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 stands on the bed, escaping from 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 a 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 motive, drawn from village life, the author managed to give emotional richness, to charm the viewer with the immediacy of the transfer of lyrical feelings. 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,” wrote the artist .

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 tint, compared to the rest of the surface of the lake, scatter. 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 World of Art association, 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.