The year the Tretyakov Gallery was created. State Tretyakov Gallery - a treasury of Russian painting

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Introduction

The State Tretyakov Gallery is one of the largest museums in the world. Her popularity is almost legendary. To see its treasures, hundreds of thousands of people come every year to the quiet Lavrushinsky Lane, which is located in one of the oldest districts of Moscow, Zamoskvorechye. The Tretyakov Gallery's collection is dedicated exclusively to national Russian art, to those artists who contributed to the history of Russian art or who were closely associated with it. This is how the gallery was conceived by its founder, Moscow merchant and industrialist Pavel Mikhailovich Tretyakov 1832-1898, and this is how it has remained to this day.

Pavel Mikhailovich Tretyakov

Pavel Tretyakov was born on December 15 (27), 1832 in Moscow, into a merchant family. He was educated at home and began a career in commerce, working with his father. Developing the family business, Pavel, together with his brother Sergei, built paper spinning factories that employed several thousand people. P. M. Tretyakov’s fortune at the time of his death was estimated at 3.8 million rubles.

Pavel Mikhailovich did not marry for a long time. Only in August 1865 did his wedding take place with Vera Nikolaevna Mamontova, cousin of the famous philanthropist Savva Ivanovich Mamontov. In 1866, the eldest daughter Vera (1866-1940) was born, then Alexandra (1867-1959), Lyubov (1870-1928), Mikhail (1871-1912), Maria (1875-1952), Ivan (1878 --1887). In 1887, Ivan, everyone’s favorite and his father’s hope, died of scarlet fever complicated by meningitis. Pavel Mikhailovich's grief knew no bounds. The eldest son, Mikhail, was born sick, weak-minded and never brought joy to his parents.

In the 1850s, Pavel Tretyakov began collecting a collection of Russian art, which almost from the very beginning he intended to give to the city. It is believed that he acquired his first paintings in 1856 - these were the works “Temptation” by N. G. Schilder and “Skirmish with Finnish Smugglers” (1853) by V. G. Khudyakov. Then the collection was replenished with paintings by I. P. Trutnev, A. K. Savrasov, K. A. Trutovsky, F. A. Bruni, L. F. Lagorio and other masters. Already in 1860, the philanthropist drew up a will, which stated: “For me, who truly and ardently loves painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts, bringing benefit to many and pleasure to all.”

In the 1860s, Tretyakov acquired the paintings “The Prisoners’ Halt” by V. I. Jacobi, “The Last Spring” by M. P. Klodt, “Grandmother’s Tales” by V. M. Maksimov and others. Pavel Mikhailovich highly appreciated the work of V. G. Perov, to whom he wrote in October 1860: “Take care of yourself for the service of art and for your friends.” In the 1860s, such works by Perov as “Rural Procession at Easter”, “Troika” and “Amateur” were acquired; Subsequently, Tretyakov continued to acquire paintings by Perov, commissioned portraits from him, and actively participated in organizing a posthumous exhibition of the artist’s works.

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

In 1874, Tretyakov built a building for the collected collection - a gallery, which in 1881 was open to the public. In 1892, Tretyakov transferred his collection, along with the gallery building, to the ownership of the Moscow City Duma. A year later, this institution received the name “City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov.” Pavel Tretyakov was appointed a lifelong trustee of the gallery and received the title of Honorary Citizen of Moscow. Shareholder of the Moscow Merchant Bank.

By the end of his life, Tretyakov received the title of commerce advisor, was a member of the Moscow branch of the Council of Trade and Manufactures, and also a full member of the St. Petersburg Academy of Arts (since 1893). He died on December 4 (16), 1898 in Moscow. His last words to his relatives were: “Take care of the gallery and be healthy.” He was buried at the Danilovsky cemetery in Moscow next to his parents and brother Sergei, who died in 1892. In 1948, the ashes of the Tretyakov brothers were reburied at the Novodevichy cemetery.

Tretyakov gallery history art Russian

Gallery history

Pavel Tretyakov began collecting his collection of paintings in the mid-1850s. The year of foundation of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: “Temptation” by N. G. Schilder and “Skirmish with Finnish Smugglers” by V. G. Khudyakov, although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. In 1867, the “Moscow City Gallery of Pavel and Sergei Tretyakov” was opened to the general public in Zamoskvorechye on Lavrushinsky Lane in Zamoskvorechye, in the house that the Tretyakov family bought in 1851. The collection in the gallery included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

In August 1892, Pavel Mikhailovich donated his art gallery to the city of Moscow. By this time, the collection included 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons. On August 15, 1893, the official opening of the museum took place under the name “Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov.”

Since the growth of the collection constantly exceeded the exhibition capabilities of the Gallery, new premises were gradually added to the residential part of the mansion, necessary for storing and displaying works of art. Similar extensions were made in 1873, 1882, 1885, 1892 and finally in 1902-1904, when the famous facade appeared, designed by the architect V. N. Bashkirov based on the drawings of the artist V. M. Vasnetsov. The construction was managed by the architect A. M. Kalmykov. This facade became the emblem of the Tretyakov Gallery.

On January 16, 1913, Ilya Repin’s painting “Ivan the Terrible and his son Ivan on November 16, 1581”, located in the Tretyakov Gallery, was damaged by a vandal’s knife. The artist had to virtually recreate the faces of those depicted. The curator of the Tretyakov Gallery E. M. Khruslov, having learned about the damage to the painting, threw himself under the train.

On April 2, 1913, the Moscow City Duma elected Igor Emmanuilovich Grabar, a prominent artist, architect and art historian, as a trustee of the Tretyakov Gallery. The main thing that marked Grabar’s activity was the reforms that turned the Tretyakov Gallery into a European-style museum with an exhibition organized according to a chronological principle. In early December 1913, on the fifteenth anniversary of the death of the Gallery's founder, the reformed museum was opened to the public.

On June 3, 1918, the Council of People's Commissars issued a Decree that declared the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment on, the museum began to be called the State Tretyakov Gallery. After nationalization, Igor Emmanuilovich Grabarm was appointed director of the Gallery. During the first years of Soviet power, the Gallery's collection increased significantly, which again raised the question of expanding its space. With his active participation, the State Museum Fund was created in the same year, which until 1927 remained one of the most important sources of replenishment of the museum’s collection.

Academician of architecture A.V. Shchusev, who became director in 1926, did a lot to expand the existing premises and add a new one. In 1927, the Gallery received a neighboring house on Maly Tolmachevsky Lane (the former Sokolikov house). After reconstruction in 1928, it turned into an office building that housed the Gallery's administration, scientific departments, library, manuscript department, and graphic collections. This building was connected to the Gallery by a special extension. In 1928, heating and ventilation were radically re-equipped. In 1929, the Gallery was electrified (previously it was open to visitors only during the daytime).

In 1929, the Church of St. Nicholas in Tolmachi was closed, and in 1932 its building was transferred to the Gallery and became a repository of paintings and sculpture. Later it was connected to the exhibition halls by a newly built two-story building, the upper floor of which was specially designed for exhibiting the painting by A.A. Ivanov “The Appearance of Christ to the People (The Appearance of the Messiah)” (1837-1857). A passage was also built between the halls located on both sides of the main staircase, which ensured continuity of view. As a result of these changes, the exhibition area of ​​the museum increased and work began on creating a new concept for displaying works.

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

From the first days of the Great Patriotic War, dismantling of the exhibition began in the Gallery - like other museums in Moscow, it was preparing for evacuation. The canvases were rolled onto wooden shafts, covered with tissue paper, and placed in boxes lined with waterproof material. In mid-summer 1941, a train of 17 carriages departed from Moscow and delivered the collection to Novosibirsk. The evacuation of works of art continued until September 1942; part of the exhibition was evacuated to the city of Molotov. Only on May 17, 1945, the Gallery was reopened in Moscow. .

The Gallery building was noticeably damaged by bombing during the Great Patriotic War (1941-1945): two high-explosive bombs that fell as a result of a German air raid in several places destroyed the glass roof covering, the interfloor covering of some halls, and the main passages were damaged.

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

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

Construction work began in 1983. Two years later, a depository was put into operation - a repository of works of art, where restoration workshops were also located.

Later, in 1985-1994, the administrative building was built on 2 floors according to the design of the architect A.L. Bernstein and was equal in height to the exhibition halls.

In 1986, reconstruction of the main building of the Tretyakov Gallery began (architects I.M. Vinogradsky, G.V. Astafiev, B.A. Klimov and others), based on the idea of ​​preserving the historical appearance of the building.

In 1989, a new building was built on the south side of the main building, housing a conference room, information and computing center, children's studio and exhibition halls. In 1992-1994, they hosted an exhibition of masterpieces from the Gallery’s collection. Most of the engineering systems and services were concentrated in this building, which is why it was called the Engineering Building.

A fundamental feature of the reconstruction plan was the inclusion of the Church of St. Nicholas in Tolmachi (an architectural monument of the 17th century) into the museum ensemble after its restoration and consecration. The temple was approved as a house church-museum at the Tretyakov Gallery.

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

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

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

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

· Tretyakov Gallery in Lavrushinsky Lane, 10

· Museum-Church of St. Nicholas in Tolmachi

· Tretyakov Gallery on Krymsky Val, 10

· Museum-workshop of A. S. Golubkina

· House-museum of V. M. Vasnetsov

· Museum-apartment of A. M. Vasnetsov

· House-Museum of P. D. Korin.

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

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

Gallery Managers

· Tregulova, Zelfira Ismailovna (2015-present)

· Lebedeva, Irina Vladimirovna (2009--2015)

· Rodionov, Valentin Alekseevich (1993--2009)

· Korolev, Yuri Konstantinovich (1980--1992)

· Lebedev, Polikarp Ivanovich (1954--1979)

· Zamoshkin, Alexander Ivanovich (1941--1951)

· Lebedev, Polikarp Ivanovich (1939--1941)

· Christie, Mikhail Nikolaevich (1930--1939)

· Shchusev, Alexey Viktorovich (1926--1929)

Shchekotov, Nikolai Mikhailovich (1925-1926)

· Grabar, Igor Emmanuilovich (1913--1925)

· Ostroukhov, Ilya Semenovich (1905 - 1913)

Faith in the school of Russian painting

Tretyakov's enormous historical merit is his unshakable faith in the triumph of the Russian national school of painting - a faith that arose in the late 50s of the last century and carried through his entire life, through all the difficulties and trials. It is safe to say that in the triumph of Russian painting that came at the end of the 19th century, P.M. Tretyakov’s personal merit was exceptionally great and invaluable.

Tretyakov’s letters preserve evidence of this ardent faith of his. Here's one of them. In a letter to the artist Rizzoni dated February 18, 1865, he wrote: “In the last letter to you, my expression may seem incomprehensible: “Then we would talk with non-believers” - I will explain it to you: many positively do not want to believe in the good future of the Russian art and they assure that if sometimes our artist writes a good thing, it is somehow by accident, and that he will then increase the number of mediocrities. You know, I have a different opinion, otherwise I would not have collected a collection of Russian paintings, but sometimes I could not help but agree with the facts presented; and every success, every step forward is very dear to me, and I would be very happy if I waited for a holiday on our street.” And about a month later, returning to the same thought, Tretyakov writes: “I somehow involuntarily believe in my hope: our Russian school will not be the last - it was indeed a cloudy time, and for quite a long time, but now the fog is clearing.”

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

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

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

Tretyakov the collector was something of a phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. “I must admit,” wrote the artist I. N. Kramskoy in 1873, “that this is a man with some kind of devilish instinct.” Having never studied anywhere, he nevertheless possessed broad knowledge, especially in the fields of literature, painting, theater and music. “Tretyakov was a scientist by nature and knowledge,” the artist and critic A. N. Benois said in 1902 in his “History of Russian Art.”

Tretyakov never worked with "prompters". Being closely acquainted with a huge number of artists, writers, musicians and very friendly with many, Tretyakov willingly listened to their advice and comments, but he always acted in his own way and, as a rule, did not change his decisions. He did not tolerate interference in his affairs. Kramskoy, who undeniably enjoyed Tretyakov’s greatest favor and respect, was forced to note: “I have known him for a long time and have long been convinced that no one has influence on Tretyakov, both in the choice of paintings and in his personal opinions... If there were artists, those who believed that it was possible to influence him, they had to then abandon their delusion." Over time, high taste, strict selection and, of course, nobility of intentions brought Tretyakov well-deserved and undeniable authority and gave him “privileges” that no other collector had: Tretyakov received the right to be the first to view new works of artists either directly in their studios, or at exhibitions, but, as a rule, before their public opening.

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

Artists and art historians have long noticed that “if P. M. Tretyakov had not appeared in his time, if he had not given himself entirely to a big idea, if he had not begun to piece together Russian Art, his fate would have been different: perhaps we would not have known “Boyarina Morozova”, nor “Procession. . . ", nor all those large and small paintings that now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: ". . . Without his help, Russian painting would never have taken an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art" (A. Benois)

Gallery today

In April 1995, an updated exhibition of classical Russian art opened for visitors in the main building on Lavrushinsky Lane. The exhibition area has increased. In the reconstructed main building of the Tretyakov Gallery, it became possible to significantly expand the exhibition of ancient Russian art, to allocate halls for sculpture of the 18th - first half of the 19th centuries and the turn of the 19th - 20th centuries.

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

The construction of the courtyards made it possible to create new halls for paintings by the greatest masters of painting of the 19th century - K.P. Bryullov, A.A. Ivanov, I.N. Kramskoy, A.I. Kuindzhi. The largest of them was specially designed for the huge decorative panel “Princess of Dreams” by M.A. Vrubel (1896).

Back in 1953, I.E. Repin’s five-meter canvas “Reception of the volost elders by Alexander III in the Peter’s Palace in Moscow” (1886), created according to the “highest” order, was transferred from the Grand Palace of the Moscow Kremlin to the Tretyakov Gallery. It was also included in the new exhibition.

In order to show the art of the 20th century as fully as possible, corresponding to the scale and level of the museum’s collection, it was decided to divide the exhibition into two buildings and in the Gallery building located on Krymsky Val, to create a general exhibition of art of the 20th century, from the avant-garde to the latest movements.

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

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

The exhibition activities of the Gallery are becoming more and more diverse and interesting. Every year, exhibitions are organized that arouse great public interest, including the exhibitions “Revived Treasures of Russia” (1995), “To the 150th Anniversary of I.E. Tsvetkov” (1995), “Treasures of Museums of the Moscow Region” (1996), “ Unforgettable Russia. Russia and Russians through the eyes of British artists. XVIII - first half of the XIX century" (1997), "M. Larionov - N. Goncharova. Masterpieces from the Parisian heritage. Painting" (1999), "K.P. Bryullov. To the 200th anniversary of his birth" (2000), "Western European art of the 16th-18th centuries from the collection of the Tula Museum of Fine Arts" (2000), "Let's return the museum to Grozny" (2002), works by N.N. Sapunov (2003) , “Prophet and dreamer. M.A.Vrubel, V.E.Borisov-Musatov. Graphics" (2005).

Works from the Gallery's collection are regularly exhibited at both international and domestic exhibitions in different cities.

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

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

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

Conclusion

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

In terms of cultural heritage, scientific and technological progress every day reveals to us more and more new forms and results of human activity in the field of culture and art. And we, in our time, need to take care of them, preserve and increase them, at the same time not forgetting about the past, in order to leave to our descendants our vision of the world, our life, as did a truly great man - Pavel Mikhailovich Tretyakov.

Bibliography

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

2. [Electronic resource] - Access mode: http://www.tretyakovgallery.ru/ - Access date: 10/30/2015

3. [Electronic resource] - Access mode: https://ru.wikipedia.org/wiki/State_Tretyakov_Gallery - Access date: 10/29/2015.

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Address: Moscow, Lavrushinsky lane, 10
Date of foundation 1856
Coordinates: 55°44"29.0"N 37°37"12.9"E

The famous gallery exhibits more than 180 thousand works of Russian art. The world of paintings by Russian artists fascinates and attracts many guests. Schoolchildren, students, employees and pensioners come to the Tretyakov Gallery to see ancient icons, mosaics, landscapes, portraits and historical paintings. According to statistics, more than one and a half million visitors visit one of the most famous museums in Moscow every year.

View of the entrance to the Tretyakov Gallery on Lavrushinsky Lane. In the center is a monument to Pavel Tretyakov

Founder of the museum

Pavel Tretyakov was born in 1832 into the family of a Moscow merchant. He was the eldest of 12 children and was raised with his younger brother Sergei. As adults, the brothers founded several paper spinning factories and managed to earn a large fortune, which was estimated at a huge sum of 3.8 million rubles at that time.

Few people know, but at first Tretyakov became interested in collecting paintings by Western European masters. He had no experience, made random acquisitions and over the course of several years bought several paintings and graphic works by Dutch artists. The novice collector immediately faced the problem of determining the authenticity of old paintings. He quickly realized how many fakes there were on the painting market and decided to buy works from the artists themselves. The founder of the gallery followed this rule until his death.

Hall No. 9 - “Horsewoman” - 1832 (Karl Bryullov)

In the middle of the 19th century, Pavel became interested in collecting paintings by Russian painters. The first paintings purchased were works by artists Schilder and Khudyakov. In 1851, he became the owner of a spacious house, purchased specifically for the growing museum.

After 16 years, the Tretyakov brothers opened a private collection of paintings for the Moscow public. By this time, the gallery had more than 1,200 paintings, 471 graphic works, several sculptures and many icons. In addition, over 80 works by foreign artists were exhibited here.

Hall No. 26 - “Bogatyrs” - 1881 - 1898 (Viktor Vasnetsov)

At the end of the summer of 1892, after his brother died, Pavel turned to the Moscow City Duma and donated the collection to the city. He was awarded the title of honorary resident and appointed a life trustee of the museum.

Tretyakov helped Russian painters a lot. He commissioned talented artists to paint canvases on historical themes and portraits of prominent Russians. Sometimes the patron of the arts paid for the painters’ travel to the desired location. Tretyakov died at the age of 65 in 1898.

Hall No. 28 - “Boyaryna Morozova” - 1884 - 1887 (V. I. Surikov)

Gallery history

The art collection of paintings was maintained at the expense of Tretyakov’s bequeathed capital - 125,000 rubles. Another 5,000 was paid annually by the state. New paintings were purchased using interest from the patron's money.

The gallery was located in a house purchased by the Tretyakovs in 1851. However, the collection was constantly growing, and there was not enough space for it. The museum building was rebuilt several times. At the beginning of the last century, it had an expressive facade, designed by the architect Vasily Nikolaevich Bashkirov according to sketches created by the artist Vasily Vasnetsov. Today, the beautiful facade in the pseudo-Russian style has become one of the recognizable symbols of the Moscow museum.

Hall No. 25 - “Morning in a pine forest” - 1889 (Ivan Shishkin, Konstantin Savitsky)

In 1913, painter Igor Grabar was elected trustee of the art collection. Soon after the revolution, the collection received the status of a state museum. Grabar introduced the arrangement of paintings chronologically and created a fund, thanks to which it was possible to replenish museum collections.

In the 1920s, the gallery was headed by the famous architect Alexei Shchusev. The museum received another building, and the administration, scientific library and collections of graphic works were located there.

Hall No. 27 - “Apotheosis of War” - 1871 (Vasily Vereshchagin)

In the 1930s, an active anti-religious campaign was carried out in the country. Local authorities closed monasteries and churches, seized their property and arrested priests. Under the slogans of the fight against religion, the St. Nicholas Church in Tolmachi was closed. The vacated religious building was not empty for long, and it was transferred to the museum as a storeroom for storing paintings and sculptures.

Later, the church was connected to the museum halls by a two-story building, and a huge canvas “The Appearance of Christ to the People,” painted by the artist Ivanov, began to be displayed here. Then a new “Shusevsky” building appeared. At first, exhibitions were held there, but since 1940, new halls have been included in the main museum route.

Icons in the Tretyakov Gallery

At the beginning of the war, when the Nazis were rushing to the capital of the country, the gallery began to be dismantled. All the canvases were carefully removed from the frames, rolled onto wooden rollers, and, arranged with paper, packed into boxes. In July 1941, they were loaded onto a train and taken to Novosibirsk. Part of the gallery was sent to Molotov - present-day Perm.

The opening of the museum took place after Victory Day. The exhibition was completely restored to its original location, and, fortunately, none of the paintings were lost or damaged.

Hall No. 10 - “The Appearance of Christ to the People” - 1837–1857 (Alexander Ivanov)

For the 100th anniversary of the opening of the museum, a hall was erected for the works of the famous Russian painter Ivanov. And in 1980, a monument to Pavel Tretyakov by sculptor Alexander Pavlovich Kibalnikov and architect Igor Evgenievich Rozhin appeared in front of the museum building.

By the 1980s, more than 55 thousand paintings were stored here. The number of visitors grew so much that the building urgently needed to be expanded. Perestroika took several years. The museum received new premises for the storage of paintings, the depository and the work of restorers. Later, a new building appeared near the main building, which was called “Engineering”.

Hall No. 19 - “Rainbow” - 1873 (Ivan Aivazovsky)

All art museums in the world are engaged in protecting paintings from vandals, and the gallery in Moscow is no exception. In January 1913, a disaster happened here. An unbalanced viewer attacked the famous painting by Ilya Repin and cut it. The painting depicting the Russian sovereign Ivan IV the Terrible and his son was severely damaged. The museum curator Khruslov, having learned about the attack, committed suicide out of despair. The author and other artists participated in the restoration of the painting, and the faces of the characters were recreated.

In the spring of 2018, another tragedy occurred with the same picture. A drunken vandal broke the glass that protected the canvas and damaged its central part in three places. Later he was unable to clearly explain what he had done.

“The siege of Pskov by the Polish king Stefan Batory in 1581” - 1839-1843 (Karl Bryullov)

One of the most revered Russian icons, the Mother of God of Vladimir, is kept behind airtight glass in the gallery. This relic is more than ten centuries old. According to legend, the famous icon protected Muscovites and saved the city from the invasion of the troops of Khan Mehmet Giray. Since the paint layer began to peel off over time, restorers carried out restoration work, but did not touch the faces of the Mother of God and Jesus.

Museum complex

In addition to the main building in Lavrushensky Lane, the Tretyakov Gallery owns a large exhibition complex at Krymsky Val, 10. It exhibits works by famous artists of the 20th-21st centuries. The Tretyakov Gallery also oversees several memorial museums of artists and sculptors in the city.

Hall No. 17 - “Troika” (“Workshop apprentices carrying water”) - 1866 (Vasily Perov)

The museum complex is open and welcomes Muscovites and tourists all year round. A gallery is not only large and small halls with paintings. Lectures, film screenings, concerts, performances and creative meetings with artists are held here.

The gallery doors are open to guests on Tuesday, Wednesday and Sunday from 10:00 to 18:00, and on Thursday, Friday and Saturday from 10:00 to 21:00. Please note that museum ticket offices stop selling tickets one hour before closing. Visitors under 18 years of age are admitted to the gallery free of charge. Tickets to the exhibitions are valid for a month, but are available on a first-come, first-served basis.

Hall No. 3 - “Portrait of Peter III” - 1762 (Antropov A.P.)

The exhibitions can be viewed independently or as part of excursion groups. For convenience, visitors can use free mobile audio guides.

Professional guides conduct sightseeing and thematic excursions through the halls. During them, tourists are told about the history of the creation of individual paintings, introduced to ancient Russian art, masterpieces of painting of the 18th and 19th centuries, the work of Peredvizhniki artists and the Russian avant-garde.

Hall No. 26 - “After the massacre of Igor Svyatoslavich with the Polovtsians” - 1880 (Valentin Baygildin)

How to get there

The main building is located in the central part of the city, in Lavrushinsky Lane, 10. It is easily accessible on foot from the Tretyakovskaya and Novokuznetskaya metro stations.

The Tretyakov Gallery is another sight Moscow, which every tourist must visit. The largest collection of paintings in Russia is located here. Now the mansion on Lavrushinsky Lane, the façade of which is decorated with stucco, is a famous gallery, but in the 19th century it was a merchant’s house. In 1851, this mansion was bought by a philanthropist, the owner paper spinning factories and art collector Pavel Mikhailovich Tretyakov. Initially, the house was bought for living and only much later it turns into a gallery.

In 1854, Tretyakov acquired 9 canvases and 11 sheets of graphics by ancient Dutch masters and placed them in his mansion. According to historians, this was the reason for the creation of the famous gallery. However, the official year of its foundation is 1856. This year for his collection P. M. Tretyakov acquires two paintings - V. G . Khudyakov “Skirmish with the Finnish smugglers" and N. G . Schilder "Temptation".

Together with Pavel, his brother Sergei is also involved in purchasing paintings by famous painters. For some time, only a narrow circle of people can admire the collection of the Tretyakov brothers. But in 1867 it became available to the general public for the first time. By this year, the collection of the Tretyakov brothers already consisted of 471 drawings, 10 sculptures and 1276 paintings. The vast majority of works were by domestic artists.

Time passed. The collection kept growing. Additional extensions had to be made to the house. New halls appeared. In 1892, Pyotr Mikhailovich Tretyakov donated the gallery to Moscow. In 1904, the building of the art gallery acquired the famous Vasnetsov facade. The sketch of the facade was created by the famous Russian painter V. M. Vasnetsov (the façade was named after him), and was designed by V. N. Bashkirov.

Every year the collection of the Tretyakov Gallery increased, it was necessary to organize it. Igor Emmanuilovich Grabar, having become in 1913 first a trustee and then director of the gallery, for the first time in Russia introduced the arrangement of paintings in chronological ok .

After the revolution, it was decided to transfer the neighboring buildings to the Tretyakov Gallery. First, a house in Maly Tolmachevsky Lane (the former property of the merchant Sokolikov) was assigned to it, and then the Church of St. Nicholas in Tolmachi. In order to extend the gallery's operating hours, it was electrified in 1929.

In 1941, the collection was evacuated, and the building itself was seriously damaged. However, by 1945, most of the halls of the Tretyakov Gallery had been restored, the exhibits were returned to Moscow, and tourists could once again admire the works of Russian masters.

In 1986, the gallery building was closed for major renovations, which lasted almost 10 years. Part of the exhibition was located in one of the buildings on Krymsky Val. The same year is also the moment of formation of the All-Russian Museum Association, which received the name “ State Tretyakov Gallery ". Today in the composition State The Tretyakov Gallery, in addition to these two buildings, also includes the house-museum of P. Korina, museum-church of St. Nicholas in Tolmachi, house-museum of V. Vasnetsov and the museum-apartment of A. Vasnetsov, as well as the museum-workshop of A. Golubkina. Since 1995, the building of the merchant Tretyakov has housed a collection of exhibits dating back to the beginning of the last century. Works from the 20th century are located exclusively in the building on Krymsky Val.

Now the Tretyakov Gallery collection includes over 55 thousand exhibits. There are not only paintings here, but also icons, sculptures, and works of decorative and applied art. An excursion to the Tretyakov Gallery will be very interesting and will bring a lot of impressions.

1851

The main building of the Gallery is located in Lavrushinsky Lane, in Zamoskvorechye - a traditionally merchant district of Moscow. The Tretyakov family bought this house at the end of 1851. In 1856, Pavel Mikhailovich acquired the first paintings, which laid the foundation for the famous collection. As the collection grew, rooms specially designed for works of art were added to the residential part of the mansion. However, the growth of the Tretyakov Gallery's collection constantly exceeded its exhibition capabilities.

Facade of V.M. Vasnetsov

Sketch of the facade of the Gallery in the “Russian style”. V.M.Vasnetsov

On April 2, 1913, the Moscow City Duma elected Igor Emmanuilovich Grabar, a prominent artist, architect and art historian, as a trustee of the Tretyakov Gallery. The main thing that marked Grabar’s activity was the reforms that turned the Tretyakov Gallery into a European-style museum with an exhibition organized according to a chronological principle. In early December 1913, on the fifteenth anniversary of the death of the Gallery's founder, the reformed museum was opened to the public.

On June 3, 1918, the Council of People's Commissars issued a Decree that declared the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment on, the museum began to be called the State Tretyakov Gallery. After nationalization, I.E. Grabar was appointed director of the Gallery. During the first years of Soviet power (1918–1922), the Gallery's collection increased by almost 50% due to numerous contributions from the State Museum Fund. Due to the increase in funds, many exhibition halls were given over to storage for paintings.
By 1923, the exhibition that I.E. Grabar created with such inspiration had changed greatly.

Exposition of the City Art Gallery P.M. and S.M. Tretyakov. 1898

Academician of architecture A.V. Shchusev, who became director in 1926, did a lot to expand the existing premises and add new ones.
In 1927, the Gallery received a neighboring house on Maly Tolmachevsky Lane (the former Sokolikov house). After reconstruction in 1928, it turned into an office building that housed the Gallery's administration, scientific departments, library, manuscript department, and graphic collections.

This building was connected to the Gallery by a special extension. In 1928, heating and ventilation were radically re-equipped. In 1929, the Gallery was electrified (previously it was open to visitors only during the daytime).

Reserve in the building of the closed Church of St. Nicholas in Tolmachi. 1932

The building of the Church of St. Nicholas in Tolmachi, which was closed in 1929, was transferred to the Gallery in 1932 and became a repository of paintings and sculpture. Later it was connected to the exhibition halls by a newly built two-story building, the upper floor of which was specially designed for exhibiting the painting by A.A Ivanov “The Appearance of Christ to the People (The Appearance of the Messiah)” (1837–1857). A passage was also built between the halls located on both sides of the main staircase, which ensured continuity of view. As a result of these changes, the exhibition area of ​​the museum increased and work began on creating a new concept for displaying works.

In 1936, construction of a new two-story building on the north side of the main building was completed. Built according to the design of the architect A.V. Shchusev, masterfully correlated with the historical part and the Vasnetsov facade, the “Shchusevsky building” organically entered the panorama of Lavrushinsky Lane. Its spacious halls (four on the upper floor and four on the lower floor) were first used for exhibitions, and since 1940 they have been included in the main exhibition route.

Gallery during the war years

Destruction from a bomb hitting the gallery building in August 1941

During the Great Patriotic War (1941–1945), the Gallery was damaged by bombing. On the night of August 11-12, 1941, as a result of German air raids, two high-explosive bombs fell on the building. The glass covering on the roof was destroyed in several places. The interfloor covering of the upper hall No. 6 and the lower hall No. 49 collapsed. The main entrance was damaged. The floors in the basement closet were smashed. The heating and ventilation systems failed. A few months later, on the night of November 12–13, 1941, another high-explosive bomb fell on the Gallery grounds. A two-story residential building next door was destroyed. In 1942, the Gallery building began to be restored. By autumn, the skylights and windows in 13 halls had been glazed, the parquet had been tidied up, the walls had been painted, and the heating and ventilation had been repaired. By 1944, out of 52 halls, 40 had been renovated, and exhibits evacuated to Novosibirsk and Perm in 1941–1942 returned to their places.

Museum complex in Lavrushinsky Lane

Korolev Yuri Konstantinovich. 1980

Construction work began in 1983. Two years later, a depository was put into operation - a repository of works of art, where restoration workshops were also located. In 1986, reconstruction of the main building of the Tretyakov Gallery began (architects I.M. Vinogradsky, G.V. Astafiev, B.A. Klimov and others), based on the idea of ​​preserving the historical appearance of the building. In 1989, a new building was built on the south side of the main building, housing a conference room, information and computing center, children's studio and exhibition halls. In 1992–1994, they hosted an exhibition of masterpieces from the Gallery’s collection. Most of the engineering systems and services were concentrated in this building, which is why it was called the Engineering Building.

Construction of the Depository. 1984

A fundamental feature of the reconstruction plan was the inclusion of the Church of St. Nicholas in Tolmachi (an architectural monument of the 17th century) into the museum ensemble after its restoration and consecration. The temple was approved as a house church-museum at the Tretyakov Gallery. Construction on Lavrushinsky Lane took almost ten long years: from 1985 to 1995.

Nowadays, the Tretyakov Gallery building complex, located between Lavrushinsky and Maly Tolmachevsky lanes, is a favorite place not only for Muscovites, but also for many guests of the capital. People come here from various regions, regions and cities of the Russian Federation to see their favorite paintings, visit the temple and pray in front of the icon of Our Lady of Vladimir.

In St. Petersburg, Tretyakov saw a collection of paintings by Fyodor Pryanishnikov. He was struck by the works of Tropinin, Venetsianov and especially “The Major’s Matchmaking” and “Fresh Cavalier” by Fedotov. The owner of the collection offered it for 70,000 rubles. Tretyakov did not have that kind of money, and then Pryanishnikov recommended buying paintings from the artists themselves: it was cheaper.

Pavel Mikhailovich went to the workshops of capital painters, and Nikolai Schilder saw the work “Temptation”: a seriously ill woman on the bed, and next to a matchmaker offering an advantageous marriage to her daughter. The heroine of the film refused, but her determination was melting, because her mother urgently needed money for medicine. This plot shook Tretyakov himself, whose beloved in the same situation could not refuse the offer of a rich suitor. Pavel Mikhailovich did not reveal this secret to anyone in order to preserve the girl’s good name, but he bought Schilder’s painting. This is how the principle of the collection was determined: no ceremonial portraits - only realism and lively subjects.

Pavel Tretyakov added to the collection throughout his life. It was located in his house on Lavrushensky Lane. The Tretyakovs bought it from the Shestov merchants back in 1851. And in 1860, Pavel Mikhailovich wrote his first will, where he allocated 150,000 rubles for the creation of a gallery of paintings by Russian artists. He bequeathed his collection to this good cause and offered to buy back several more collections. His brother, Sergei Tretyakov, was also a collector, but he collected Western paintings.

Pavel Mikhailovich gave preference exclusively to Russian artists.

For example, he did not buy Semiramidsky’s paintings, since he donated his best work to Krakow. When choosing paintings, Tretyakov relied on his own taste. Once, at an exhibition of the Itinerants, art critics rushed to criticize Nesterov’s “Bartholomew”. They convinced Tretyakov that the painting needed to be removed. After listening to the arguments, Pavel Mikhailovich replied that he bought this work long before the exhibition, and would have bought it again even after the angry tirade of his opponents.

Soon Tretyakov began to have a huge influence on the development of art. He could demand that the artists make changes. He ordered portraits of those individuals whom he considered worthy for the gallery. This is how Herzen, Nekrasov, Saltykov-Shchedrin appeared there. But it was as if Konstantin Ton or Apollo Maykov did not exist for him.

The cherished dream of every young artist (and even old ones) was to get into his gallery, and mine even more so: after all, my father had long ago announced to me half-seriously that all my medals and titles would not convince him that I was a “ready-made artist,” until my painting is in the gallery.

True, Tretyakov now has a rival in the field of collecting. And what a figure Alexander III himself is! The Tsar was furious when, at exhibitions of the Itinerants, he saw on the best works the mark “Property of P.M. Tretyakov". But often he managed to outbid the price offered by Pavel Mikhailovich. Thus, Nicholas II, in memory of his father, bought “The Conquest of Siberia by Ermak” from Surikov for fabulous money. The artist promised this painting to Tretyakov, but could not resist the lucrative deal. And he gave a sketch of the work to the patron for free. It is still exhibited in the gallery.

All this did not prevent the Tretyakov collection from growing, and the architect Kaminsky rebuilt the gallery building several times.

In the winter of 1887, Pavel Tretyakov’s beloved son died of scarlet fever. His last words were a request to go to church. And then Pavel Mikhailovich began collecting icons.

In 1892, after the death of Sergei Tretyakov, the brothers’ collections were united. Pavel Mikhailovich donated them and the building in Lavrushensky Lane in Moscow. This is how the Tretyakov Gallery museum appeared.

At the time of its foundation, the collection included 1,369 paintings, 454 drawings, 19 sculptures, 62 icons. Pavel Tretyakov received the title of honorary citizen of Moscow and remained a trustee of the Tretyakov Gallery until his death. He continued to expand the Tretyakov collection at his own expense. And this required expanding the exhibition area, so more and more new premises were added to the mansion. At the same time, the gallery bore the name of both brothers, although, in fact, it was the collection of Pavel Mikhailovich.

After the death of the patron of the arts, the facade of the Tretyakov Gallery was rebuilt according to the sketches of V.M. Vasnetsov in the form of a fairy-tale tower. A bas-relief of the saint and the name written in ancient Russian script appeared above the entrance to the museum.

In 1913, the Moscow City Duma appointed Igor Grabar as a trustee of the Tretyakov Gallery. He turned the Tretyakov Gallery into a European-style museum with exhibitions on a chronological basis.

The principles of choosing paintings for the collection have also changed. Already in 1900, the gallery bought Vasnetsov’s “Alyonushka” from von Meck. Previously rejected by Tretyakov.

And in 1925, contrary to the will of the Tretyakov founders, its collection was divided. Part of the collection was transferred to the Museum of Western Painting (now the Pushkin Museum of Fine Arts), and some paintings were taken to the Hermitage.

But real treasures remain in the collection of the Tretyakov Gallery. The most complete collection is the art of the second half of the 19th century - it has no equal. Here are just some of the Tretyakov’s masterpieces: “They Didn’t Expect”, “Ivan the Terrible and His Son Ivan” by I.E. Repin, “The Morning of the Streltsy Execution”, “Menshikov in Berezovo”, “Boyaryna Morozova” by V.I. Surikov, “Trinity” by A. Rublev, “Apotheosis of War” by V. Vereshchagin, “The Storm” by I. Aivazovsky, “The Last Day of Pompeii” by K. Bryullov, “Bogatyrs” by V. Vasnetsov, Portrait of A.S. Pushkin by O. Kiprensky, “The Unknown” by I. Kramskoy, “Golden Autumn” by I. Levitan, “Troika” by V. Perov, “Unequal Marriage” by V. Pukirev, “The Rooks Have Arrived” by A. Savrasov, “Princess Tarakanova” by K. Flavitsky. There is a separate room where “The Appearance of Christ to the People” by A.A. is exhibited. Ivanova. In the Vrubel Hall you can see “Princess Dream”, “Swan Princess”, majolica. And the paintings by P.A. Fedotov was usually accompanied by poetry.

I'm a fresh gentleman
And now everyone understands
I will be an example to everyone
And everything will count.
I'm a fresh gentleman
I'm an impressive guy
This flair is satin
It suits me very well.
Open the door wider
For some reason I'm feeling hot
I deserve a cross
And glory is above me
I'm a fresh gentleman
Snuggle up to me, cook,
And show me kindness,
You are for me at night.
Now I, as an actor,
I am Hamlet, I am Othello,
Magnificent dignity,
It shines for me like a portrait,
And my satin flair,
Thrown so skillfully
And even my trestle bed,
It radiates light to everyone.
I have a cross
But that's not enough for me,
I'm a fresh gentleman
I'm a conqueror of ladies
I'll wait for such a day
How will I become a general?
And I will be an example to everyone,
For daughters and mothers...

There are real secrets among the treasures of the Tretyakov Gallery.

For example, in the painting “Morning in a Pine Forest,” only Shishkin is indicated as the author, although Savitsky painted the bears. But Pavel Tretyakov, who was not told about the second author, personally erased Savitsky’s signature with turpentine.

Rokotov’s painting “Unknown in a Tricorne Hat” depicts a woman. Initially it was a portrait of the first wife of a friend of the artist. When, having become a widower, he married a second time, he asked Rokotov to spare the feelings of his second wife, and the painter applied a second layer, turning the woman into a man, but did not touch the face.

And when in 1885 Pavel Mikhailovich bought Repin’s painting “Ivan the Terrible and His Son Ivan,” he was forbidden to exhibit it. At first he showed the canvas in a narrow circle, and then hung it in a special room. In 1913, Old Believer Abram Balashev came to the gallery with a knife in his boot and slashed the canvas. Fortunately, the painting was restored.

On May 25, 2018, Repin’s canvas was damaged again: Voronezh resident Igor Podporin broke the glass and tore the canvas. He explained his actions by saying that the picture depicts unreliable events. And on January 27, 2019, right in front of visitors, Arkhip Kuindzhi’s painting “Ai-Petri. Crimea". The criminal was quickly found and the painting was returned.

Now the Tretyakov Gallery greets guests with a fabulous façade. And in the courtyard there is a monument to the founder - P.M. Tretyakov. He replaced the monument to I.V. Stalin by S.D. Merkulov 1939.

They say that......the building of the Tretyakov Gallery suffered during the Great Patriotic War: two high-explosive bombs broke the glass roof in several places, destroyed the interfloor ceilings of some halls and the main entrance. The restoration of the building began already in 1942, and in 1944 40 of the 52 halls were in operation, where the evacuated exhibits returned.
...single girls can make a wish near the painting by V.M. Vasnetsov “Alyonushka”, and love will not keep you waiting.
...girls of undistinguished age should not look for long at the portrait of Maria Lopukhina in the Tretyakov Gallery. She died shortly after painting, and her father, a mystic and master of the Masonic lodge, lured his daughter's spirit into this portrait.
...the doormen of the Tretyakov Gallery did not allow Ilya Repin to approach the paintings if he had brushes in his hands. The artist was so self-critical that he strove to correct already completed paintings.
...the collection of the Tretyakov Gallery almost died in the flood of 1908. When Lavrushinsky began to flood, the building was surrounded by a brick wall, which was constantly being built on to hold back the water. And the gallery workers moved all the paintings to the second floor during the flood.
...in the Tretyakov Gallery there is a portrait of Ivan Abramovich Morozov against the background of a still life by Henri Matisse. Keepers joke that Serov copied the French artist so accurately that Russia now has one more Matisse painting.

Tretyakov Gallery in photographs from different years: