Collections of the Russian Museum. State Russian Museum: history of creation The State Russian Museum works the most famous

The State Russian Museum in St. Petersburg is the largest collection of paintings by Russian artists, numbering more than 400 thousand works. There is no such collection of Russian art in the world.

Creation of the Russian Museum

The decree establishing the museum was published in 1895. For this purpose, the Mikhailovsky Castle and the garden around it, and the services, and the outbuildings were acquired. According to the decree, all works already acquired by the museum cannot be sold or transferred to anyone. They should always be in the collection. In 1898, the State Russian opened to visitors. For three years, I was looking forward to this event. It received works from the Academy of Arts, the Hermitage, Winter Palace and private collections. The initial exhibition was not extensive.

After the revolution

The collection was constantly replenished, and the museum's area expanded by adding new premises. In the years Patriotic War all the most valuable works were evacuated and were not damaged at all. Those that remained in the besieged city were carefully packed and stored in basements. They also remained completely intact. The State Russian Museum completely coped with such a difficult task - to protect the entire exhibition, which already included more than seven thousand exhibits.

Growth of the Museum

New arrivals were actively added in the 50s. The State Russian Museum housed the works in the Mikhailovsky Palace and in the Benois Wing, as well as other buildings. They have a section with priceless works by Rublev, Dionysius and a number of other icon painters of the early and late Middle Ages. The State Russian Museum houses works from the 18th to mid-19th centuries.

The photo shows the work of D.G. Levitsky “Portrait of E.I. Nelidova.” The museum is rightfully proud of the completeness of the paintings presented to visitors. Listing the names and surnames of our outstanding and brilliant artists will take up a lot of space. The State Russian Museum widely presents works of the mid- and late 19th century, as well as works by “World of Art” painters and futurist artists, who are also the pride of the museum. An entire hall is dedicated to the works of an artist, art historian, and decorator.

In the photo A.N. Benoit "Parade during the reign of Paul I". The museum's collection includes paintings Soviet artists all periods of existence Soviet Union. Currently, the State Russian Museum collects and exhibits new, non-traditional works. This department, dealing with the latest trends, was created about thirty years ago.

Famous painting

The exhibition includes “Black Square”. The State Russian Museum acquired it already from scandalous fame and placed it in the Benoit building.

Create loud scandal was the task of futurist and then supermatist artists to attract attention. Their predecessor was Herostratus, who, in order to remain for centuries, burned the temple. The main desire of Malevich and his associates is to destroy everything: we have freed ourselves from everything that came before, and now we will make art in a clean, flat, scorched place. Malevich originally made the black square as a piece of scenery for an opera. Two years later, he created a theory proving that it is above everything (supermatism), and denying everything: both form and nature. Art simply exists out of nothing.

Impressive exhibition of 1915

At the exhibition “0.10” there were paintings consisting of squares, crosses, circles, and in this room in the upper right corner, where icons are hung, Malevich hung his square.

What's important here? The square or the place where it is hung? Of course, the location was more important than what was drawn, especially considering that it was written “nothing.” Imagine “nothing” in the place of God. That was very significant event. It was a phenomenally talented PR move, thought out to the end, because we're talking about not about what is depicted there. The statement was this: nothing, blackness, emptiness, darkness instead of God. “Instead of an icon that leads up to the light, there is a path into darkness, into a hatch, into a basement, into the underworld” (Tatyana Tolstaya). Art is dead, here's a piece of nonsense instead. You are ready to pay money for it. Malevich's "Black Square" is not art, but a brilliant act by a very talented salesman. Most likely, “Black Square” is just a naked king, and this is worth talking about, and not about the depths of comprehension of the world. “Black Square” is not art because:

Where is the talent of feeling?

Where is the skill there? Anyone can draw a square.

Where is the beauty? The viewer has to figure out what this means for a long time and still doesn’t understand.

Where is the violation of traditions? There are no traditions there.

Thus, if we look from this point of view, we see what has happened and is happening to art that breaks with sincerity, that begins to appeal to the intellect, that is, “I think for a long time what to do so that a scandal occurs and I get noticed.” . Normal person asks himself the question: “Why did he do this? Did you want to earn money or did you want to express some of your feelings?” The question of sincerity arose because the artist is thinking about how to sell himself. The pursuit of novelty leads art to complete pointlessness, and this intellectual striving comes from the head, not from the heart. Malevich and others like him were looking for ways to create scandals and sales, which has now been raised to a professional level. It is very important to put a theory behind your creation and add an incomprehensible, long, clever title that is more important than the image. For some reason, in our society, something that is incomprehensible to a person is considered talented. The lack of spirituality in the “Black Square” is undeniable for many. A sign of time and skillful self-trading is the “Black Square”. The State Russian Museum could not miss such a “talking” work.

Drama at sea

In 1850, Aivazovsky created a large-scale painting “The Ninth Wave”. The State Russian Museum now exhibits this work.

A powerful wave hangs over the wreckage of the ship. Humanity is represented in this picture in the form of unfortunate sailors who, on the remains of a mast, hardly suitable for swimming, desperately cling to it, while the wave mercilessly wants to swallow it. Our feelings are divided. They are caught up in the rise of this huge wave. We enter with its upward movement and experience the tension between the crest and the force of gravity, especially at the moment when the top of the wave breaks and turns into foam. The shaft is aimed at those who invaded this element of water without permission. Sailors are an active force that penetrates the waves. You can try to consider this composition as a picture of harmony in nature, as a picture of a harmonious combination of water and earth, which is not visible, but is present in our consciousness. Water is a fluid, changeable, impermanent element, and earth is like main object hope is not even mentioned. This seems to encourage the active role of the viewer. This is a picture of the Universe, which is shown through the landscape. The waves on the horizon look like mountains covered in haze, and they, gentler, are repeated closer to the viewer. This leads to a rhythmic ordering of the composition. The color is amazing, rich in shades of pink and purple in the sky, and green, blue, purple in the sea, permeated with the rays of the rising sun, bringing joy and optimism. One of the pearls of the collection is romantic work"The Ninth Wave" The State Russian Museum has a masterpiece painted by the young Aivazovsky.

Tragedy on earth

If in the previous picture two elements were involved, water and wind, then on the next canvas earth and fire appear menacingly - this is “The Last Day of Pompeii”. The State Russian Museum received it from the collection of the Academy of Arts.

Painted in 1834 and exhibited in Rome, the painting created a sensation among Italians, as well as later among Russian viewers. Pushkin, Gogol, Baratynsky dedicated heartfelt lines to her. Why is this work still relevant today? With the plasticity of movements, turns of bodies and heads, and the dynamics of the colorful palette, the artist revived the events of bygone millennia. We are involved in the terrible experiences of people who are about to die in the fiery lava caused by a volcanic eruption and a powerful earthquake. Are there no such tragedies these days? The classical form of the work is perfect, the craftsmanship is superb, making you remember the names of the artists High Renaissance. Karl Bryullov's masterpiece is captivating with its beauty, despite the fact that it depicts the death of ancient civilization.

Museum in modern times

If initially the museum consisted of the Imperial Palaces, now it is a whole ensemble, extremely beautiful, and is a cultural center, since it solves scientific and educational problems. The legacy of great painters has reached us from the depths of centuries. Classical, romantic, everyday, genre works are kept by the State Russian Museum. The photo shows us the main building - the Mikhailovsky Palace.

This living space was rebuilt to house the works of brush artists.

The ensemble adjacent to the palace

The State Russian Museum is housed in six architectural monuments of the 18th and 19th centuries, which is complemented by the Summer and Mikhailovsky Gardens, in which visitors can admire not only strict regular plantings of bushes and trees, but also beautiful sculptures. Excursions are held in the museum buildings, and there are also Additional services lecture hall, cinema hall, internet class, cafeteria, equipped to accommodate disabled people.

Probably the Russian Museum should be one of the main items on the list of visiting attractions in St. Petersburg. Especially if you come to Northern capital by one, two or a little more days. "Why?" - you ask.

First of all: there is a truly wonderful collection here. best works Russian artists, sculptors and folk craftsmen.

Secondly: in the Russian Museum there is no such excitement and pandemonium as in the Hermitage, and the atmosphere of the museum evokes a feeling of calm and peace of mind.

Thirdly: it’s very easy to get here (no need to stand in huge queues for a ticket).

Russian Museum. More recently, when uttering these words, both townspeople and visitors to the city meant only the beautiful building in the Empire style on the Square of Arts. The first one opened in the Mikhailovsky Palace in 1898 state museum national art, and here the main exhibitions of the museum are located. But in recent years, the museum has included three more palaces with a significant historical and cultural past.

So, the Russian Museum consists of four buildings: the Stroganov Palace, the Marble Palace, the Mikhailovsky Palace and the Mikhailovsky (engineering) Castle. All these palaces are located in different places in St. Petersburg and have the words “Russian Museum” in their names.

To avoid confusion, we will call the main building of the Russian Museum the Mikhailovsky Palace, located at Inzhenernaya Street, 4. It is here that the main halls and exhibitions of the State Russian Museum are located. This is where guests of St. Petersburg who arrive in the Northern capital for the first time want to go.

How to get to the Main building of the Russian Museum.

The palace is very easy to get to from the Nevsky Prospekt metro station (2nd, blue line).

After leaving the metro, follow (follow the red arrow) along Mikhailovskaya Street towards the monument to Alexander Sergeevich Pushkin, located on Arts Square.

Immediately behind the monument you will see the Main building of the Russian Museum - Mikhailovsky Palace.

Opening hours of the Main building of the Russian Museum:

Monday, Wednesday, Friday, Saturday, Sunday - from 10-00 to 18-00.

Thursday from 13-00 to 21-00.

Tuesday is a day off.

The ticket office closes half an hour before the museum closes.

No matter how pleasant it would be to enter the museum through the front entrance, all visitors, according to Soviet-Russian tradition, will have to enter through the back entrance. A small sign near the marble staircase with lions will inform you about this.

Below is a diagram of the Mikhailovsky Palace. It consists of three main parts: Benoit Corps, Wing of Russia and, directly, the Mikhailovsky Palace itself.

You can also get to the Main Building of the Russian Museum through the second entrance in the Benois building.

The photo below makes it possible to quickly find out where the second entrance is located - on the Griboyedov Canal Embankment, next to the Resurrection Cathedral (Church of the Savior on Spilled Blood).

Both entrances will lead you to the ticket office, where you need to buy tickets to visit the Russian Museum.

For adult citizens of the Russian Federation and the Republic of Belarus, a ticket will cost 350 rubles, for students over 16 years old, students and pensioners - 170 rubles, for children under 16 years old (regardless of citizenship) - free.

Be sure to pick up a free layout of the exhibitions from the ticket office or from the museum staff. It will make it easier for you to build your route.

After the ticket office, following the signs, you find yourself on the main staircase of the museum. Here you can meet groups of schoolchildren.

If you come to a discovery, then you can use a little trick for a more comfortable viewing experience. The beginning of the exhibition, according to the signs, is to the right of the stairs on the second floor. But if you go to left side, then you will be almost completely alone looking at the magnificent paintings of K. Bryulov, A. Ivanov, I. Aivozovsky and others. Then, in any case, you will look at the beginning of the exhibition.

F. Bruni "The Copper Serpent".

Ivan Konstantinovich Aivazovsky “Wave”.

Painting by Karl Pavlovich Bryullov “The Last Day of Pompeii”. Nicholas I awarded the artist a laurel wreath, and the latter began to be called “Charlemagne.”

I.K. Aivazovsky "The Ninth Wave".

Grigory Ivanovich Ugryumov “The ceremonial entry of Alexander Nevsky into the city of Pskov after his victory over the Germans.”

Pay attention to the faces of two “harmless” Europeans captured by Alexander Nevsky, who executed several thousand Russian people.

O. A. Kiprensky “Portrait of Life Hussar Colonel Evgraf Vasilyevich Davydov.” This is a relative famous hero Patriotic War of 1812 by Denis Vasilyevich Davydov.

P.P. Sokolov "The Milkmaid with a Broken Jug."

Interiors of the premises of the Mikhailovsky Palace.

F.I. Shubin "Catherine II the Legislator".

Portraits of children.

Dmitry Grigorievich Levitsky “Catherine II the Lawgiver.”

The sculpture of M. I. Kozlovsky “Psyche”, often called “Girl with a Butterfly”. According to legend, Aphrodite herself was jealous of the beauty of young Psyche.

N.N. Vitali "Venus".

Tourists take photographs with great enthusiasm, holding Catherine II's hand.

Boris Vasilievich Sukhodolsky “Painting”.

Very happy here a large number of children. For them, the employees of the Russian Museum tell interesting, memorable stories.

Anton Pavlovich Losenko “Wonderful catch”.

After visiting the halls of the Mikhailovsky Palace, you will be taken to the Russian Wing, where you will see in person the paintings familiar from childhood.

Viktor Vasnetsov “The Knight at the Crossroads.”

V. I. Surikov “Stepan Razin”. The artist managed to show the inner tension of the Russian rebel hero.

A small painting by Vasily Surikov “View of the monument to Peter I on Senate Square in St. Petersburg" is fascinating.

Vasily Surikov “Suvorov’s Crossing of the Alps” (painting size 4 by 5 meters). Here is a real military leader, together with his soldiers, storming the Alps to quickly help “our beloved” Europeans. Who in Europe now will remember the exploits of our soldiers?

Ilya Efimovich Repin. "Portrait of Emperor Nicholas II" 1896.

Portrait of the last Emperor of Russia. It seems that Nicholas II already knows about his fate...

Ilya Efimovich Repin “The ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary.”

V. I. Surikov “Conquest of Siberia by Ermak.”

And these are Ermak’s comrades with muskets conquering the north.

In the film “Letter to the Turkish Sultan,” all the characters attract attention. Repin worked on the image of each Cossack individually, so each hero of the picture turned out to have his own character.

Ilya Repin “Seeing off a recruit.” There is so much tragedy in the picture. Young man sent to the army for a long 25 years.

Opposite I. Repin’s painting “Barge Haulers on the Volga” there are always many visitors; there is a comfortable soft sofa here.

At Sadko, schoolchildren were told about the film in German.

But the picture is a contradiction. Victor Vasnetsov. Painting "Battle of the Scythians with the Slavs."

Firstly: the Scythians are the ancestors of the Slavs. Secondly: the Scythians and Slavs are separated by several centuries.

This turns out to be a fight between a great-great-grandfather and his grandson. Since the Middle Ages, all evidence has been destroyed ancient origin peoples inhabiting modern Russia.

Here is a short excerpt from the work of Professor Anatoly Alekseevich Klyosov:
“Unfortunately, in Russian historical science the destructive, destructive approach traditionally continues, whether it concerns Normanism or other periods national history. Only sources that downplay the role of the Slavs in historical processes. There is no "Historiography" by M. Orbini in this circulation, there are no works of the Polish Archbishop Stanislaw Bohusz (Stanislaw Bohusz, 1731-1826), an outstanding educator, in one of whose works - "Historical Studies of the Origin of the Slavs and Sarmatians" - describes the Slavs living in ancient times times from Syria to the Pontus Euxine (Black Sea). There are dozens of other books that became classics in antiquity or the Middle Ages, which tell about the Slavs of past millennia. There is a whole library of Serbian historians of the past about this, in which those whom Russian (and Western) historians call “Scythians” are called Slavs. If historians have objections to this, where are they? Or do they live by the saying “I see nothing, hear nothing, tell nothing to anyone”?”

Ilya Repin “Nicholas of Myra saves three innocently convicted people from death.” It is with this painting that the Russian Museum under Alexander III begins.

Lukian Vasilievich Popov “Naimichka”. The girl will spend her entire childhood caring for someone else’s child...

It feels like Leo Tolstoy is about to get up and walk.

Nikolai Alexandrovich Yaroshenko

Alexey Danilovich Kivshenko “Sorting feathers.” The girls stuffing pillows with feathers argued a little...

Konstantin Egorovich Makovsky "Transfer of the sacred carpet in Cairo."

Each painting contains a story. Here is a painting by Vladimir Makovsky “The Night House”. A cold storm is heading towards St. Petersburg. Homeless people are trying to get into the shelter, everyone is freezing and they understand that there is not enough space for everyone.

In this old man in a hat and scarf with a folder in his hands, you can recognize the artist A.K. Savrasov. This remarkable painter spent the end of his life in loneliness and poverty, surviving on rare orders, wandering around corners and slums.

A little girl with bare legs in huge boots is crying, perhaps this is the last night of her life. But no one can help her...

This is a nice touch to the numerous contemporary articles “How well they lived under the Tsar.”

K.E. Makovsky "Family Portrait".

The next painting recently hung next to the “Blanket House”; it depicts the family of Vladimir Makovsky’s brother. The girls are the same age as the child in the previous picture, but by their origin they deserve a life of prosperity. Now these paintings have been placed further away from each other, in different rooms.

I.I. Shishkin "Ship Grove". The works of this artist are immediately recognizable.

Vasily Vereshchagin “Shipka-Sheinovo (Skobelev near Shipka).” A small fragment of the Victory celebration.

But here are the Russian soldiers who remained forever to lie for the freedom of the Bulgarians.

Vasily Perov "Pugachev's Court". The bodies of the executed nobles lie next to the “judge”.

Vasily Grigorievich Perov “Monastery meal”. Good picture about the life of people in robes.

Henryk Semiradsky "Phryne at the Festival of Poseidon in Eleusis." In the ancient Greek city of Megara, 2500 years ago, there lived a woman named Phryne. Her beauty and amazing white skin for a southern country amazed many artists and sculptors. A sculpture of Aphrodite of Knidos was sculpted from it and Aphrodite Anadyomena was painted. In the picture, she herself takes off her clothes so that everyone can be blinded by her beauty.

K.D. Flavitsky "Christian martyrs in the Colosseum". The first Christians were subjected to severe torture. The picture shows how they drag little boy into the arena with wild animals. “If your God protects you, let him save you from being torn apart by lions,” with these words they led the Christians to death to the jubilant cries of 100,000 Roman spectators.

Russian hero.

Adrian Volkov "The Death of Ivan Susanin."

V. Jacobi “Ice House”. A funny wedding on the orders of Anna Ioanovna in the ice palace.

A.P. Ryabushkin “Moscow street of the 17th century on a holiday.” Roads... How little they have changed over several centuries in Russia.

Leonid Posen “Scythian” is a distant ancestor of the Russians, whom they want to “eradicate” from our history.

The Russian Museum has a wonderful display of products by Russian craftsmen. The entire right wing on the first floor of the Mikhailovsky Palace is occupied by outstanding works of ancient and modern masters.

Just imagine how much work and skill is needed to carve such an openwork box from bone.

Or here interesting job made of wood “How mice buried a cat” (late 19th century).

In that a short story about the State Russian Museum we showed you only a small part presented paintings, sculptures, works. It will take several days to carefully examine all the museum’s exhibitions.

A little history: The main building of the Russian Museum.

“By the grandeur of its appearance, this palace will serve as a decoration for St. Petersburg, and by its elegance of taste interior decoration it can be considered among the best European palaces...", wrote the magazine " Domestic notes"in 1825. That year, every self-respecting St. Petersburger was sure to visit here, at the just completed Mikhailovsky Palace, built by the architect Carl Rossi for Grand Duke Mikhail Pavlovich and his wife Elena Pavlovna. Now this is the main building of the Russian Museum. The White Hall is the only room that was preserved after the palace was rebuilt for the needs of the museum exactly as it was under Russia. Beautiful girls, seated on chariots - the Muses, daughters of the goddess of memory Mnemosyne and Zeus, are depicted on the ceiling lamp; Grand Duchess Elena Pavlovna was fond of painting, music, and poetry. The paintings were done beautifully Italian artists Giacomo Batisto Scotti and Antonio Vigi. Everything else is the fruit of the labor of Russian craftsmen: carpenter Bobkov, bronzer Zakharov, furniture and parquet makers Znamensky and Tarasov, sculptor Stepan Pimenov. The White Hall is a true masterpiece in which Rossi thought through absolutely everything, from the arrangement of columns to the smallest details ornament and ceremonial service. Fortunately, all this has been preserved: the picturesque wall paintings, sculptural decoration, typesetting parquet - everything remains from the time of Russia. Even the furniture is in the same places (its quantity and location were determined by the architect himself). The hall was so good that the English King George even asked to make a small copy of it.

But not only yours appearance the famous White Hall. Here was the famous music salon of the Grand Duchess. Russian musical society, thanks to which the first music classes, and then the first conservatory in Russia, was born right here, at these evenings. Pyotr Ilyich Tchaikovsky made his debut as a conductor at the Mikhailovsky Palace, and Hector Berlioz, Franz Liszt, and Mikhail Glinka performed their works here. These walls heard the voices of Vasily Zhukovsky and Ivan Krylov. For many years the salon was one of the most important culminating centers of the capital.

"Musical and artistic evenings at Grand Duchess were extremely interesting,” recalled their first participant, the famous composer and pianist Anton Rubinstein. — We gathered here positively best artists who ended up in St. Petersburg. Often among the guests was the majestic figure of Emperor Nicholas.”

Painting second half of the 19th century century - early 21st century

Among paintings, transferred to the Russian Museum at the time of its foundation, noticeable and significant in artistically Some of them consisted of works by leading masters of the second half of the 19th century. (I.K. Aivazovsky, V.M. Vasnetsov, K.E. Makovsky, I.E. Repin, V.D. Polenov, V.I. Surikov). Despite the fact that the selection of paintings for the museum in the first two decades of its existence was somewhat limited by the conservative tastes of the Council of the Academy of Arts, the range of paintings represented in the collection was constantly expanding. This is a huge merit of the museum staff, such as Albert Benoit and Alexander Benois, I.E.Grabar, P.I.Neradovsky and others. Important steps were taken to complete the collection of paintings contemporary artists. Individual paintings and entire groups of works came from the exhibitions of I.I. Levitan (in 1901 - posthumous), V.V. Vereshchagin (in 1905 - posthumous), Ya.F. Tsionglinsky (in 1914 - posthumous) , Mobile Associations art exhibitions(S.Yu. Zhukovsky, N.A. Kasatkin, I.I. Levitan, V.E. Makovsky), New Society of Artists (B.M. Kustodiev, N.M. Fokina), from the authors (A.Ya. Golovin, V.A. Serov, M.V. Nesterov), from random owners (“Meal” by V.G. Perov, “Portrait of O.K. Orlova” by V.A. Serov, etc.).

A notable contribution to the collection of paintings were the sketches of M.A. Vrubel and paintings by K.A. Somov from the extensive collection of V.N. Argutinsky-Dolgorukov, which were transferred to the museum in 1918. Soon the museum received N.I.’s collection for storage. and E.M. Tereshchenko, consisting mainly of works by artists late XIX- beginning of the 20th century (including “The Hero” and “The Six-Winged Seraph” by M.A. Vrubel), the collection of A.A. Korovin, which included paintings by V.A. Serov, F.A. Malyavin, M.V. Nesterov, K. A. Korovin, as well as representatives of the artistic associations “World of Art”, “Blue Rose” and “Jack of Diamonds”.

Replenishment of the collection of paintings of the second half of the 19th - early 20th centuries. did not stop in the 1930s. At this time, from the Museum of the Revolution, among other works, “The Ceremonial Meeting of the State Council” by I.E. Repin was transferred. From the State Tretyakov Gallery, the Russian Museum received paintings by masters poorly represented in the latter’s collection (“Guitar Player” and “Portrait of Ivan Sergeevich Turgenev” by V.G. Perov, “Self-Portrait” by N.V. Nevrev, “Student Student” by N.A. .Yaroshenko, “Flying Demon” by M.A. Vrubel and “Baba” by F.A. Malyavin).

Over the past twenty years, the museum has received about two hundred works of painting from the second half of the 19th - early 20th centuries. Most of these works were donated in 1998 by the brothers I.A. and Y.A.Rzhevsky. An extensive collection of paintings by Russian artists, including paintings by I.K. Aivazovsky, I.I. Shishkin, N.N. Dubovsky, B.N. Kustodiev, K.Ya. Kryzhitsky and many other masters, now represents permanent exhibition museum in the building of the Marble Palace. It is also necessary to note several sketches and paintings domestic artists late XIX - XX centuries (S.Yu. Zhukovsky, E.I. Stolitsa, A.B. Lakhovsky and others), donated in 2009 from N.P. Ivashkevich. Notable acquisition recent years became I.E. Repin’s painting “Portrait of a Military Man,” which previously belonged to one of the North American companies.

In 1926, in addition to the Art Department of the Russian Museum, the Department of Contemporary Art was created. Its funds began to be purposefully replenished with works of avant-garde artistic directions And creative associations the first quarter of the twentieth century, including the works of N.S. Goncharova, V.V. Kandinsky, P.P. Konchalovsky, P.V. Kuznetsov, M.F. Larionov, A.V. Lentulov, K.S. Malevich, L.S. Popova, V.E. Tatlin, R.R. Falk, P.N. Filonov, M.Z. Chagall and many others.

By 1927, the exhibition of the Russian Museum consistently presented numerous new trends from post-impressionism to non-objective art. The department of modern trends lasted only three years, but it essentially laid the foundation for the Department of Soviet Painting of the State Russian Museum (1932-1991), which this moment(as part of the Department of Painting of the 2nd half of the 19th-21st centuries) has constantly replenished funds. These funds, exceeding 6,000 storage units, cover almost all areas, schools, trends, main types and genres of development of Russian art of the 20th - early 21st centuries.

The Russian Museum has one of largest collections works of the early Russian avant-garde and its leading masters. The collection of paintings presents the main innovative movements of the mid-1910s: abstractionism (V.V. Kandinsky) and its purely Russian branch - Rayonism (M.F. Larionov, N.S. Goncharova), neo-primitivism (M.F. Larionov , N.S. Goncharova, A.V. Shevchenko, K.S. Malevich), cubo-futurism (D.D. Burlyuk, K.S. Malevich, I.A. Puni, L.S. Popova, N.A. Udaltsova, A.A. Exter and others), Suprematism (K.S. Malevich, I.A. Puni, O.V. Rozanova, I.V. Klyun), constructivism (V.E. Tatlin, A.M. .Rodchenko, A.A.Exter, L.V.Popova), analytical art(P.N. Filonov). Unique in their completeness are the collections of works by masters who created innovative art systems(K.S. Malevich, P.N. Filonov, K.S. Petrov-Vodkin), as well as individual major painters, including those whose creative path started already in Soviet time(S.V. Gerasimov, P.P. Konchalovsky, P.V. Kuznetsov, B.M. Kustodiev, V.V. Lebedev, A.A. Rylov, A.V. Shevchenko, N.M. Romadin). Also in the museum's collection are works by artists - representatives of significant schools that existed during Soviet times (for example, the Leningrad school landscape painting 1930s - 1950s).

Art socialist realism, demonstrating high artistic merit, plot clarity, programmatic inclination towards the “grand style”, is reflected in the canvases of A.A. Deineka, A.N. Samokhvalov, A.A. Plastov, Yu.I. Pimenov and many other Soviet artists who continued work during the Great Patriotic War, and in the second half of the twentieth century. To the gold fund Soviet art also included works by representatives of “ harsh style"and related areas of search for Soviet painting of the 1960s-1970s. The museum's collection contains works by such masters of post-war art as N.I. Andronov, V.V. Vatenin, D.D. Zhilinsky, V.I. Ivanov, G.M. Korzhev, E.E. Moiseenko, P.F. .Nikonov, P.P.Ossovsky, V.E.Popkov, V.M.Sidorov, V.F.Stozharov, brothers A.P. and S.P. Tkachevs, B.S. Ugarov, P.T. Fomin and others, created in a wide genre range - from historical painting to still life.

Took place in the 1970s–1980s. actualization of previously rejected artistic experience gave birth in the depths of official art to a galaxy of masters who worked in line with the “picture of ideas” associated with a metaphorical, multifaceted understanding of the surrounding world and human life(O.V. Bulgakova, T.G. Nazarenko, N.I. Nesterova, I.V. Pravdin, A.A. Sundukov, etc.). During the period of “perestroika” (1985-1991), the collection of the Russian Museum was replenished with a number of names of artists working within the underground. Nowadays the collection modern painting- a very mobile and fast-growing part of the funds of the 20th - early 21st centuries, but the comprehensive formation of the entire pictorial collection continues.

Yaroshenko N.A. Portrait of the artist Nikolai Ge.

1890. Oil on canvas.

Roerich N.K. Overseas guests.

1902. Oil on cardboard.

2. The palace itself was built in 1819-1826 for Prince Mikhail Pavlovich, younger brother Emperors Alexander I and Nicholas I.

3. The architect was the famous Carl Rossi.

4. The initial collection was based on works received by 1898 from the Academy of Arts (122 paintings), the Hermitage (80 paintings), the Winter Palace, the suburban palaces of Gatchina and Alexander (95 paintings), as well as acquired from private collections.

5. By the opening of the Russian Museum, the collection included 445 paintings, 111 sculptures, 981 drawings, engravings and watercolors, as well as about 5 thousand ancient monuments: icons and products of ancient Russian decorative and applied art.

6. In 1941, most of the collection was evacuated to Perm, the rest was removed from the exhibition, packed and hidden in the basements of the building. During the Great Patriotic War, not a single museum exhibit was damaged.

7. At the end of XX - beginning of XXI centuries were included in the Russian Museum from 92 marble sculptures buildings, Marble Palace, Stroganov Palace, .

8. The interiors of the palace are no less impressive than the collections contained within.

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11. The walls are decorated with magnificent European tapestries.

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14. There are a couple of sculptures on display on the stairs. Here fragment of a statue from the roof of the Winter Palace, by J. Beumchen.

15. Sculptor M.A. Kolo, model of the head for the monument to Peter I.

16. In section ancient Russian art Icons from the 12th to 15th centuries are widely represented.

17. These are works by Andrei Rublev, Dionisy, Simon Ushakov and other masters.

18. The oldest icon in the collection is the “Golden Haired Angel”, dating from the second half of the 12th century. Most experts attribute it to the Novgorod school of icon painting.

19. The most complete collection of works of fine art art XVIII- first half of the 19th centuries.

20. Three sketches and numerous studies for the painting “The Appearance of Christ to the People” by Alexander Ivanov.

21. The epic canvas measuring 5.4 by 7.5 meters was created by Ivanov over 20 years, from 1837 to 1857. It is now on display in Tretyakov Gallery, studies and sketches - in the Russian Museum.

22. Also in the hall is a sculpture in the antique style. V. Demut-Malinovsky, “Russian Scaevola”.

23. N. Pimenov, “A young man playing knucklebones.”

24. Karl Bryullov, portrait of the architect Konstantin Ton, author of the Cathedral of Christ the Savior.

25. “Christ and the Sinner,” Vasily Polenov, 1888.

26. It was written under the influence of the already mentioned “The Appearance of Christ to the People.”

27. In the painting, the author sought to tell the biblical parable “he who is without sin among you, let him be the first to throw a stone at her” as a real historical event.

28. The painting was exhibited at the XV Traveling Exhibition in St. Petersburg and Moscow, where it was purchased by Alexander III for his collection.

29. Fragment of the painting “Phryne at the festival of Poseidon in Eleusis”, G.I. Semiradsky, 1889.

30. The Russian historical series includes works based on fairy tales. M.A. Vrubel, “Bogatyr”, 1898-1899.

31. Also Vrubel, dish “Sadko”, 1899-1900.

32. The same stone with the inscription from the painting by V.M. Vasnetsov “The Knight at the Crossroads”, 1882.

33. Majolica fireplace “Volga and Mikula” from Bazhanov’s house. Made according to sketches by the same Vrubel.

34. Positive ships from Nicholas Roerich’s painting “Slavs on the Dnieper.”

35. Leonid Pozen, “Scythian”, 1889-1890.

36. A.L. Ober, "Tiger and Sepoy".

37. Many paintings depict nature. "Wave" by Ivan Aivazovsky.

38. Beautiful in its minimalism, “Lake” by Isaac Levitan.

39. Landscape genius Arkhip Kuindzhi, “Rainbow”, 1900-1905.

40. “Mordvin oaks” by Ivan Shishkin.

41. His “Stream in a Birch Forest”.

42. And here is Ivan Ivanovich himself, a portrait by Ivan Kramskoy, 1880.

43. Ilya Repin, “Belorus”, 1892.

44. Boris Kustodiev opens a collection of paintings with Russian national flavor. “The Merchant's Wife at Tea,” written for the last time, only in 1918.

45. In the background is patriarchal Russia.

46. ​​F. Malyavin, “Two Girls”, 1910.

47. “Spring Sunny Day” by Konstantin Yuon - the picture is light in mood, it’s good to write essays on it.

48. A similar painting by Boris Kustodiev - “Maslenitsa”.

49. A portrait of Fyodor Chaliapin in a similar style was painted by Kustodiev in 1921.

50. Background for a great artist.

51. Another portrait of Chaliapin, made in 1911 by K.A. Korovin, filled with the light and ease of pre-war life.

52. Vasily Perov’s painting “Hunters at a Rest”, replicated across millions of Soviet kitchens, was painted in 1871. In terms of recognition, it can be compared with “The Unknown” by Ivan Kramskoy.

53. Part of another famous painting - “The Capture of a Snowy Town”, Vasily Surikov, 1891.

54. And this is another picture familiar to everyone from childhood.

55. “Barge Haulers on the Volga” was written by Ilya Repin in 1870-1873.

56. Nearby you can see one of the sketches for the painting with a completely different composition.

57. Another picture of him shows a playful student. "Preparation for the exam", 1864.

58. Vasily Petrov’s painting “Monastery Meal” can be looked at for a long time.

59. It was written in 1865 and is a vicious satire on the clergy.

60. An important dignitary with a swaggering lady and an obsequious priest bowing before them, counting on donations for the monastery. A beggar woman with hungry children hopelessly reaches out for alms. And below, a priest is climbing somewhere.

61. Multi-figure canvas by K.A. Savitsky “To the War,” created in 1880-1888, is dedicated to seeing off soldiers to the Russian-Turkish war.

62. Now they would say, “the patriotic son did not find support from his liberal father”?

63. One of the episodes of that war was depicted by battle painter V.V. Vereshchagin - “Skobelev near Shipka”.

64. Everyone remembers “Girl with Peaches”; Valentin Serov’s style is difficult to confuse. This painting is called “Children”, in which the artist depicted his sons Sasha and Yura.

65. Serov’s fame as a portrait painter became a real bondage and curse for him. After 1895, he painted many portraits commissioned by the bourgeois and aristocratic nobility. This is a portrait Alexandra III with a report in hand, 1900.

66. “Emperor Peter II and Tsarevna Elizaveta Petrovna go hunting,” 1900.

67. In the portrait of Count F.F. Sumarokov-Elston with a dog (1903) Serov himself insisted on depicting the young count’s favorite dog, and in the portrait he looks almost more significant than his owner.

68. The same with the horse in the portrait of Prince F.F. Yusupov, but here the animal is presented as completely enraged.

69. The official work of Ilya Repin, “The ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary,” with sketches, occupies an entire hall with a skylight in the ceiling.

70. At the beginning of the 20th century, the era changed, realism was replaced by modernity. Portrait of the poetess Anna Akhmatova in the cubist style by Nathan Altman, 1914.

71. Also at the beginning of the century, theaters flourished. A.N. Benoit, " Italian comedy", 1906.

72. Self-portrait of V.I. Shukhaev as Pierrot, 1914.

73. Boris Grigoriev, portrait of Meyerhold, 1916. The pose was invented by the artist himself. The director was forced to pose on tiptoe for a long time, which is why he looks so haggard.

74. K.A. Somov, “Mocked Kiss”, 1908.

75. Kuzma Petrov-Vodkin, self-portrait, 1918.

76. We are transported to the art of the Soviet period.

“The Last Day of Pompeii”, Karl Bryullov

“The Last Day of Pompeii” by Karl Bryullov is the most famous painting in the world on the theme of the eruption of Vesuvius.

After presenting the painting in Milan in 1833, Bryullov became in Italy the object of fanatical worship, which no artist had received in this country since the Renaissance. When he walked down the street, passers-by took off their hats in front of him; when he entered the theater, the audience stood up. Crowds of people gathered near his house, wanting to greet their idol.

It is interesting that Bryullov portrayed himself in one of the characters in the painting, and his friend Countess Yulia Samoilova appears on the canvas three times.

“The Ninth Wave”, I.K. Aivazovsky

The real name of Ivan Konstantinovich Aivazovsky is Hovhannes Gevorgovich Ayvazyan.

To create the painting “The Ninth Wave” Aivazovsky used only 4 colors - red, yellow, green and brown. The richest color effects of the canvas are created by mixing primary colors.

Aivazovsky had absolute visual memory and created most of his paintings without life, using only conventional sketches. He worked so quickly that he could paint a medium-sized seascape in 2 hours. During his life, the artist painted more than 6 thousand paintings.

“The Cossacks write a letter to the Turkish Sultan”, I. E. Repin

Few people know that the painting “Cossacks writing a letter to the Turkish Sultan” is not alone. There are three versions that differ slightly in composition and characters. The 1887 version is exhibited in the Tretyakov Gallery, the 1891 version (main) in the State Russian Museum in St. Petersburg. The third, which the artist called “the most historically accurate,” is located in the homeland of I.E. Repin, in the Kharkov Art Museum.

As models for the six characters of “Cossacks,” Repin used his acquaintances and friends who fit the type. In particular, a portly Cossack in a white hat, whom many compare to Taras Bulba, is Vladimir Gilyarovsky (“Uncle Gilyai”), famous traveler and writer.

“Sadko”, I. E. Repin

“Sadko” is Repin’s only painting based on a fairy-tale plot, and one of the few in which he used the impressionist technique. The artist became acquainted with impressionism in France, where he traveled as a pensioner of the Academy of Arts. Repin even painted several paintings using his techniques (“Sadko”, “The Last Ray”, etc.), but the result did not satisfy the novice master. And although he was predicted to have enormous success in Impressionist circles, he decisively abandoned the style, which he considered “interesting from a technical point of view, but decidedly empty in meaning.”

The model for creating the image of Sadko was I. E. Repin’s friend, artist V. M. Vasnetsov (author of “Bogatyrs”, “Alyonushka”, etc.)

“The Knight at the Crossroads”, V.M. Vasnetsov

Three paintings “The Knight at the Crossroads” were painted. In the first two versions, the hero is positioned facing the audience. The 1878 version is kept in the Serpukhov Historical and Art Museum. The 1879 version was exhibited at the first exhibition of the Union of Russian Artists in 1903–1904. and was acquired by an American collector. 110 years later, in 2013, the painting returned to Russia and was presented in Moscow at the “Russia: Temptation by History” vernissage. The 1882 version, in which the knight's back is turned to the audience, can be seen in the State Russian Museum.

« Moonlight night on the Dnieper", A. I. Kuindzhi

In 1880, an exhibition was held in St. Petersburg, at which a single painting was exhibited. Nevertheless, it created a sensation; queues lined up for the exhibition, and many visitors came to look at the painting more than once. It was “Moonlit Night on the Dnieper” by Arkhip Ivanovich Kuindzhi. The unusual lunar lighting presented on the canvas was emphasized by the fact that the painting was exhibited in dark room. Many visitors did not believe that it was possible to paint the light of the moon so realistically, and looked behind the frame in search of a hidden light bulb.

“Suvorov’s Crossing of the Alps”, V. I. Surikov

Having conceived the painting “Suvorov’s Crossing of the Alps,” V.I. Surikov went to Switzerland and visited all the passes where the army of the famous generalissimo passed in 1799. He not only wrote landscape sketches in these places for future painting, but he also rolled down the snow and ice, determining the speed of movement of the characters on different stages descent

The painting was painted and exhibited in 1899 - on the 100th anniversary of the unprecedented military feat A. Suvorov.

Famous directors Andrei Konchalovsky and Nikita Mikhalkov are direct descendants of V.I. Surikov.

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