The history of the creation of the Tretyakov Gallery. Opening of the Tretyakov Gallery

28.04.2019

Over more than a century of its existence, the Tretyakov Gallery has become legendary: every year people from all corners of the globe come to see the exhibits stored here. The unique museum, which has collected masterpieces of painting within its walls, tells the story not only about the development of art, but also about the difficult path of the Russian people, reflected in the paintings of famous domestic masters.

The Long and Glorious officially began in 1856. The emergence of the now famous museum is associated with the name of Pavel Mikhailovich Tretyakov, who at that time began to collect a collection of works by contemporary Russian artists.

About Pavel Mikhailovich Tretyakov

Pavel Mikhailovich Tretyakov was born in 1832 into a wealthy family that belonged to a famous merchant family. Like all scions of wealthy families, Pavel received an excellent education. Over time, he began to help his father in commercial matters. After both parents passed away, Tretyakov began developing the family business: the factory enterprise grew and brought in more and more income.

However, Pavel Mikhailovich was always interested in the history of art. He thought about creating the first permanent exhibition of Russian painting long before the founding of the museum. True, two years before the opening of the Tretyakov Gallery, the future philanthropist acquired paintings by Dutch masters, and only in 1856 was the beginning of his legendary Russian collection laid. The first canvases in it were oil paintings “Temptation” by N. Schilder and “Clash with Finnish smugglers» V. Khudyakova. At that time, the names of these artists were not yet known to the general public, and Pavel Mikhailovich began his collection of paintings with their works.

For several decades, Tretyakov collected paintings by outstanding masters of painting, maintained friendly relations with many artists and helped those who needed it. Short story the birth of the great collection would not have included the names of everyone who was grateful to the patron.

House for pictures

Tretyakov Gallery in Moscow is one of the world's leading museums. The main building is located in Lavrushinsky Lane, which belongs to one of the oldest districts of the capital - Zamoskvorechye, the new halls are on Krymsky Val.

The history of the Tretyakov building is a constant expansion of its area. Initially, the paintings were located directly in the collector’s house. Then a kind of passage was added to the Tretyakov merchant mansion, which surrounded the house on three sides. Since 1870, the exhibition has become accessible to the public. Over time, the understanding came that it was no longer possible to accommodate the entire collection of paintings in the available space, therefore, in 1875, by special order of Pavel Mikhailovich, the building of the Tretyakov Gallery was built, which has been constantly growing with the necessary space since then.

Replenishment of the Assembly: Key Milestones

According to the creator's plan, the Tretyakov Museum should include only the works of Russian artists and only those of their works that would convey the special essence of the authentic Russian soul.

In the summer of 1892, the collection was presented as a gift to Moscow. At that time, the collection consisted of 1,287 paintings and 518 graphic works by Russian artists. The exhibition also included more than 80 works by European authors and a large collection of icons. Since then, at the expense of the city treasury, the gallery began to be replenished with real masterpieces of world art. Thus, by the fateful year for the history of Russia, 1917, the Tretyakov collection already consisted of 4,000 items. A year later, the gallery became state-owned, and at the same time the nationalization of various private collections took place. In addition, the history of the art collection continued with the inclusion of works from small Moscow museums in the fund: the Tsvetkovskaya Gallery, Rumyantsev Museum, I. S. Ostroukhov Museum of Iconography and Painting. That is why already in the early thirties of the last century the collection was increased more than fivefold. At the same time of work Western European masters move to other congregations.

This is the history of the creation of the State Tretyakov Gallery, which stores paintings that can glorify the originality of the Russian person.

Today and prospects

Now the Tretyakov Gallery is no longer just a museum exhibition, but also a center for the study of art. The opinion of its employees and specialists is highly valued all over the world; experts and restorers are considered among the most professional in modern world art. The unique local library is another treasure of the Tretyakov Gallery: the book collection contains more than 200,000 specialized volumes on art.

The most significant exhibits are exhibited in historical building. The exhibition is divided into sections:

Old Russian art (XII–XVIII centuries);
painting with XVII century to the first half of the 19th century;
painting of the second half of the 19th century and turn of the XIX century and XX centuries;
Russian graphics of the 13th – early 20th centuries;
Russian sculpture of the 13th – early 20th centuries.

Today the collection includes more than 170,000 works of Russian art, while the collection of exhibitions and storage continues. Artists, private donors, various organizations and heirs donate wonderful works, which means the story of creating a unique collection of domestic masterpieces is not complete.

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 merchant and philanthropist Pavel Tretyakov. It is here that one of the world's largest collections of Russian visual arts.

History of the gallery's creation

The State Tretyakov Gallery actually began to take shape in the mid-1850s. Official year Its discovery is considered to be in 1856. It was then that Tretyakov acquired two paintings by Russian artists - “A Skirmish 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 earlier, Tretyakov had already taken possession of 9 paintings by ancient 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, and contained 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. By that time, the collection of works of art had expanded significantly. 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 with a percentage of the capital of 125,000 rubles, which was bequeathed to the Tretyakov by its founder himself. Additionally, a certain amount was allocated annually by the City Duma.

Location

The building in which the State Tretyakov Gallery was located in Moscow was acquired by the merchant's family in 1851. As the collection grew, new rooms were constantly added to the mansion, in which works of art were displayed and stored. The first such building was erected back in 1873, and from 1902 to 1904 the façade, famous throughout the capital, appeared, which was designed by the architect Bashkirov based on Vasnetsov’s drawings. Architect Kalmykov directly supervised the construction.

Tragedy with Repin's painting

Many works of the State Tretyakov Gallery were of great value for Russian and world culture. Therefore, the whole world was shocked by an incident that occurred in 1913. A vandal attacked Ilya Repin's painting "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 keeper of the Tretyakov Gallery, upon learning about this incident, threw himself under the train. Soon after this, the city duma elected Igor Grabar as the new trustee of the gallery.

Soon after the victory 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, a museum fund was created, which until 1927 remained one of the key sources for the full replenishment of the collection.

In 1926, the gallery changed its director. It becomes academician of architecture Shchusev. The following year, a certain part of the collection moves to a house on Maly Tolmachevy Lane, located next door. A large-scale reconstruction was carried out here, after which the administration was located here, as well as a library, scientific departments, funds, and manuscript departments.

Already by 1985-1994, the administrative building was built according to the design of the architect Bernstein, after which its height was equal to the exhibition halls. In 1929, electricity was installed in the gallery.

During the Great Patriotic War

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

Expansion of the exhibition area

In the post-war period, Korolev, who became head of the Tretyakov Gallery in 1980, played an important role in expanding the exhibition area. Already in 1983, he began active construction, and two years later the depository was put into operation. This is a specialized storage facility for works of art; it also housed restoration workshops.

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

But the buildings located in Lavrushinsky Lane were closed completely from 1986 to 1995 due to major reconstruction. For a whole decade at that time, the only exhibition space remained in the building located on Krymsky Val. 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 already numbered about four thousand works by 1917, 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 thousand works, was one of the largest in Europe. It was regularly replenished through government procurement. Nowadays, in the collection of the State Tretyakov Gallery you can find a collection of Russian painting, sculpture, graphics, works of foreign authors, as well as works of decorative and applied art from the 11th to 21st centuries.

The collection of icons is worth mentioning separately. Icons from the 11th to 17th centuries are presented here, including works by Simon Ushakov, Dionysius, and the famous “Trinity” by Andrei Rublev.

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

There are many paintings by Ilya Repin, among the lower ones already mentioned in this article “Ivan the Terrible and his son Ivan”, “They Didn’t Expect”. Many are familiar with Surikov’s works “Menshikov in Berezovo”, “Boyaryna Morozova”, “Morning of the Streltsy Execution”, as well as the works of Antokolsky and Vereshchagin.

Widely represented soviet art. Here, everyone knows Grabar, Kukryniksy, Konenkov, Serov, Mukhina, Brodsky.

The State Tretyakov Gallery, whose collection numbers more than 60 thousand works today, remains the most attractive place for numerous art fans from all over the world.

Tretyakov Gallery in philately

Stamps from the State Tretyakov Gallery have long become valuable 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 building, which was later demolished. In 1956 it was released Postage Stamp, dedicated to the 100th anniversary of the founding of the State Tretyakov Gallery. And in 2006, a whole postal block appeared in circulation, which was issued 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 rich collection collected here, is located in Moscow at Lavrushinsky Lane, 10.

The gallery's opening hours are as follows: Monday is a day off, on Tuesday, Wednesday and Sunday it is open from 10 am to 6 pm, and on Thursday, Friday and Saturday 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 difficult. The easiest way to do this is to use the capital's metro. To do this, you need to get to the Polyanka or Tretyakovskaya stations, which are located on the Kalininskaya line, or to the Oktyabrskaya or Novokuznetskaya stations of the Kaluzhsko-Rizhskaya line. Another option is to get off the car at the Oktyabrskaya station on the Circle Line.

Ticket prices

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

Please note that the gallery is organized free visit for Russian students on the first and second Sunday of the month.

After visiting the Tretyakov Gallery, take time to explore the attractions located nearby. This is the Church of St. Nicholas, Shmelev Square, Tretyakovsky Pier, the Kadashevskaya Sloboda Museum, Yakimansky Square, and the Ore Petrographic Museum.

If you are planning to visit the Tretyakov Gallery, then do not try to embrace the immensity. Don’t set yourself the task of seeing all the collections in one day. It’s better to decide in advance on two or three masters or areas on which you will concentrate your attention this time. Leave the rest until your next visit.

A free guide will also help you find your way, 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, 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.

Telephone +7 (499) 230-7788 Ticket 250 rubles

State Tretyakov Gallery, Tretyakov Gallery(also known as Tretyakov Gallery) - art museum in founded by a merchant and has one of the world's largest collections of Russian fine art. Exhibition in the main building “Russian painting of the 11th - early 20th centuries” ( , no. 10) is part of the All-Russian museum association "State Tretyakov Gallery", formed in .

Story

began collecting his painting collection 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 “Clash with Finnish Smugglers” , although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. IN for the general public in The Moscow City Gallery of Pavel and Sergei Tretyakov was opened. Her collection consisted of 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

In August Pavel Mikhailovich handed over his art gallery as a gift to the city . 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. The official opening of the museum took place under the name “Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov.”

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

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

IN Academician of Architecture became director of the museum . The very next year, the Gallery received a neighboring house on Maly Tolmachevsky Lane ( former house merchant Sokolikov). After restructuring in The Gallery administration, scientific departments, library, manuscript department, and graphic collections are located here. 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 1928, the gallery underwent major heating and ventilation repairs, electricity is provided.

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

IN A new two-story building was opened on the northern side of the main building - the so-called “Shusevsky building”. These halls were first used for exhibitions, and since were included in the main exhibition route.

From the first days The dismantling of the exhibition began in the Gallery - like other museums in Moscow, it was preparing for evacuation. Midsummer a train of 17 carriages departed from Moscow and delivered the collection to. Only The gallery was reopened in Moscow.

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

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

From 1986 to 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.

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

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

In 1985 , located on , 10, was merged with the Tretyakov Gallery into a single museum complex under common name State Tretyakov Gallery. Now the building houses the updated permanent exhibition “Art of the 20th Century”.

Part of the Tretyakov Gallery is , representing a unique combination of a museum exhibition and a functioning temple. The museum complex on Lavrushinsky Lane includes the Engineering Building and Showroom in Tolmachi. The museum offers services .

Heads of the State Tretyakov Gallery

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

Museum collection

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

Currently, the collection includes Russian paintings, graphics, sculpture, individual works arts and crafts— began.

Second half

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

Creativity is presented in many ways (including “We didn’t expect”,) and (including " ", " ", " "), , sculptor.

Late XIX - beginning

Main artists represented in the collection:, , , , , , , masters ( ,

Pavel Tretyakov is the founder of the Tretyakov Gallery. How was the life of this philanthropist? We will talk about this in the article.

Brief information about the life of the great philanthropist

Pavel Mikhailovich Tretyakov was born on December 27, 1832 in Moscow. His parents were merchants. Throughout his childhood, Pavel Mikhailovich was an excellent assistant to his father at work. He and brother Sergei were inseparable. From an early age they worked together, and later created the famous art gallery.

By the end of the 40s of the 19th century, the Tretyakov merchants owned five trading shops. But soon the family breadwinner, Mikhail Zakharovich Tretyakov, fell ill with scarlet fever and died. Pavel and Sergei took full responsibility for the family and trade. After the death of his mother, Pavel Mikhailovich headed a paper spinning factory, where he was very successful.

By character Pavel Tretyakov, Interesting Facts from whose life you will learn further, he was a kind and sensitive person. He loved comfort and appreciated art. At work they spoke of him as a businesslike, persistent and firm person. But it cannot be said that he was extremely strict with his subordinates.

Tretyakov's early years

His interest in great art began at the age of twenty, after visiting the Hermitage in St. Petersburg. It was then that the idea arose to collect my own collection of paintings. He understood that collecting a unique collection would take all of his time. free time, but Paul was inspired by the idea.

The first paintings were purchased in 1853, the next year he bought nine paintings by old Dutch masters - they decorated his living rooms until Tretyakov’s death. A couple of years later, his collection was replenished with works by N. G. Schilder “Temptation”, V. G. Khudyakov “Finland Smugglers”, followed by the purchase of paintings by I. P. Trutnev, A. K. Savrasov, K. A. Trutovsky, F. . A. Bruni, L. F. Lagorio, and famous portrait archaeologist Lanci is of Italian origin.

The purpose of collecting Pavel Tretyakov was not enrichment and fame, but a love of art and the gift of his collection to the people.

Marriage

The year 1865 was marked for the young philanthropist by his marriage to a twenty-year-old girl, Vera Nikolaevna Mamontova, who was quite educated for that time. The bride was brought up in the same family as him, and had a very warm attitude towards music and art in general. After a while, daughters are born to them, and later a son, Mikhail. But, unfortunately, he grew up as a sickly child and required constant attention. Mikhail's life was short.

Pavel Mikhailovich’s activities are aimed at collecting works of his contemporaries and democratic artists national school. The heart of the Tretyakov Gallery is considered to be the works of I. N. Kramskoy, V. I. Surikov and E. Repin.

First steps

Communicating with famous people, Tretyakov decides to create a large hall of portraits of his compatriots and contemporaries. To do this, he created a list of names, according to which Tretyakov accepted orders for portraits.

Pavel Mikhailovich chose the location for the future art museum in Lavrushinsky Lane, where he began constructing a luxurious two-story building for the future Tretyakov Gallery. In the summer of 1893, the long-awaited opening took place. Later, the fate of the gallery was decided by the people. It was transferred to the city of Moscow. As a reward, the autocrat offered Pavel Mikhailovich a noble title, but he refused, choosing the merchant class of which he was so proud.

The history of the emergence of the Tretyakov family of merchants

P. Tretyakov came from an old merchant family. The great-grandfather of Pavel and Sergei, Elisey Martynovich Tretyakov, came from the merchants of Maly Yaroslavets, known since 1646. In 1774, he moved to Moscow with his wife Vasilisa and children: Osip and Zakhar. Elisha later remarried, and his second wife bore him a son, Misha. In 1831, the matured Mikhail married Alexandra Borisova. This is how Pavel and Sergei Tretyakov were born. They also had sisters: Sophia, Elizaveta and Nadezhda. The father carefully monitored the education of his children. The Tretyakov family was a model of obedience and politeness. There were no quarrels or resentments between the children. The brotherly love of Pavel and Sergei later laid the foundation for the creation of the famous Tretyakov Gallery.

Tretyakov brothers

After the death of their parents, Pavel and Sergei had to take control of the factories into their own hands. Their work proceeded smoothly and successfully. According to written sources, the Tretyakov family was not rich enough. The Tretyakov brothers took the money that was spent on purchasing the collection from the family budget and the income of their enterprises.

Sergei fully supported his brother and was actively involved in charity work. They worked, rested and together founded the Arnold-Tretyakov School. It is still famous today because this educational institution was created for the deaf and dumb in Moscow.

Sergei Mikhailovich Tretyakov was the head of the city and a passionate collector of collections.

Pavel Mikhailovich Tretyakov devoted his entire life to collecting. There was one difference between the brothers: Sergei Mikhailovich regarded collecting as his hobby, while Pavel Tretyakov saw a certain mission in his desire, and later in his activity.

Happiness and love of philanthropist Tretyakov

The biography of Pavel Tretyakov indicates that he became the last of his family members to marry. This happened in the thirty-third year of his life. His wife was Vera Nikolaevna Mamontova. All her life this woman was guiding star for Pavel Mikhailovich. Vera Nikolaevna could not come to terms with only one main rival - her husband’s art gallery, on which he spent his entire fortune and most of his time.

At thirty-two years old, Pavel Mikhailovich Tretyakov was the only bachelor in the family. Nobody expected him to get married anymore. But soon he announces his engagement to Vera Mamontova, and then his wedding.

Pavel Tretyakov met Vera Nikolaevna at one of the family evenings at the Mamontovs’ house. Vera Nikolaevna grew up in merchant family. Her femininity, high intelligence, and love of music charmed the patron of the arts.

The wedding date was set for August 22, 1865. To the surprise of everyone, the marriage of Pavel and Vera turned out to be strong and happy. Their family was large. They and six children lived in the house. Vera Nikolaevna maintained warmth and harmony in the family throughout her life. However, their family life wasn't so rosy. The husband was strict and kept financial records. New clothes were bought only after the old ones wore out. The fact is that Pavel Mikhailovich Tretyakov spent all the family money on replenishing his art collection and on charity.

Despite such huge expenses, Vera Nikolaevna never blamed her husband for this. She valued his love and always agreed with him.

Grief in the Tretyakov family

Not all of Pavel Tretyakov’s children were able to become the pride of their parents. In 1887, the Tretyakov family was overtaken by an inevitable misfortune: he died younger son Pavel Mikhailovich, seriously ill with scarlet fever. Another blow that followed the first was the doctors’ verdict that the second son had dementia. Unable to bear such a surprise of fate, the philanthropist withdrew into himself and became completely detached.

In 1893, Pavel Mikhailovich’s beloved wife suffered a mini-stroke, and five years later she fell ill with paralysis. And then Tretyakov realized that Vera Nikolaevna was dearer to him than anything in the world. He himself fell ill from the experience, and on December 16 he left this world. Vera Nikolaevna passed away three months after the death of her husband. In 1898, according to his will, the gallery became the property of the city of Moscow. And in 1918, by order of the leader of the proletariat, it received the name of the State Tretyakov Gallery. During Soviet times, the Tretyakov Gallery collected not only paintings by artists of the 18th and 19th centuries, but also works by artists of the post-revolutionary period: Kuzma Petrov-Vodkin, Yuri Pimenov, Semyon Chuikov, Arkady Plastov, Alexander Deineka...

Death of a patron

The merchant Pavel Tretyakov was known not only as a collector of the collection, he was an honorary member of the Society of Connoisseurs of Art and Music. He also took an active part in charity work. At one time, together with his brother, he founded a school for the deaf and dumb in Moscow.

At the beginning of December 1898, Pavel Mikhailovich Tretyakov fell ill with a stomach ulcer. Even in the last hours of his life he thought about business in the gallery. The last request of the dying man was to save the gallery, and our contemporaries did just that.

Philanthropist Pavel Tretyakov was buried at the Danilovsky cemetery. Now his ashes rest in the Novodevichy cemetery.

Substitution of a famous painting

In 1913, the mentally ill icon painter Abram Balashov, while in the Tretyakov Gallery, cut up the artist Repin’s painting “Ivan the Terrible Kills His Son.” The faces in the painting had to be restored again. And the curator of the gallery (at that time he was E.M. Khrustov), having learned about this, threw himself under the train.

The surprising fact was that the artist himself did not notice any changes in his work. This saved the gallery from collapse.

Interesting facts about the Tretyakov Gallery

In 1929, the Church of St. Nicholas was closed in Tolmachi, which immediately became one of the treasures of the Tretyakov Gallery. It was connected to exhibition halls on the top floor of a two-story building, which was intended to display the painting “The Appearance of Christ to the People” by Alexander Ivanov.
During the Great Patriotic War Tretyakov's collection was evacuated to Novosibirsk. The meeting occupied seventeen carriages.
The history of the painting “The Rooks Have Arrived”. This picture was painted by the famous artist Alexey Savrasov. After the death of his newborn daughter, he tried many times to repeat his work. It all ended with the artist painting the walls of taverns with a copy of this painting. And with the money he earned he bought himself bread and vodka.
In order to receive the desired picture, Pavel Mikhailovich paid for trips for artists. In 1898, Osip Braz painted a portrait of A.P. Chekhov, which Pavel Mikhailovich sent to Nice. However, the writer himself did not like the portrait.
Everyone famous Malevich wrote four versions of the famous "Black Square", and two of them are in the Tretyakov Gallery.

Immortal Legacy

To summarize, it can be noted that the meaning of Pavel Tretyakov’s life is his famous collection. In Russia rare person with such obsession and fanatical desire he tried to convey the “beautiful” to all people, not paying attention to prejudices and social inequality. There was truly a great man who loved his homeland and people, Pavel Tretyakov. The Tretyakov Gallery is his greatest contribution to world art. And the memory of the man with a capital M, which Tretyakov was, will never die!

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru

Introduction

The State Tretyakov Gallery is one of the largest museums peace. 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, into a 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 “Skirmish 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 drew up a will, which stated: “For me, who truly and ardently loves painting, there cannot be better wishes how to start a public repository accessible to all 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 institution received the name “City Art Gallery of 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 (the former Sokolikov house). 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 the main staircase, which ensured continuity of view. 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, the increased number of visitors, excursions, and school groups could hardly fit into the museum’s halls. 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 for long 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 the general 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 the Exhibition Hall in Tolmachi intended for temporary exhibitions. 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 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 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 the turn of the 19th - 20th 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 2006-2007, viewers were offered new option exposition.

The main emphasis is now on the diversity of stylistic trends in painting in the first half of the twentieth century. The 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 idea of artistic process and the evolution of masters in Soviet time. 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 respect 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.

Bibliography

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.

Posted on Allbest.ru

...