The history of the creation of the Tretyakov Gallery. Tretyakov Gallery: halls and their description

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 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 right 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 Tretyakov Gallery in Lavrushinsky Lane in connection with the major reconstruction was closed to visitors. 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 the Exhibition Hall in Tolmachi intended for temporary exhibitions. 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 painting, graphics, sculpture, and individual works of decorative and applied art.— began.

Second half

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

The world famous Tretyakov Gallery is open to tourists all year round. However, not all visitors are familiar with the history of its creation, as well as the names of the people, thanks to whose efforts it appeared.

Collector's childhood

The biography of Pavel Tretyakov began on December 27, 1832. The future collector was born in Moscow into the family of a merchant. The thorough education that Pavel and his brother received at home had a very great influence on his life. Brothers with early childhood helped their father with work.

The desire to help, as well as expand the family business, was so strong that the young Tretyakovs took up paper production - they became owners of paper spinning factories with a total number of workers - five thousand people.

Love for beauty

From early childhood, Pavel Mikhailovich Tretyakov was very kind, attentive, and responsive in character. But at the same time, the simplicity and kindness of his heart were closely intertwined with real business acumen, the ability to highlight the main thing, and perseverance. In addition to his main activity (factory manager), Pavel Tretyakov was passionate about art. The young man decided to put together a collection at any cost. best works that era and burned with this idea until the end of my life.

Having begun his collecting work, Pavel Mikhailovich Tretyakov clearly understood the goals facing him and appreciated the complexity of the work. Collecting the collection took him quite a lot of time. Because, in addition to his passion for art, Pavel Tretyakov and his brother studied entrepreneurial activity, namely managing a flax spinning factory in Kostroma and selling paper and fabrics, there was not much time left for art. But Pavel Tretyakov was engaged in this noble cause not out of a desire for personal gain, success, authority, or fame. He was disgusted by these feelings, and he in every possible way avoided any publicity about his collecting. There is a famous case when, after a laudatory article by Stasov, where the author lavished praise on Pavel Mikhailovich for his selfless work, Tretyakov almost fell ill with illness, upset because of this. After the incident, Pavel Mikhailovich was forced to temporarily leave Moscow. After this, the collector refused to attend the ceremony marking the transfer of the Tretyakov Gallery to the ownership of Moscow. This attitude towards fame only confirms how simple and modest a person Pavel Mikhailovich Tretyakov was. The collector's biography, of course, cannot but arouse admiration.

Start of the collection

It is difficult to say who exactly instilled in Pavel Tretyakov an interest in art, but he began to get involved in painting quite early. Little Pavel, even as a child, was inspired by the noble idea of ​​collecting his own collection and thus opening up for his compatriots the opportunity to become closer to art, including national art. His dream was destined to come true. Already in 1856 he laid the foundation for his collection. Works of Russian national art were of greatest interest to him. For a long time, Tretyakov kept his collection in his offices, and in 1874 he built an entire luxurious building for it. In 1881 the gallery was open to the public.

Formation of the gallery

Even when purchasing and ordering paintings for his gallery, Pavel Mikhailovich Tretyakov adhered to the same moderation as in everything else. Even the contents of the museum reflected his balanced and reasonable character. When buying paintings, Pavel Tretyakov never sought to replenish his collection exclusively with expensive exhibits. The collector stuck to the golden mean.

The collector did not hesitate to bargain with the artists. Most of the paintings purchased by Tretyakov had an average price. Pavel Mikhailovich’s main task at that time was to collect as much as possible large collection works that would reflect true national Russian art.

The value of the Tretyakov Gallery

The main part of the gallery consisted of works of Russian painting. Many paintings were painted by Itinerant artists. However, in addition to paintings, Pavel Mikhailovich was interested in sculpture and icons. In order to fill his collection, the collector often acquired entire series of works. For this purpose, Tretyakov visited many domestic and foreign exhibitions, where he bought paintings. In addition, the collector asked Russian artists paint custom paintings for his gallery. Among these paintings are many portraits, including famous Russian figures and rulers, scientists, writers, musicians, artists, painters, for example, Tolstoy, Dostoevsky, Turgenev, Nekrasov, Goncharov, Tchaikovsky and other outstanding people.

In addition to the paintings purchased by Pavel Mikhailovich Tretyakov at exhibitions or ordered from the best at that time domestic artists, as well as sculptures and icons, the collection included those works that were collected and preserved by Pavel Mikhailovich’s brother Sergei. This collection consisted of works. Until the middle of the twentieth century, as many as 84 works were kept in the Tretyakov Gallery, and then were transferred to the Hermitage and the Pushkin Museum.

The meaning of activity

In 1892, Pavel Tretyakov took a magnanimous step and transferred his gallery, along with the entire collection, to the ownership of Moscow. At this point, the collection already consisted of more than a thousand paintings. From that moment on, the gallery found its official name Tretyakov City Art Gallery.

Especially of great importance for the Russian cultural history has the fact that at the time of creation of the gallery national painting V Russian Empire had a fragmented character. Simply put, it was in its formation stage. At that time art domestic figures was constantly subject to comparison, harsh criticism and, in fact, was only at the beginning of development. It was the work of Pavel Mikhailovich Tretyakov that made it possible to systematize the works of the national school of painting and leave only selected works in the gallery, thereby setting the tone further development Russian fine arts.

Contribution to art

It must be said that in his old age the collector did not stop replenishing the gallery and even bequeathed personal funds for its maintenance and expansion. According to various sources, Pavel Mikhailovich acquired dozens of new works for the gallery every year, including drawings and sketches. With his active charitable activities, Pavel Tretyakov strengthened global significance Tretyakov Gallery. But even on this artistic activity Pavel Mikhailovich does not end there. In 1893, the collector became a member

The gallery of Pavel Mikhailovich Tretyakov is still extremely popular among tourists today. This only emphasizes the importance of its creation.

Cultural heritage

Thus, Pavel Mikhailovich Tretyakov’s idea to create national museum completely come true. The Tretyakov Gallery became the first gallery that was free to visit. This museum collected the most valuable works for Russia. This is exactly the result that Pavel Tretyakov was counting on. In short, the gallery not only combined the creations best authors of that era, but also became a kind of symbol and guide for shaping the future of cultural Russia.

Throughout the history of its existence, the Tretyakov Gallery has become a home for such outstanding works of art as works by Schilder, Khudyakov, Trutnev, Savrasov, Trutovsky, Bruni, Lagorio and Bryullov.

The works of the Itinerants were especially revered by the great connoisseur. Pavel Mikhailovich Tretyakov was impressed by their liveliness, spiritual creativity saturated with love for native land, to the Motherland, to Russia. The collector unmistakably identified, with his innate sense of beauty, the extraordinary fullness in the works of these masters. Their paintings touched on the themes of justice, the desire for truth and prosperity that deeply worried Pavel Mikhailovich. It is not for nothing that the work of the Itinerant artists occupies significant place in the Tretyakov collection.

Tretyakov's authority

Thanks to his noble position, great goal, and special character, Tretyakov had many good acquaintances and friends among artists. Many figures in their own way own initiative offered help and support in the creation of the Tretyakov Gallery. Pavel Mikhailovich was very loved and respected in this environment. Even among other collectors, Tretyakov was given the palm and, among other things, was allowed to be the first to choose creations for his museum among the painted canvases. Pavel Tretyakov was on everyone's lips. Brief biography the collector only emphasizes that, in addition to his noble activities, he himself enjoyed authority among artists. So, Volnukhin painted his portrait for the collector.

Social activities

Pavel Tretyakov was friends with many artists and sponsored many of them. Among such figures are Kramskoy, Perov, Vasiliev and many other creators. But the collector’s charity does not end there. Pavel Mikhailovich actively supported special educational institutions for hearing impaired people, financially supported the widows of poor artists, as well as their children. He even took part in organizing a shelter for them. Such activity emphasizes how broad-minded Pavel Tretyakov was. The biography of the collector makes an indelible impression as life path an incredibly generous person.

Collector Achievements

Tretyakov Pavel Mikhailovich went down in Russian history as a real hero who did a lot for his Motherland and its prosperity. Moreover, many art critics characterize it as true patriot of your country. Of course, it’s hard to disagree with this. After all, Pavel Mikhailovich’s goal was to collect as large a collection as possible Russian works, to increase and show in all its glory the Russian fund of fine arts. Moreover, Tretyakov had absolutely no art education, nevertheless, he unerringly chose the best exhibits for his gallery. The biography of Pavel Mikhailovich Tretyakov serves as an excellent example of how much good you can do for your country.

The history of the creation of the Tretyakov Gallery began a long time ago. In 1832, the founder of the famous art museum, Pavel Mikhailovich Tretyakov, was born. He received an excellent education due to the fact that his family was a merchant, and his parents owned a factory, the income of which grew every year. Pavel Mikhailovich was always interested in art, although he worked with his father, over time he began to think about creating a pavilion that would house paintings by all Russian artists. It was their creativity that most inspired the patron of the arts.

At first, the paintings hung in Tretyakov’s house; in the process of collecting the collection, extensions began to be made to the house, which in 1870 became available to the general public. When the philanthropist realized that all the canvases simply would not fit in the extensions, he ordered the construction of a special building - the Tretyakov Gallery, which opened its doors in 1875 and is located to this day in the oldest quarter of Moscow in Zamoskvorechye. From this moment the history of the creation of the Tretyakov Gallery began.

In 1892, the collection was donated to Moscow; even then it consisted of more than 1,300 paintings by Russian authors, most of whom not only sold their creations to Tretyakov, but were proud that the patron had chosen them, and were grateful for the help he provided to all those in need. After the death of Pavel Mikhailovich, the Tretyakov Gallery was not abandoned; on the contrary, it began to be replenished with new works, and by 1917 it contained more than canvases, as well as a collection of icons, maps and other Russian creations.

Paintings from the Tretyakov Gallery: Ivan Shishkin – “Morning in pine forest» V.V. Vereshchagin – “Apotheosis of War” I.N. Kramskoy – “Unknown” I.E. Repin – “Ivan the Terrible and His Son Ivan” Valentin Serov – “Girl with Peaches” V.V. Pukirev – “Unequal” marriage" R.F. Pavlovich - "Again deuce" B.K. Pavlovich - "Horsewoman"

The Tretyakov Gallery, as the museum is commonly called, has a rich collection and is famous for its many ideas and projects that have been embodied. That is why the Tretyakov Gallery has become so widely known and attracts the attention of true art connoisseurs from different corners peace. Even people who seem to be far from such “high matters” strive to visit its halls in order to get acquainted with the work of the great masters of the brush. Come to Moscow and not go to the Tretyakov Gallery? This is even difficult to imagine, since it is usually included in all excursion programs. Of course, you can visit here on an individual excursion.

The Tretyakov Gallery, as one of the most famous cultural institutions Russia, proclaims four main goals of its activities: to preserve, explore, present and popularize domestic art, thereby forming a national cultural identity and instilling modern generations understanding the important role that art plays as the embodiment of achievement and expression of the civility of our society. And these goals are achieved through introducing our fellow citizens (we are not talking about foreign tourists) with genuine masterpieces - creations of Russian and world talents. Thus, as one of the grateful visitors to the Tretyakov Gallery noted in his review, people’s lives become brighter, more beautiful and better.

Who was the founder of the Tretyakov Gallery?

We will begin our excursion into the history of the Tretyakov Gallery with an acquaintance with its founder - an outstanding man, without exaggeration, whose name is forever inscribed in the tablets of Russian culture. This is Pavel Mikhailovich Tretyakov, who belonged to a famous merchant family that had nothing to do with culture: his parents were engaged exclusively in commerce. But since Pavel belonged to a wealthy family, he received an excellent education for those times and began to develop a craving for beauty. Having become an adult, he became involved, as they would say now, in family business, helped his father in every possible way. When both parents died, the factory they owned passed to the young Tretyakov, and he thoroughly began developing it. The company grew, bringing everything more income. However, despite being extremely busy, Pavel Mikhailovich did not abandon his passion for art.

Tretyakov often thought about creating the first permanent exhibition of Russian painting not only in the capital, but also in Russia. Two years before the opening of the gallery, he began acquiring paintings by Dutch masters. Tretyakov’s legendary collection began in 1856. The young merchant was then only 24 years old. The very first novice philanthropist acquired the oil paintings “Clash with Finnish Smugglers” by V. Khudyakov and “Temptation” by N. Schilder. Today the names of these artists are well known, but then, in the second half of the 19th century, the general public knew nothing about them.

P. M. Tretyakov expanded his unique and priceless collection over several decades. He collected paintings not only by outstanding painters, but also maintained friendly relations with beginning artists, not refusing to help those who needed it, and promoted their work in every possible way. If you give the names of everyone who should be grateful to the patron for his comprehensive help and support, then the scope of one article will not be enough for this - the list will be impressive.

History of the Tretyakov Gallery

The creator of the unique museum saw his brainchild not just as a repository of works by Russian artists, but specifically those of their paintings that would convey the true essence of the Russian soul - open, broad, filled with love for their Fatherland. And so in the summer of 1892, Pavel Mikhailovich donated his collection to Moscow. Thus, the Tretyakov Gallery became the first publicly accessible museum in Russia.

At the time of the transfer, the collection consisted not only of paintings, but also of graphic works of Russian painters: the first there were 1287 copies, the second - 518. Separately, it should be said about the works of European authors (there were over 80 of them) and a large collection Orthodox icons. In addition, there was a place in the collection for sculptures, there were 15 of them.

Your contribution to the replenishment museum collection The Moscow authorities also contributed, purchasing real masterpieces of world fine art at the expense of the city treasury. By 1917, which became fatal for Russia, the Tretyakov Gallery already had 4 thousand storage units. A year later, already under the Bolshevik government, the museum received state status. At the same time, the Soviet government nationalized many private collections.

The Tretyakov collection, in addition, was replenished by including exhibits from small metropolitan museums: the Rumyantsev Museum, the Tsvetkov Gallery, the I. S. Ostroukhov Museum of Painting and Iconography. Thus, the beginning of the 30s of the last century was marked by a more than fivefold increase in the art collection. At the same time, paintings by Western European artists were transferred to other collections. Founded by P. M. Tretyakov, the gallery became a repository of paintings that glorify the originality of the Russian people, and this is its fundamental difference from other museums and galleries.

Buildings of the Tretyakov Gallery

The main building of the Tretyakov Gallery at 10 Lavrushinsky Lane, in Zamoskvorechye, previously belonged to the family of the founder - his parents and he himself lived in this house. Subsequently, the merchant estate was rebuilt several times. The gallery also occupies buildings adjacent to the main building. The facade that we can see today was built at the beginning of the last century, the author of the sketches was V. M. Vasnetsov.

The style of the building is neo-Russian, and this is no coincidence: this was also intended to emphasize the fact that the museum is a repository of examples of Russian art. On the same main facade, visitors can see a bas-relief image of the capital's coat of arms - St. George with the serpent. And on both sides of it there is a ceramic polychrome frieze, very elegant. A large inscription made in script with the names of Peter and Sergei Tretyakov - both donors of the collection - forms a single whole with the frieze.

In 1930, an additional room was erected to the right of the main building according to the design of the architect A. Shchusov. To the left of the former merchant estate is the Engineering Building. In addition, the Tretyakov Gallery owns a complex on Krymsky Val, where, in particular, exhibitions of contemporary art are held. Exhibition hall in Tolmachi, museum-temple of St. Nicholas, as well as the A.M. Vasnetsov museum, house-museum folk artist P. D. Korin and the museum-workshop of the sculptor A. S. Golubkina also belong to the Tretyakov Gallery.

What to see in the Tretyakov Gallery

Currently, the Tretyakov Gallery is more than just a museum, it is a center for the study of various trends in art. Gallery workers who are professionals high class, often act as experts and restorers, whose opinions and assessments are listened to. Another asset of the gallery can be considered a unique book fund, which stores over 200 thousand thematic publications on various directions in art.

Now about the exhibition itself. The modern collection includes more than 170 thousand works of Russian art, and this is far from the limit: it continues to grow thanks to artists, donations from private individuals, various organizations and heirs of prominent artists who donate various works. The exhibition is divided into sections, each covering a specific historical period. Let's call them: ancient Russian art, from the 12th to the 18th century; painting XVII- first half of the 19th centuries; painting of the second half of the 19th century; Russian graphics from XIII to XIX century, as well as Russian sculpture of the same period.

Thus, the section of ancient Russian art presents works by both famous icon painters and those who remain nameless. Among the famous names we will name Andrei Rublev, Theophanes the Greek, Dionysius. In the halls reserved for masterpieces art XVIII– the first half of the 19th century exhibited paintings of such outstanding masters, like F. S. Rokotov, V. L. Borovikovsky, D. G. Levitsky, K. L. Bryullov, A. A. Ivanov.

Also noteworthy is the section of Russian realistic art dating back to the second half of the 1800s, presented in all its completeness and diversity. In this part of the Tretyakov Gallery you can see outstanding works by I. E. Repin, V. I. Surikov, I. N. Kramskoy, I. I. Shishkin, I. I. Levitan and many other masters of the brush. Among the most famous and discussed is the famous “Black Square” by Kazimir Malevich.

Turning to a vibrant collection of works late XIX– the beginning of the 20th century, you will see immortal work V. A. Serov and M. A. Vrubel, as well as masters of the artistic associations that existed at that time: “Union of Russian Artists”, “World of Art” and “Blue Rose”.

Separately, it should be said about that part of the exhibition, which is known as the “Treasury”. Here is a literally priceless collection of art products from precious stones and precious metals made from the 12th to the 20th century.

Another special section of the Tretyakov Gallery displays examples of graphics, the peculiarity of which is that a straight line should not fall on them. bright light. They are exhibited in rooms with soft artificial lighting, which makes them seem especially beautiful and enchanting.

Note to tourists: photography of temporary exhibitions in the Tretyakov Gallery may be prohibited (this will be reported separately).

Opening hours

The Tretyakov Gallery is open on Tuesdays, Wednesdays and Sundays from 10:00 to 18:00; on Thursdays, Fridays and Saturdays - from 10:00 to 21:00. Day off is Monday. The excursion can be booked at the tour desk, which is located at the main entrance. It lasts from 1 hour 15 minutes to one and a half hours.

How to get there

You can get to the main building of the Tretyakov Gallery at 10 Lavrushinsky Lane by metro. Stations: “Tretyakovskaya” or “Polyanka” (Kalininskaya metro line), as well as “Oktyabrskaya” and “Novokuznetskaya” of the Kaluzhsko-Rizhskaya line and “Oktyabrskaya” of the Circle line.

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 cannot be better wishes how to start 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 the good intentions of the young collector will be brilliantly fulfilled. 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 had died shortly before, was also donated to Moscow. These works are now in collections 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 the very youth to make money so that what is acquired from society would also be returned to society (the people) in some useful institutions; this thought did not leave me 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 workshops, 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, 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 dissatisfaction 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, willingly or unwillingly, preference contemporary art, Tretyakov, however, 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 at new things with caution. artistic trends Russian art of the 1890s. Passionately loving painting, Tretyakov created primarily an art gallery, less often 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 building art gallery was decided 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 the capital allocated by the Duma and with his own 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.

It 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 largest museums not only Russia, but also 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, the collection of works was removed from the gallery and transferred to other museums Western European art, formed from the collections of S.M. Tretyakov, M.A. Morozov and other donors.

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; equipped modern technology restoration workshops.

The rapid growth of the Tretyakov Gallery's collection already in the 1930s raised the issue 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. Projects for the reconstruction of the Tretyakov Gallery began to be developed, which included either the demolition of all buildings adjacent to the gallery and its expansion up to the Obvodny Canal embankment (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 types 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 on 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 new life Many historical and architectural monuments located in close proximity to the gallery were found and are now included in its composition. 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 the ancient city buildings of the 18th and 19th centuries along 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 of the 18th - first half of the 19th century, second half of the 19th century and turn of the XIX century 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); a collection of old antique frames, furniture, applied art and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in premises on Krymsky Val.