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 good intentions young collector will be brilliantly executed. In 1892, Moscow, and with it the whole of Russia, received as a gift from Tretyakov a large (about 2 thousand paintings, drawings and sculptures) and already famous gallery of genuine masterpieces of national art. And grateful Russia, in the person of its leading artists, will declare to the donor: “...The news of your donation has long spread around Russia and in everyone who cares about the interests of Russian enlightenment, it aroused the liveliest joy and surprise at the significance of the efforts and sacrifices you made in its favor.”
Along with the collection of Pavel Mikhailovich, the collection of his brother Sergei Mikhailovich, who died shortly before, was also donated to Moscow, who was the Moscow mayor in the 1880s, also a collector, but mainly of works by Western European artists of the middle and second half of the 19th century century. Nowadays these works are in the collections of the State Museum fine arts named after A.S. Pushkin and the State Hermitage.
Who was Pavel Mikhailovich Tretyakov and what guided him in his actions and undertakings? Throughout his life Tretyakov remained large business person, both in glory and in obscurity, he was a worthy successor to the trading business of his grandfather - a Moscow merchant of the 3rd guild, the lowest in the merchant “table of ranks”. Tretyakov died a distinguished, honorary citizen of the city of Moscow, having greatly increased the capital of his ancestors.
But “...my idea,” he will say at the end of the journey, “was from 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 studios, or at exhibitions, but, as a rule, before their public opening.
Pavel Mikhailovich’s visit to the artists was always an exciting event, and not without trepidation, all of them, venerable and beginners, waited from Tretyakov for his quiet: “I ask you to consider the painting for me.” Which was tantamount to public recognition for everyone. “I confess to you frankly,” I.E. Repin wrote to P.M. Tretyakov in 1877, “that if we sell it (we were talking about Repin’s painting “Protodeacon” - L.I.), then only into your hands, I don’t mind going to your gallery, because I say without flattery, I consider it a great honor for me to see my things there.” Artists often made concessions to Tretyakov, but Tretyakov never bought without bargaining, and lowered their prices for him, thereby providing all possible support for his endeavor. But the support here was mutual.
Artists and art historians have long noticed that “if P.M. Tretyakov had not appeared in his time, he had not surrendered himself entirely to a big idea, he would not have begun to piece together Russian Art, his fate would have been different: perhaps we would not have known either “Boyaryna Morozova”, or “The Procession...”, or all those large and small paintings that now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: “...Without his help, Russian painting would never have taken an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art” (A. Benoit).
The scope of collecting activity and the breadth of P.M. Tretyakov’s horizons were truly amazing. Every year, starting in 1856, his gallery received dozens, if not hundreds, of works. Tretyakov, despite his prudence, did not stop even at very large expenses if the interests of his business required it.
He bought paintings that interested him, despite the noise of criticism and discontent from censorship, as was the case, for example, with “Rural Procession at Easter” by V.G. Perov or with “Ivan the Terrible...” by I.E. Repin. He bought it even if not everything in the painting corresponded to his own views, but corresponded to the spirit of the time, as was the case with Repin’s painting “Religious Procession in the Kursk Province,” the social acuity of which did not quite appeal to the collector. I bought it if very strong and respected authorities like L.N. Tolstoy, who did not recognize religious painting V.M. Vasnetsova. Tretyakov clearly understood that the museum he created should not so much correspond to his personal (or someone else’s) tastes and sympathies, but rather reflect an objective picture of the development of Russian art. Perhaps this is why Tretyakov the collector, more than other private collectors, was devoid of narrowness of taste and limitations. Each new decade brought new names and new trends to his collection. The tastes of the museum's founder developed and evolved along with the art itself.
Giving, 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 Pavel and Sergei Mikhailovich Tretyakov" (this was the full name of the Tretyakov Gallery at that time). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898.
After the death of P.M. Tretyakov, the Board of Trustees, elected by the Duma, began to manage the affairs of the gallery.
Its members included different years prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I.N. Grabar. For almost 15 years (1899 - early 1913), the daughter of Pavel Mikhailovich, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.
In 1899-1900, the Tretyakovs' empty residential building was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and the 1st floor lobbies). In 1902-1904, the entire complex of buildings was united along Lavrushinsky Lane by a common facade, built according to the design of V.M. Vasnetsov and giving the building of the Tretyakov Gallery a great architectural originality, which still sets it apart from other Moscow attractions.
At the beginning of the 20th century, the Tretyakov Gallery became one of 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, and partially the 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 question of expanding its premises. Where possible, new halls were added, residential buildings and other buildings adjacent to its territory were rebuilt and included in the gallery complex. By the end of the 1930s, the exhibition and service areas were almost doubled, but this was not enough for the rapidly growing and developing museum. 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 kinds of engineering services. Reconstruction of the main building, which began in 1986, was completed in 1994 and the gallery finally opened to the public on April 5, 1995.
Over the years of reconstruction, a new concept of the Tretyakov Gallery has emerged as a single museum 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 XVIII- the first half of the 19th century, the 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); collection of old antique frames, furniture, applied arts and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in premises on Krymsky Val.
State Tretyakov Gallery, Tretyakov Gallery(also known as Tretyakov Gallery) — Art Museum V 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 donated his art gallery 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, an information and computing center, a 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 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 ( ,
With the acquisition of a large Turkestan series of paintings and sketches by V.V. Vereshchagin, the question of constructing a special art gallery building was resolved by itself. In 1872, construction began, and in the spring of 1874, the paintings were moved into the two-story first room of the Tretyakov Gallery, consisting of two large halls (now halls No. 8, 46, 47, 48). It was erected according to the design of Tretyakov’s son-in-law (sister’s husband), architect A.S. Kaminsky in the garden of the Tretyakovs’ Zamoskvoretsk estate and was connected to their residential building, but had a separate entrance for visitors. However, the rapid growth of the collection soon led to the fact that by the end of the 1880s the number of gallery rooms had increased to 14. The two-story gallery building surrounded the residential building on three sides from the garden all the way to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in its affiliation, public in nature, a museum free of charge and open almost all days of the week to any visitor without distinction of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.
By decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its lifelong trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own funds, transferring such acquisitions as a gift to the “Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov” (this was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P. M. Tretyakov, the Board of Trustees, elected by the Duma, began to manage the affairs of the gallery. Over the years, its members included prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I. N. Grabar. For almost 15 years (1899 - early 1913), 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 with a common facade, built according to the design of V.M. Vasnetsov and gave the building of the Tretyakov Gallery great architectural originality, which still distinguishes it from other Moscow attractions
TRANSFER OF P. M. TRETYAKOV’S GALLERY AS A GIFT TO MOSCOW. 1892-1898
In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, unexpectedly died. He left a will in which he asked to add his paintings to his older brother’s art collection; the will also contained the following lines: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate an art collection to the city of Moscow and, in view of this, to provide the ownership of the Moscow City Duma with his part of the house... where his art collection is located... then I am part of this house, that belongs to me, I give as property to the Moscow City Duma, but so that the Duma accepts the conditions under which my brother will provide her with his donation...” The will could not be fulfilled while the gallery belonged to P.M. Tretyakov.
On August 31, 1892, Pavel Mikhailovich wrote a statement to the Moscow City Duma about donating his collection to the city, as well as the collection of Sergei Mikhailovich (along with the house). In September, the Duma at its meeting officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (son of Sergei Mikhailovich) for the gift, and also decided to petition for the donated collection to be named “City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov.” P.M. Tretyakov was approved as a trustee of the Gallery. Not wanting to participate in the celebrations and listen to gratitude, Pavel Mikhailovich went abroad. Soon, thank you addresses, letters, and telegrams really started pouring in. Russian society did not remain indifferent to noble deed Tretyakov. In January 1893, the Moscow City Duma decided to allocate 5,000 rubles annually for the purchase works of art for the Gallery, in addition to the amounts bequeathed by Sergei Mikhailovich Tretyakov. In August 1893, the Gallery was officially opened to the public (Paul
Mihailovich was forced to close it in 1891 due to thefts of works).
In December 1896, P.M. Tretyakov became an honorary citizen of the city of Moscow, as stated in the verdict of the Moscow City Duma “... For great service to Moscow, which he made the center artistic education Russia, bringing his precious collection of works of Russian art as a gift to the ancient capital.”
After transferring the collection to the city, Pavel Mikhailovich did not stop caring about his Gallery, remaining its trustee until the end of his life. The paintings were bought not only with the city’s money, but also with Tretyakov’s funds, who donated them to the Gallery. In the 1890s, the collection was replenished with works by N.N. Ge, I.E. Repin, A.K. Savrasov, V.A. Serov, N.A. Kasatkin, M.V. Nesterov and other masters. Beginning in 1893, P.M. Tretyakov annually published catalogs of the collection, constantly supplementing and clarifying them. To do this, he corresponded with artists, their relatives, and collectors, obtaining valuable information bit by bit, sometimes suggesting changing the name of the painting. This is how N.N. Roerich agreed with Pavel Mikhailovich when compiling the 1898 catalog: “...For language, indeed, better name short, at least something like this: “Slavic town. Messenger". This was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was expanded again, this time to include an internal garden, where Pavel Mikhailovich loved to walk, sacrificing everything for the sake of his beloved brainchild. Organizing Sergei Mikhailovich’s collection and re-hanging the paintings took a lot of energy from Tretyakov. Trade and industrial affairs, participation in many societies, and charity required time and energy. Pavel Mikhailovich took an active part in the activities of the Moscow
Society of Art Lovers, Moscow art society, Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnold School for the Deaf and Mutes, helping not only financially, but also going into all the intricacies of the educational process, construction and repair of buildings. At the request of I.V. Tsvetaev, Tretyakov contributed to the creation of the Museum of Fine Arts (now the State Museum of Fine Arts named after A.S. Pushkin). It is impossible to list all of P.M. Tretyakov’s donations; it is enough to mention the assistance of N.N. Miklukha-Maclay’s expedition, numerous scholarships, and donations for the needs of the poor. IN last years Pavel Mikhailovich was often unwell. He was also very worried about his wife’s illness, which was paralyzed. In November 1898, Tretyakov went to St. Petersburg on business and, upon returning to Moscow, felt unwell. On December 4, Pavel Mikhailovich Tretyakov died.
History of the gallery. State Tretyakov Gallery
MONUMENT TO P.M. TRETYAKOV
Pavel Mikhailovich Tretyakov (1832-1898) was buried at the Danilovsky cemetery next to his parents and brother Sergei, who died in 1892; in 1948, his remains were transferred to the Seraphim Cemetery (Novodevichy Convent). Tombstone by sculptor I. Orlov according to the design of artist I. Ostroukhov (granite, bronze).
After 1917, a bust monument to V.I. Lenin was erected in front of the façade of the Tretyakov Gallery on a rectangular pedestal. Some time later, in 1939, a monument was erected on this site, a sculptural image of the Chairman of the Council of Ministers of the USSR. Sculpture by S.D. Merkulova, 3.5 meters high, depicting Stalin at full height, is made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has high degree safety and is located in the courtyard of the main building of the Tretyakov Gallery (leaning against the wall). On April 29, 1980, on the site of the removed monument to Stalin, a monument to the founder of the Tretyakov Gallery, Pavel Tretyakov, was finally erected, a sculpture that still exists today. This is a four-meter granite statue, created according to the design of sculptor A.P. Kibalnikov and architect I.E. Rozhin.
"POSTHEATH JOURNEY" OF THE TRETYAKOVS
The Danilovskoe cemetery was formerly famous for its special “third-class” flavor, which, however, has not been completely lost to this day. Moscow historian A.T. Saladin stated in 1916: “The Danilovskoye cemetery can safely be called a merchant cemetery, but it could not be anything else, being close to the merchant Zamoskvorechye. Perhaps no other Moscow cemetery has such an abundance of merchant monuments as this one.” A lot has changed since then. You won’t find the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins here now...
Perhaps the most famous merchant burial of the Danilovsky cemetery, and perhaps the whole of Moscow, was the site of the Tretyakovs Pavel Mikhailovich, Sergei Mikhailovich and their parents. A. T. Saladin left the following description: “On the grave of Sergei Mikhailovich there is a black marble, rather tall, but completely simple monument with the inscription: “Sergei Mikhailovich TRETYAKOV was born on January 19, 1834, died on July 25, 1892.” The monument to Pavel Mikhailovich is a few steps away, under a protective wire grill; it is almost the same, but in a slightly more refined design. Caption: “Pavel Mikhailovich TRETYAKOV December 15. 1832 d. 4 Dec. 1898." However, today all this is not at the Danilovsky cemetery. On January 10, 1948, the remains of both brothers, as well as P. M. Tretyakov’s wife Vera Nikolaevna, were transferred to the Novodevichy cemetery.
Formally, the reburial was carried out on the initiative of the Committee for Arts under the Council of Ministers of the USSR. Chairman of the Committee M. B. Khrapchenko in a letter to the trust manager funeral homes under the Moscow Soviet, he motivated his initiative as follows: “Despite the agreement concluded by the administration of the [Tretyakov] Gallery on the protection of these graves and their artistic tombstones, executed by the artist V. M. Vasnetsov, these graves are falling into extreme disrepair. (...) Considering the petition of the Directorate of the State Tretyakov Gallery, as well as the request of the closest relatives of the founders of the Gallery, the Committee for Arts Affairs under the Council of Ministers of the USSR, for its part, petitions for the transfer of the remains of Pavel Mikhailovich, Vera Nikolaevna and Sergei Mikhailovich Tretyakov, as well as their artistic tombstones from the cemetery Danilovsky Monastery in the cemetery of the Novodevichy Convent, where the most prominent figures of Russian culture and art are buried.”
That the chairman of the art committee confused the cemeteries of the Danilovsky Monastery and Danilovskoye is not so strange - they are still confused, although the first has not existed for seventy years. extra years. The justification for the need to move the graves sounds strange: in the old place they are “falling into extreme decay.” However, graves that are taken care of will never “fall into decay,” but if they are abandoned, decay is guaranteed, even if they are located right next to the Kremlin wall. The urn with Mayakovsky’s ashes stood in the best columbarium in the country at that time Donskoe Cemetery and could not “fall into decay” in any way - nevertheless, it was still moved to Novodevichye.
The background of all these reburials was, of course, completely different, and, judging by Khrapchenko’s letter, the authorities did not really want to reveal it: a campaign was unfolding in Moscow to collect and concentrate remains in the Novodevichy Pantheon famous personalities. Moreover, reburials were carried out not only from cemeteries subject to liquidation, but generally from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally second in importance after Novodevichy.
Some sources (for example, the Moscow encyclopedia) indicate that Sergei Mikhailovich Tretyakov still rests in the Danilovsky cemetery. This is wrong. The Tretyakov Gallery archive contains the “Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakov and S. M. Tretyakov from the Danilovsky cemetery to the Novodevichy Convent cemetery dated January 11, 1948.” In addition to the act and other papers, the archive also contains several photographs: some depict the moment of exhumation, others were taken already Novodevichy Cemetery at the edge of a freshly dug grave. The photographs leave no room for any doubt.
But here’s what’s curious: in the archives of the neighboring Danilovsky Monastery, among the cards of those buried here, there is also a card of Sergei Mikhailovich Tretyakov. It turns out that the Danilovsky monastery graveyard also claims to be the place of his burial? Of course not. Having the testimony of A. T. Saladin and the above-mentioned Act, this version can be safely discarded, but making the most interesting conclusion: since Sergei Mikhailovich was not buried in the monastery, and documents were nevertheless “opened” for him there, obviously, the Danilovskoye cemetery was a kind of a branch of the monastery - maybe not always, but for some time.
At the Danilovsky cemetery, the grave of the parents of famous philanthropists has been preserved. Or rather, their monument. To the left of the main path, almost immediately after the memorial to those killed in the Great Patriotic War, surrounded by extremely rusty fragments of a wrought-iron fence, stands a strong, slightly lopsided obelisk, reminiscent of a Russian stove, with the inscription:
"Mikhail Zakharovich Tretyakov
Moscow merchant
died 1850 December 2 days.
His life was 49 years, 1 month and 6 days.
Alexandra Danilovna Tretyakova
born in 1812.
died on February 7, 1899."
We don’t know for sure whether anyone’s remains lie under the obelisk today. It would seem, who would have thought to disturb the bones of the senior Tretyakovs? But apparently it could. The transfer of the founders of the largest art gallery to an elite cemetery is somehow still explainable, but here’s what else their admirers came up with then: according to the “letter of guarantee” stored in the Tretyakov archive, the Mytishchi sculpture factory No. 3 undertook to carry out at the Danilovsky cemetery: “a) Confiscation of ashes Tretyakov P.M. and his burial at the Novo-Devichy cemetery, b) Confiscation of the ashes of Tretyakov M.Z. and burial in the grave instead of the ashes of Tretyakov P.M., c) Relocation of the monument to Tretyakov M.Z. in place of the monument to Tretyakov P. M."
Tretyakov got it! Both older and younger. By the way, for some reason the “letter of guarantee” does not say a word about Alexandra Danilovna. It turns out that the father was reburied in the place of his son (if he was reburied), but the mother was not? Mystery. So it turns out that it is impossible to say for sure whether the old Tretyakovs are now resting under their “name” tombstone.
In the depths of the Danilovsky cemetery, at the very apse of the St. Nicholas Church-chapel, there is a barely noticeable monument - a low column of pink granite. The brothers and sisters of Pavel Mikhailovich and Sergei Mikhailovich are buried there, who died almost simultaneously in infancy in 1848 during the scarlet fever epidemic - Daniil, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family that no one has ever encroached on.
The State Tretyakov Gallery is one of the largest museums in the world. Hundreds of thousands of people annually get acquainted with the collection of the Tretyakov Gallery, dedicated exclusively to national Russian art, to those artists who made a great contribution to the history of Russian art
Muscovites call this museum warmly and lovingly - “Tretyakov Gallery”. He is familiar and close to us early childhood when we started coming there with our parents. Cozy, Moscow-warm, located in a quiet Lavrushinsky lane among the streets and alleys of Zamoskvorechye, the oldest district of Moscow.
The founder of the Tretyakov Gallery was the Moscow merchant and industrialist Pavel Mikhailovich Tretyakov. At first, everything that 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 already at the end of the 1860s there were so many paintings that there was no way to place them all in the rooms.
The founding date of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: “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. Her collection consisted of 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.
P. M. Tretyakov, setting out to create a collection that in the future could develop into a museum of national art. “For me, who truly and ardently loves painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts that will bring benefit to many and pleasure to all,” wrote P. M. Tretyakov in 1860, adding: "... I would like to leave the national gallery, that is, consisting of paintings by Russian artists." All his life Tretyakov remained a major business man who had no special education in the field of painting. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. Over time, high taste, strict selection, 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. P. M. Tretyakov bought the paintings that interested him, despite the opinions of critics and the dissatisfaction of the censorship. This happened with such paintings as “Rural Procession for Easter” by V. G. Perov, “Ivan the Terrible” by I. E. Repin. P. M. Tretyakov clearly understood that the museum he created should not so much correspond to his personal tastes and sympathies as reflect an objective picture of the development of Russian art. And 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.
In 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.
Pavel Tretyakov was the manager of the gallery until his death. In 1898, a Council was created to manage the gallery, chaired by a trustee, which at the beginning was I. S. Ostroukhov, and since 1913 - I. E. Grabar.
At the beginning of 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery.
On June 3, 1918, the Tretyakov Gallery was declared “state property of the Russian Federative Soviet Republic” and received the name State Tretyakov Gallery. Igor Grabar was again appointed director of the museum.
In 1926, academician of architecture A.V. became the director of the museum. Shchusev. The following year, the gallery received a neighboring house on Maly Tolmachevsky Lane (the former house of the merchant Sokolikov). After the restructuring, the administration of the Gallery, scientific departments, a library, a department of manuscripts, and graphic collections were located here.
In 1932, the building of the Church of St. Nicholas in Tolmachi was transferred to the Gallery, which 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 by A. A. Ivanov “The Appearance of Christ to the People” (1837-1857). A passage was also built between the halls located on both sides of the main staircase. This ensured uninterrupted viewing of the exhibition.
In 1936, a new two-story building was opened on the north side of the main building - the so-called “Shusevsky building.” These halls were first used for exhibitions, and from 1940 onwards they were included in the main exhibition route.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the A.A. Hall was completed. Ivanova. In 1980, a monument to P. M. Tretyakov, created by sculptor A. P., was erected in front of the gallery building. Kibalnikov and architect I.E. Rogozhin.
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 devoted to art XX century. Exhibitions of both old and new art are held in both territories.
The current collection of the Tretyakov Gallery includes more than 100 thousand works.
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” by V. Khudyakov. 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 canvases outstanding masters 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
The 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. Besides this, history art collection continued with the inclusion of works from small Moscow museums in the fund: 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 until the first half of the 19th century;
- painting of the second half of the 19th century and the turn of the 19th and 20th 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.