History of the State Tretyakov Gallery. Tretyakov Gallery: halls and their description

11.05.2019

The Tretyakov Gallery's collection is dedicated exclusively to national Russian art, to those artists who 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 remained to this day.

The founding date of the Tretyakov Gallery is considered to be 1856, when the young Tretyakov acquired the first works by 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 ardently loves painting, there can be no better desire than to lay the foundation for a public repository accessible to all fine arts“, which will bring benefit to many and pleasure to all,” the collector wrote in 1860, adding: “... I would like to leave a national gallery, that is, consisting of paintings by Russian artists.”

Years will pass, and good intentions young collector will be brilliantly executed. In 1892, Moscow, and with it the whole of Russia, received as a gift from Tretyakov a large (about 2 thousand paintings, drawings and sculptures) and already famous gallery of genuine masterpieces of national art. 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 cares about the interests of Russian enlightenment, it aroused the liveliest joy and surprise at the significance of the efforts and sacrifices you made in its favor.”

Along with the collection of Pavel Mikhailovich, the collection of his brother Sergei Mikhailovich, who died shortly before, was also donated to Moscow, who was the Moscow mayor in the 1880s, also a collector, but predominantly of works by Western European artists of the middle and second half of the 19th century century. Nowadays these works are in the collections of the State Museum 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 large business person, both in glory and in 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 “table of ranks”. Tretyakov died a distinguished, 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 be returned to society (the people) in some useful institutions; this thought did not leave me throughout all my life..." As we see, the idea of public service, typical of his era, understood and interpreted by him in his own way, inspired him.

retyakov - the collector was in famous family phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. “I must admit,” wrote the artist I.N. Kramskoy in 1873, “that this is a man with some kind of devilish instinct.” Having not studied anywhere specifically (the Tretyakov brothers received a home education, mostly of a practical nature), he nevertheless 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. Benois said in 1902 in his “History of Russian Art.”

T Retyakov 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 undeniably enjoyed Tretyakov’s greatest favor and respect, was forced to note: “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, those who believed that it was possible to influence him, they had to then abandon their delusion." Over time, high taste, strict selection and, of course, nobility of intentions brought Tretyakov well-deserved and undeniable authority and gave him “privileges” that no other collector had: Tretyakov received the right to be the first to view new works of artists either directly in their studios, or at exhibitions, but, as a rule, before their public opening.

Pavel Mikhailovich’s visit to the artists was always an exciting event, and not without trepidation, all of them, venerable and beginners, waited from Tretyakov for his quiet: “I ask you to consider the painting for me.” Which was tantamount to public recognition for everyone. “I confess to you frankly,” I.E. Repin wrote to P.M. Tretyakov in 1877, “that if we sell it (we were talking about Repin’s painting “Protodeacon” - L.I.), then only into your hands, I don’t mind going to your gallery, because I say without flattery, I consider it a great honor for me to see my things there.” Artists often made concessions to Tretyakov, but Tretyakov never bought without bargaining, and lowered their prices for him, thereby providing all possible support for his endeavor. But the support here was mutual.

Artists and art historians have long noticed that “if P.M. Tretyakov had not appeared in his time, he had not surrendered himself entirely to a big idea, he would not have begun to piece together Russian Art, his fate would have been different: perhaps we would not have known either “Boyaryna Morozova”, or “The Procession...”, or 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 an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art” (A. Benoit).

The scope of collecting activity and the breadth of P.M. Tretyakov’s horizons 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 paintings that interested him, despite the noise of criticism and discontent from censorship, as was the case, for example, with “Rural Procession at Easter” by V.G. Perov or with “Ivan the Terrible...” by I.E. Repin. He bought it even if not everything in the painting corresponded to his own views, but corresponded to the spirit of the time, as was the case with Repin’s painting “Religious Procession in the Kursk Province,” the social acuity 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 religious painting V.M. Vasnetsova. Tretyakov clearly understood that the museum he created should not so much correspond to his personal (or someone else’s) tastes and sympathies, but rather reflect an objective picture of the development of Russian art. Perhaps this is why Tretyakov the collector, more than other private collectors, was devoid of narrowness of taste and limitations. Each new decade brought new names and new trends to his collection. The tastes of the museum's founder developed and evolved along with the art itself.

Giving, wittingly or unwittingly, preference to contemporary art, Tretyakov, nevertheless, from the first to the last steps of his collecting activity, persistently monitored and generously acquired all the best that was on the art market of that time from the works of past Russian artists. XVIII eras- the first half of the 19th century and even ancient Russian art. After all, he created, in essence, the first museum in Russia, reflecting the entire progressive development of Russian art. Which does not mean that Tretyakov had no miscalculations and mistakes at all. Thus, pinning his hopes for the great future of the Russian school on the work of the Peredvizhniki, Tretyakov almost did not acquire works by academic artists 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 clearly looked warily 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 addition to these sections in the Tretyakov Gallery occurred after the death of its creator. And to this day, almost everything that was acquired by P.M. Tretyakov constitutes a genuine gold fund not only of the Tretyakov Gallery, but of all Russian art.

At first, everything that Pavel Mikhailovich Tretyakov acquired was housed in the rooms of his residential building on Lavrushinsky Lane, purchased by the Tretyakov family in the early 1850s. But by the end of the 1860s there were so many paintings that there was no way to place them all in the rooms.

With the acquisition of the large Turkestan series of paintings and sketches by V.V. Vereshchagin, the question of constructing a special art gallery building was resolved by itself. In 1872, construction began, and in the spring of 1874, the paintings were moved into the two-story first room of the Tretyakov Gallery, consisting of two large halls (now halls No. 8, 46, 47, 48). It was erected according to the design of Tretyakov’s son-in-law (sister’s husband), architect A.S. Kaminsky, in the garden of the Tretyakovs’ Zamoskvoretsk estate and was 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 rooms had increased to 14. The two-story gallery building surrounded the residential building on three sides from the garden all the way 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 its affiliation, public in nature, a museum free of charge and open almost all days of the week to any visitor without distinction of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.

On the decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its lifelong 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 as a gift to the “Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov” (this 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, began to manage the affairs of the gallery.

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

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

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, on the initiative of the artist and art historian I.N. Grabar, who was a trustee of the Tretyakov Gallery in those years, its exhibition was reformed. If previously new acquisitions were exhibited separately and 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.

Type of halls

A new period in the history of the Tretyakov Gallery began after the nationalization of the gallery in 1918, which transformed it from municipal property into state property, securing its national 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 more than fivefold by the beginning of the 1930s. A number of small Moscow museums joined the gallery, such as the Tsvetkovskaya Gallery, the I.S. Ostroukhov Museum of Iconography and Painting, partially Rumyantsev Museum. At the same time, a collection of works of Western European art, formed from the collections of S.M. Tretyakov, M.A. Morozov and other donors, was removed from the gallery and transferred to other museums.

Over the past half century, the Tretyakov Gallery has turned not only into a huge world-famous museum, but also into a large science center, engaged in the storage and restoration, study and promotion of museum values. Researchers galleries actively participate in the development of issues of history and theory of Russian art, organize 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 informatics. The Tretyakov Gallery has one of the richest specialized libraries in Russia, numbering more than 200 thousand 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 Tretyakov Gallery's collection already in the 1930s raised the question of expanding its premises. Where possible, new halls were added, residential buildings and other buildings adjacent to its territory were rebuilt and included in the gallery complex. By the end of the 1930s, the exhibition and service areas were almost doubled, but this was not enough for the rapidly growing and developing museum. Reconstruction projects for 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 (project 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 (building on Krymsky Val, architect N.P. Sukoyan and others, 1950-1960s). As a result of many discussions, it was decided to preserve 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. Korolev (1929-1992). In 1985, the first building, the depository, came into operation, housing spacious storage facilities for works various types art and restoration workshops; in 1989 - the second, the so-called Engineering building, with premises for temporary exhibitions, lecture and conference rooms, a children's studio, information and computer and various kinds of engineering services. Reconstruction of the main building, which began in 1986, was completed in 1994 and the gallery finally opened to the public on April 5, 1995.

Over the years of reconstruction, a new concept of the Tretyakov Gallery has emerged as a single museum in two territories: in Lavrushinsky Lane, where exhibitions and repositories of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exhibition areas of which are given over to art of the 20th century. Exhibitions of both old and new art are held in both territories. In the process of rebuilding the gallery building on Lavrushinsky Lane, many historical and architectural monuments located in close proximity to the gallery, now included in its composition, found new life. Thus, the Church of St. Nicholas in Tolmachi (XVI-XIX centuries), restored after the destruction 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; in ancient city buildings of the 18th and 19th centuries on Lavrushinsky Lane (houses No. 4 and 6) additional museum exhibitions of Russian graphics and ancient Russian art will be located. Projects are being developed to build a new exhibition hall on the corner of Lavrushinsky Lane and Kadashevskaya Embankment.

The current collection of the Tretyakov Gallery numbers more than 100 thousand works and is divided into several sections: ancient Russian art of the 12th-18th centuries - icons, sculpture, small sculptures, applied art (about 5 thousand exhibits); painting from the 18th century - the first half of the 19th century, the second half of the 19th century and the turn of the 19th and 20th centuries (approx. 7 thousand works); Russian graphics of the 18th - early 20th centuries (over 30 thousand works); Russian sculpture of the 18th - early 20th centuries (approx. 1000 exhibits); collection of old antique frames, furniture, applied arts and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in premises on Krymsky Val.

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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 come every year to the quiet Lavrushinsky Lane, which is located in one of the oldest districts of Moscow, Zamoskvorechye. The Tretyakov Gallery's collection is dedicated exclusively to national Russian art, to those artists who 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 remained to this day.

Pavel Mikhailovich Tretyakov

Pavel Tretyakov was born on December 15 (27), 1832 in Moscow, in merchant family. He was educated at home and began a career in commerce, working with his father. Developing the family business, Pavel, together with his brother Sergei, built paper spinning factories that employed several thousand people. P. M. Tretyakov’s fortune 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, cousin famous philanthropist Savva Ivanovich Mamontov. Born in 1866 eldest daughter Vera (1866--1940), then Alexandra (1867--1959), Lyubov (1870--1928), Mikhail (1871--1912), Maria (1875--1952), Ivan (1878--1887). In 1887, Ivan, everyone’s favorite and his father’s hope, died of scarlet fever complicated by meningitis. Pavel Mikhailovich's grief knew no bounds. The eldest son, Mikhail, was born sick, weak-minded and never brought joy to his parents.

In the 1850s, Pavel Tretyakov began collecting a collection of Russian art, which almost from the very beginning he intended to give to the city. It is believed that he acquired his first paintings in 1856 - these were the works “Temptation” by N. G. Schilder and “Clash with Finnish smugglers"(1853) V. G. Khudyakova. 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 drew up a will, which stated: “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 benefit to many and pleasure to all.”

In the 1860s, Tretyakov acquired the paintings “The Prisoners’ Halt” by V. I. Jacobi, “The 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 Procession at Easter”, “Troika” and “Amateur” were acquired; Subsequently, Tretyakov continued to acquire paintings by Perov, commissioned portraits from him, and actively participated in organizing a posthumous exhibition of the artist’s works.

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

In 1874 Tretyakov built for collected collection building - a gallery, which in 1881 was open 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 establishment received the name "City art gallery Pavel and Sergei Mikhailovich Tretyakov." Pavel Tretyakov was appointed a 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 advisor, was a member of the Moscow branch of the Council of Trade and Manufactures, and also a full member of the St. Petersburg Academy of Arts (since 1893). He died on December 4 (16), 1898 in Moscow. Last words his relatives were like: “Take care of the gallery and be healthy.” He was buried at the Danilovskoye 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 collecting 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: “Temptation” by N. G. Schilder and “Skirmish 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 on Lavrushinsky Lane in Zamoskvorechye, in the house that the Tretyakov family bought in 1851. The collection in the gallery included 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 this time, the collection included 1,287 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 exhibition capabilities of the Gallery, new premises were gradually added to the residential part of the mansion, necessary for storing and displaying works of art. Similar extensions were made in 1873, 1882, 1885, 1892 and finally in 1902-1904, when the famous facade appeared, designed 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. This facade became the emblem of the Tretyakov Gallery.

On January 16, 1913, Ilya Repin’s painting “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 virtually 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 Grabar’s activity was the reforms that turned the Tretyakov Gallery into a European-style museum with an exhibition organized according to a chronological principle. In early December 1913, on the fifteenth anniversary of the death of the Gallery's founder, the reformed museum was opened to the public.

On June 3, 1918, the Council of People's Commissars issued a Decree that declared the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment on, the museum began to be called the State Tretyakov Gallery. After nationalization, Igor Emmanuilovich Grabarm was appointed director of the Gallery. During the first years of Soviet power, the Gallery's collection increased significantly, which again raised the question of expanding its space. With his active participation, the State Museum Fund was created in the same year, 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 ( former house Sokolikov). After reconstruction in 1928, it turned into an office building that housed the Gallery's administration, scientific departments, library, manuscript department, and graphic collections. This building was connected to the Gallery by a special extension. In 1928, heating and ventilation were radically re-equipped. In 1929, the Gallery was electrified (previously 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 paintings and sculpture. Later it was connected to the exhibition halls by a newly built two-story building, the upper floor of which was specially designed for exhibiting the painting by A.A. Ivanov “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 main staircase, which ensured continuity of review. As a result of these changes, the exhibition area of the museum increased and work began on creating a new concept for displaying works.

In 1936, the construction of a new two-story building on the northern side of the main building was completed - the so-called “Shusevsky building”, whose spacious halls were first used for exhibitions, and since 1940 have been included in the main exhibition route.

From the first days of the Great Patriotic War, dismantling of the exhibition began in the Gallery - like other museums in Moscow, it was preparing for evacuation. The canvases were rolled onto wooden shafts, covered with tissue paper, and placed in boxes lined with waterproof material. In mid-summer 1941, a train of 17 carriages departed from Moscow and delivered the collection to Novosibirsk. The evacuation of works of art continued until September 1942; part of the exhibition 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 covering of some halls, and the main passages were damaged.

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

By the mid-1980s, an increased number of visitors, excursions, school clubs it was already difficult to fit into the halls of the museum. The need to expand the exhibition area once again arose. This issue was taken up by Yu.K. Korolev (1929-1992), who headed the Tretyakov Gallery for a decade and a half (1980-1992).

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 design of the architect A.L. Bernstein and was equal in height to the exhibition halls.

In 1986, 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, housing a conference room, information and computing center, children's studio and exhibition halls. In 1992-1994, they hosted an exhibition of masterpieces from the Gallery’s collection. Most of the engineering systems and services were concentrated in this building, which is why it was called the Engineering Building.

A fundamental feature of the reconstruction plan was the inclusion in the museum ensemble of the Church of St. Nicholas in Tolmachi (monument architecture XVII century) after its restoration and consecration. The temple was approved as a house church-museum at the Tretyakov Gallery.

From 1986 to 1995, the Tretyakov Gallery on Lavrushinsky Lane was closed to visitors due to major reconstruction. The only exhibition area of the museum for this decade was the building on Krymsky Val, 10, which in 1985 was merged with the Tretyakov Gallery.

Construction on Lavrushinsky Lane took almost ten many years: from 1985 to 1995.

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

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

· Tretyakov Gallery in Lavrushinsky Lane, 10

· Museum-Church 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 on Krymsky Val, 10, was merged with the Tretyakov Gallery into a single museum complex under common name"State Tretyakov Gallery". Now the building houses the updated permanent exhibition “Art of the 20th Century”.

Part of the Tretyakov Gallery is the Museum-Church of St. Nicholas in Tolmachi, which represents a unique combination of a museum exhibition and a working temple. The museum complex on Lavrushinsky Lane includes the Engineering Building and Exhibition hall in Tolmachi. The museum offers audio guide services.

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 Semenovich (1905 - 1913)

Faith in the school of Russian painting

Tretyakov's enormous 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 through his entire life, through all the difficulties and trials. It is safe to say that in the triumph of Russian painting that came at the end of the 19th century, P.M. Tretyakov’s personal merit was exceptionally great and invaluable.

Tretyakov’s letters preserve evidence of this ardent faith of his. Here's one of them. In a letter to the artist Rizzoni dated February 18, 1865, he wrote: “In the last letter to you, my expression may seem incomprehensible: “Then 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 that if sometimes our artist 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 help but agree 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 a 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.”

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

So, back in 1857, P.M. Tretyakov wrote to the landscape artist A.G. Goravsky: “About my landscape, I humbly ask you to leave it and write me a new one someday instead. I don’t need rich nature, no magnificent composition, no spectacular lighting, no miracles.” Instead, Tretyakov asked to depict simple nature, even the most inconspicuous, “so that there is truth in it, poetry, and there can be poetry in everything, this is the work of the artist.”

This note expresses the same aesthetic principle formation of the gallery, which arose as a result of thinking through the ways of development of the Russian national painting, guessing its progressive tendencies long before the appearance of Savrasov’s painting “The Rooks Have Arrived”, the landscapes of Vasiliev, Levitan, Sery, Ostroukhov and Nesterov - artists who managed to convey the poetry and charm inherent in it in a truthful depiction of the nature of Russia.

Tretyakov the collector was something of a phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. “I must admit,” wrote the artist I. N. Kramskoy in 1873, “that this is a man with some kind of devilish instinct.” Having never studied anywhere, he nevertheless possessed broad knowledge, especially in the fields of literature, painting, theater and music. “Tretyakov was a scientist by nature and knowledge,” the artist and critic A. N. Benois said 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 undeniably enjoyed Tretyakov’s greatest favor and respect, was forced to note: “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, those who believed that it was possible to influence him, they had to then abandon their delusion." Over time, high taste, strict selection and, of course, nobility of intentions brought Tretyakov well-deserved and undeniable authority and gave him “privileges” that no other collector had: Tretyakov received the right to be the first to view new works of artists either directly in their studios, or at exhibitions, but, as a rule, before their public opening.

Pavel Mikhailovich’s visit to the artists was always an exciting event, and not without trepidation, all of them, venerable and beginners, waited from Tretyakov for his quiet: “I ask you to consider the painting for me.” Which was tantamount to public recognition for everyone. “I confess to you frankly,” I. E. Repin wrote to P. M. Tretyakov in 1877, “that if we sell it (we were talking about Repin’s painting “Protodeacon.” - L. I.), then only into your hands, I don’t mind going to your gallery, because I say without flattery, I consider it a great honor for me to see my things there.” Artists often made concessions to Tretyakov, but Tretyakov never bought without haggling, and lowered their prices for him, thereby providing all possible support for his endeavor. 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, if he had not begun to piece together Russian Art, his fate would have been different: perhaps we would not have known “Boyarina Morozova”, nor “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 an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art" (A. Benois)

Gallery today

In April 1995, an updated exhibition of classical Russian art opened for visitors in the main building on Lavrushinsky Lane. The exhibition area has increased. In the reconstructed main building of the Tretyakov Gallery, it became possible to significantly expand the exhibition of ancient Russian art, to allocate halls for sculpture of the 18th - first half of the 19th centuries and turn of XIX-XX centuries.

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

The construction of courtyards made it possible to create new rooms for paintings by major masters paintings of the 19th century 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, from Grand Palace The Moscow Kremlin transferred to the Tretyakov Gallery a five-meter canvas by I.E. Repin “Reception of the volost elders by Alexander III in the palace of the Petrovsky Palace in Moscow” (1886), created according to the “highest” order. 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 exhibition into two buildings and in the Gallery building located on Krymsky Val, to create a general exhibition of art of the 20th century, from the avant-garde to the latest movements.

On December 16, 1998, on the 100th anniversary of the death of P.M. Tretyakov, the first permanent exhibition of twentieth-century art, built according to historical, chronological and monographic principles, opened on Krymsky Val. For the first time, it became possible to see the work of major artists as a whole, unbroken for the period before 1917 and after. In the anniversary year of 2006-2007, viewers were offered a new version of the exhibition.

The main emphasis is now on the diversity of stylistic trends in painting in the first half of the twentieth century. Non-objectivity and neoclassicism of the 1910s, monumentalism and chamber lyricism of the 1920s, socialist realism and post-avant-garde painting of the 1930s form an expressive contrast and enrich the understanding of the artistic process and the evolution of masters in Soviet era. For the first time in line with the works Soviet artists From the 1930s to the 1950s, works by artists from the Russian diaspora are shown. In addition to traditional exhibits, the new exhibition includes reconstructions. Viewers can see the famous counter-reliefs of V.E. Tatlin, “spatial objects” of the constructivists, that have not survived to this day; The image of the 20s is complemented by photographs of A. Rodchenko.

The exhibition activities of the Gallery are becoming more and more diverse and interesting. Every year, exhibitions are organized that arouse great public interest, including the exhibitions “Revived 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 Russian eyes British artists. XVIII - 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 his birth" (2000), "Western European art of the 16th-18th centuries from the collection of the Tula Museum of Fine Arts" (2000), "Let's return the museum to Grozny" (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 at both international and domestic exhibitions in different cities.

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

The Tretyakov Gallery carries out extensive publishing and popularization work: books, albums, and other printed materials are published. In 2004, an innovative department of multimedia and Internet projects was created, working to create a modern website for the Tretyakov Gallery and publish electronic catalogs of exhibitions.

The Tretyakov Gallery's collection now includes more than 170 thousand works.

Conclusion

Addressing the situation modern Russia, it’s hard to imagine a person who could do something like create a gallery. And the point is not even that this, as many will say, is “not really necessary,” but that now is simply a different time, different problems, different tasks that need to be solved. Although this statement is not indisputable.

In terms of cultural heritage, scientific and technological progress every day reveals 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 about the past, in order to leave to our descendants our vision of the world, our life, as did a truly great man - Pavel Mikhailovich Tretyakov.

References

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

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

In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, unexpectedly died. He left a will in which he asked to add his paintings to art collection 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 provide the ownership of the Moscow City Duma with his part of the house... where his art collection is located... then I am part of this house, that belongs to me, I give as property to the Moscow City Duma, but so that the Duma accepts the conditions under which my brother will provide her with his donation...” The will could not be fulfilled while the gallery belonged to P.M. Tretyakov.

On August 31, 1892, Pavel Mikhailovich wrote a statement to the Moscow City Duma about donating his collection to the city, as well as the collection of Sergei Mikhailovich (along with the house). In September, the Duma at its meeting officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (son of Sergei Mikhailovich) for the gift, and also decided to petition for the donated collection to be named “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 gratitude, Pavel Mikhailovich went abroad. Soon, thank you addresses, letters, and telegrams really started pouring in. Russian society did not remain indifferent to noble deed Tretyakov. In January 1893, the Moscow City Duma decided to allocate 5,000 rubles annually for the purchase 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 (Paul

Mihailovich was forced to close it in 1891 due to thefts 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 his great service to Moscow, which he made the center of artistic education in Russia, donating his precious collection of works of Russian art to the ancient capital.” .

After transferring the collection to the city, Pavel Mikhailovich did not stop caring about his Gallery, remaining its trustee until the end of his life. The paintings were bought not only with the city’s money, but also with Tretyakov’s funds, 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 clarifying them. To do this, he corresponded with artists, their relatives, and collectors, obtaining valuable information bit by bit, sometimes suggesting changing the name of the painting. This is how N.N. Roerich agreed with Pavel Mikhailovich when compiling the catalog of 1898: “...For the language, indeed, it is better to have a short name, at least “Slavic Town.” Messenger". This was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was expanded again, this time to include an internal garden, where Pavel Mikhailovich loved to walk, sacrificing everything for the sake of his beloved brainchild. Organizing Sergei Mikhailovich’s collection and re-hanging the paintings took a lot of energy 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, Moscow art society, Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnold School for the Deaf and Mutes, helping not only financially, but also going into all the intricacies of the educational process, construction and repair of buildings. At the request of I.V. Tsvetaev, Tretyakov contributed to the creation of the Museum of Fine Arts (now the State Museum of Fine Arts named after A.S. Pushkin). It is impossible to list all of P.M. Tretyakov’s donations; it is enough to mention the assistance of N.N. Miklukha-Maclay’s expedition, numerous scholarships, and donations for the needs of the poor. IN recent years Pavel Mikhailovich was often unwell. He was also very worried about his wife’s illness, which was paralyzed. In November 1898, Tretyakov went to St. Petersburg on business and, upon returning to Moscow, felt unwell. On December 4, Pavel Mikhailovich Tretyakov died.

History of the gallery. 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 Seraphim Cemetery (Novodevichy Convent). Tombstone by sculptor I. Orlov according to the design of artist I. Ostroukhov (granite, bronze).

After 1917, a monument-bust to V.I. Lenin was erected in front of the façade of the Tretyakov Gallery on a rectangular pedestal. 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 by S.D. Merkulova, 3.5 meters high, depicting Stalin at full height, is made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has high degree safety and is located in the courtyard of the main building of the Tretyakov Gallery (leaning against the wall). On April 29, 1980, on the site of the removed monument to Stalin, a monument to the founder of the Tretyakov Gallery, Pavel Tretyakov, was finally erected, a sculpture that still exists today. This is a four-meter granite statue, created according to the design of sculptor A.P. Kibalnikov and architect I.E. Rozhin.

"POSTHEATH JOURNEY" OF THE TRETYAKOVS

The Danilovskoe cemetery was formerly famous for its special “third-class” flavor, which, however, has not been completely lost to this day. Moscow historian A.T. Saladin stated in 1916: “The Danilovskoye cemetery can safely be called a merchant cemetery, but it could not be anything else, 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 won’t find the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins here now...

Perhaps the most famous merchant burial of the Danilovsky cemetery, and perhaps the whole of Moscow, was the site of the Tretyakovs 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 tall, but completely simple monument with the inscription: “Sergei Mikhailovich TRETYAKOV was born on January 19, 1834, 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 design. Caption: “Pavel Mikhailovich TRETYAKOV December 15. 1832 d. 4 Dec. 1898." However, today all this is not at the Danilovsky cemetery. On January 10, 1948, the remains of both brothers, as well as P. M. Tretyakov’s wife 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 trust manager funeral homes under the Moscow Soviet, he motivated his initiative as follows: “Despite the agreement concluded by the administration of the [Tretyakov] Gallery on the protection of these graves and their artistic tombstones, executed by the artist V. M. Vasnetsov, these graves are falling into extreme disrepair. (...) Considering 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 tombstones from the cemetery Danilovsky Monastery in the cemetery of the Novodevichy Convent, where the most prominent figures of Russian culture and art are buried.”

That the chairman of the art committee confused the cemeteries of the Danilovsky Monastery and Danilovskoye is not so strange - they are still confused, although the first has not existed for seventy years. extra years. The justification for the need to move the graves sounds strange: in the old place they are “falling into extreme decay.” However, graves that are taken care of will never “fall into decay,” but if they are abandoned, decay is guaranteed, even if they are located right next to the Kremlin wall. The urn with Mayakovsky’s ashes stood in the best columbarium in the country at that time Donskoe Cemetery and could not “fall into decay” in any way - nevertheless, it was still moved to Novodevichye.

The background of 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 carried out not only from cemeteries subject to liquidation, but generally from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally second in importance after Novodevichy.

Some sources (for example, the Moscow encyclopedia) indicate that Sergei Mikhailovich Tretyakov still rests in the Danilovsky cemetery. This is wrong. The Tretyakov Gallery archive contains the “Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakov and S. M. Tretyakov from the Danilovsky cemetery to the Novodevichy Convent cemetery dated January 11, 1948.” In addition to the act and other papers, the archive also contains several photographs: some depict the moment of exhumation, others were taken at the Novodevichy cemetery at the edge of a freshly dug grave. The photographs leave no room for any doubt.

But here’s what’s curious: in the archives of the neighboring Danilovsky Monastery, among the cards of those buried here, there is also a card of Sergei Mikhailovich Tretyakov. It turns out that the Danilovsky monastery graveyard also claims to be the place of his burial? Of course not. Having the testimony 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, and documents were nevertheless “opened” for 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 philanthropists has been preserved. Or rather, their monument. To the left of the main path, almost immediately after the memorial to those killed in the Great Patriotic War, surrounded by extremely rusty fragments of a wrought-iron fence, stands a strong, slightly lopsided 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 month and 6 days.
Alexandra Danilovna Tretyakova
born in 1812.
died on February 7, 1899."

We don’t know for sure whether anyone’s remains lie under the obelisk today. It would seem, who would have thought to disturb the bones of the senior Tretyakovs? But apparently it could. The transfer of the founders of the largest art gallery to an elite cemetery is somehow still explainable, but here’s what else their admirers came up with then: according to the “letter of guarantee” stored in the Tretyakov archive, the Mytishchi sculpture factory No. 3 undertook to carry out at the Danilovsky cemetery: “a) Confiscation of ashes Tretyakov P. M. and his burial at the Novo-Devichy cemetery, b) Confiscation of the ashes of Tretyakov M. Z. and burial in the grave instead of the ashes of Tretyakov P. M., c) Relocation of the monument to Tretyakov M. Z. in place of the monument to Tretyakov P. M."

Tretyakov got it! Both older and younger. By the way, for some reason the “letter of guarantee” does not say a word about Alexandra Danilovna. It turns out that the father was reburied in the place of his son (if he was 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 resting under their “name” 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. The brothers and sister of Pavel Mikhailovich and Sergei Mikhailovich are buried there, who died almost simultaneously in infancy in 1848 during the scarlet fever epidemic - Daniil, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family that no one has ever encroached on.