Icons in the Tretyakov Gallery - Uphilicism or Abstract Art? Old Russian art. From the meeting of the State Tretyakov Gallery New Life Collection

Free Visits Days in the Museum

Each Wednesday entrance to the permanent exposition "Art of the twentieth century" and temporary exhibitions in (Crimean shaft, 10) for visitors without an excursion free (except for the exhibition "Ilya Repin" and the project "Avangard in three dimensions: Goncharov and Malevich").

The right of free visits to expositions in the main building in Laureli Lane, engineering building, new Tretyakovka, House-Museum V.M. Vasnetsova, Museum-Apartment A.M. Vasnetsova is provided in the following days for certain categories of citizens:

The first and second Sunday of each month:

for students of higher educational institutions of the Russian Federation, regardless of the form of training (including foreign students-students of Russian universities, graduate students, adjuncts, alternators, age-standing) upon presentation of a student ticket (does not apply to persons who have student tickets "Student-intern" );

for students of secondary and secondary special educational institutions (from 18 years) (citizens of Russia and CIS countries). Students-holders of ISIC cards on the first and second Sunday of each month have the right to free visits to the exposition "Art of the XX century" of the new Tretyakov.

each Saturday is for members of large families (citizens of Russia and CIS countries).

Please note that the conditions for free visits to temporary exhibitions may differ. Specify information on the pages of exhibitions.

Attention! At the box office of the gallery, entrance tickets are provided with a nominee "free" (upon presentation of relevant documents - for the above visitors). At the same time, all gallery services, including excursion services, are paid in the prescribed manner.

Visiting the Museum on Festive Days

Dear visitors!

Please pay attention to the mode of the Tretyakov Gallery on holidays. Visit paid.

Please note that the e-ticket entry is carried out in the order of the total queue. With the rules of refund of electronic tickets, you can familiarize yourself with.

Congratulations on the upcoming holiday and wait in the halls of the Tretyakov Gallery!

The right of preferential visiting Galleries, except for the cases provided for by a separate order of the gallery leadership, are provided upon presentation of documents confirming the right of a preferential visit:

• pensioners (citizens of Russia and CIS countries),
• full cavaliers of the "Order of Glory",
• students of secondary and secondary special educational institutions (18 years),
• students of higher educational institutions of Russia, as well as foreign students, students in Russian universities (except students' students),
• members of large families (citizens of Russia and CIS countries).

The right of free visiting The main and temporary expositions of the gallery, except for the cases provided for by a separate order of the gallery leadership, are provided for the following categories of citizens upon presentation of documents confirming the right of free visits:

• persons who have undergone 18 years of age;
• faculty students specializing in the field of visual art of secondary special and higher educational institutions in Russia, regardless of the form of training (as well as foreign students, students in Russian universities). The action of the point does not apply to persons who present student tickets "Stoles Students" (in the absence of information about the faculty in the student bill there is a certificate from the educational institution with the obligatory indication of the faculty);
• veterans and disabled of the Great Patriotic War, participants in hostilities, former juvenile prisoners of concentration camps, ghetto and other places of compulsory content created by the fascists and their allies during the Second World War, illegally repressed and rehabilitated citizens (citizens of Russia and CIS countries);
• servicemen of the urgent service of the Russian Federation;
• Heroes of the Soviet Union, the heroes of the Russian Federation, the full Cavalers "Order of Glory" (citizens of Russia and the CIS countries);
• disabled people I and II groups, participants in the elimination of the consequences of the catastrophe at the Chernobyl NPP (citizens of Russia and CIS countries);
• one accompanying persons with disabilities I group (citizens of Russia and CIS countries);
• one accompanying disabled child (citizens of Russia and the CIS countries);
• artists, architects, designers - members of the respective creative unions of Russia and its subjects, art historians - members of the Association of Art Protection of Russia and its subjects, members and employees of the Russian Academy of Arts;
• members of the International Council of Museums (ICOM);
• employees of the Museums of the Ministry of Culture of the Russian Federation and the relevant Departments of Culture, employees of the Ministry of Culture of the Russian Federation and the Ministries of Culture of the Subjects of the Russian Federation;
• museum volunteers - entrance to the exposition "Art of the XX century" (Crimean shaft, 10) and in the museum-apartment A.M. Vasnetsova (citizens of Russia);
• gida-translators who have an accreditation card of the Association of Translators and Translators and Turmaneggers of Russia, including those accompanying foreign tourist groups;
• one teacher of educational institution and one accompanying group of students in secondary and secondary specialized educational institutions (in the presence of a sightseeing ticket, subscription); One teacher of an educational institution with state accreditation of educational activities in carrying out a coordinated training session and has a special badge (citizens of Russia and CIS countries);
• one accompanying group of students or a group of military servicemen (in the presence of an excursion voucher, a subscription and during training) (citizens of Russia).

Visitors to the above categories of citizens receive an entrance ticket with a nominal "free".

Please note that the conditions of preferential visits to temporary exhibitions may differ. Specify information on the pages of exhibitions.

Tomorrow in Lavrushinsky Lane will open an exhibition of unique exhibits from the collections of Greek museums

State Tretyakov Gallery
February 7 - April 9, 2017
Moscow, Lavrushinsky Lane, 10, Hall 38

The exhibition is organized as part of the cross-year of culture of Russia and Greece. In 2016 in Athens, the Ascension icon of Andrei Rublev and a whole exhibition of Russian icons and sculptures of the XV-XIX centuries from the GTG meeting were shown. The response exhibition in Moscow will present 18 exhibits (12 icons, 2 illustrated manuscripts, the objects of liturgical use - the processing cross, air, 2 kates) from the assembly of the Byzantine and Christian Museum in Athens, the Benaki Museum, the collection of E. Veliazisa - H. Margaritis.

Exhibits are dated to the end of the X - the beginning of the XVI century and give an idea of \u200b\u200bvarious periods of Byzantine art and various art centers. The exhibition allows you to evaluate the perfection of the work of the masters, as well as understand the paths of comprehension of the spiritual world in the Middle Ages, opening the nuances in the refined flavor of the icons, in the luxurious miniatures of manuscripts, on the pages of which artists of Byzantium sought to recreate the beauty of the world's world.

At the exhibition, each of the works is a unique monument of its era. Exhibits make it possible to present the history of Byzantine culture and trace the mutual influence of the traditions of Eastern and West Christian art. The earliest monument in the exposition is a silver processing cross of the end of the 19th century with the images of Christ, the Lame and Saints engraved on it.

The art of the XII century is represented by the icon "Resurrection of Lazarus", embodying the sophisticated, refined painting style of this time. In the meeting of the Tretyakov Gallery there is an icon "Our Lady Vladimir" of the same era, created in Constantinople in the first third of the XII century and then brought to Russia.

One of the brightest exhibits of the exhibition - the relief with the image of the Great Martyr George with scenes of life. It serves as an example of the interaction of the Byzantine and Western European masters, which posted the beginning of the phenomenon of the workshops of the Crusaders - the most interesting page in the history of the XIII century. The technique of carving in the tree, in which the figure of St. George was performed is not characteristic of the Byzantine art and was obviously borrowed from the Western tradition, while a magnificent framing from the stamp was created in accordance with the canons of Byzantine painting.

The icon "Our Lady with a baby", written in the early XIII century, presumably, the Cypriot Master, demonstrates another path of mutual influence of medieval art of the East and the West. In the artistic culture of this period associated with the revival of the empire and the Dynasty of Paleologists, the movement towards ancient tradition was perceived as a search for their cultural identity.

Mature style of the art of the paleologists belongs to the bilateral image "Our Lady of Odigitria, with the two-month holidays. The throne of the prepared "end of the XIV century. This icon is a contemporary of the works of Feofan Greek. Both masters use the same artistic techniques - in particular, thin lines that permeate the licks of the mother and infant, symbolizing the energies of the Divine Light. This image is obviously a list with a miraculous Constantinople icon of odigitria.

Several items are told about the wealth of decorative and applied art of Byzantium, among which Katsoy (cencing) depicting the Great Martyrs of Theodore and Dimitria and the seasy air (cover) to the holy gifts.

Special virtuosity was the technique of artists who adorned manuscripts with complex refined ornaments in screensavers, initials and miniatures with the images of evangelists. The level of their skills demonstrates the two codes of the Gospel - XIII and the beginning of the XIV century.

The post -anzantine period is represented by three icons of Greek masters who went to Crete after the fall of Constantinople in 1453. These works allow you to trace the synthesis of creative finds of European art and the traditional Byzantine canon.

The Byzantine Art Tradition stood at the origins of the formation of the art of many nations. From the very beginning of the spread of Christianity in Kiev Rus, Greek artists and architects were transferred to Russian masters of temple construction, fresco painting, iconography, books, jewelry arts. This cultural interaction has continued for many centuries. From the X to XV century, Russian art has passed the path from the apprenticeship to high mastery, keeping the memory of Byzantium as a fertile source, for many years spiritually fed Russian culture.

The exhibition "Masterpieces of Byzantium" is located next to the halls of the constant exposition of the ancient Russian art of the XI-XVII centuries, which allows the viewer to trace the parallels and see the features of the works of Russian and Greek artists.

Curator of the project E. M. Saenkova.

A source: PRESS RELEASE GTG

From the very beginning of his collective activities, the founder of the Museum P.M.Tretyakov plots the creation of a "publicly available (popular) art museum", whose collection would reflect the "translational movement of Russian art", according to Pavel Mikhailovich himself. The implementation of this dream he devoted his whole life.

The first icons Pavel Mikhailovich acquires in 1890. His meeting has numbered only sixty-two monuments, but according to the Russian scientist, the historian Nikolai Petrovich Likhacheva (1862-1936), the collection of P.M.Trevyakov was considered "precious and instructive."

At the time in Moscow and in St. Petersburg, private collectors were known in St. Petersburg, collectors Icons - I.L. Silin, N.M. Svetnikov, E.E. Egorov, S.A.Gorov and others. Some of them are trains of icons. According to a fair remark of the famous artist and art historian, director of the Tretyakovskaya Gallery of Igor Emmanuilovich Grabar (1871-1960), the Tretyakov was different from other collectors in that he was not the first among the gatherers to the icons not on the plots, but by their artistic meaning and the first one openly recognized Their authentic and great arts, having joined their icon assembly to the gallery. "

Savior in power

The testament was performed in 1904 - the icons acquired by P.M. Tretyakov, first included in the exposure of the gallery. She was organized by Ilya Semenovich Ostrukhov (1858-1929) - an artist, a member of the Gallery Council, as well as the famous collector of icons and paintings (after his death, in 1929, the collection entered the gallery meeting). For the device of the new Icon Hall, he invited Nicodemia Pavlovich Kondakov (1844-1925) and Nikolai Petrovich Likhachev, who developed the concept, were able to scientifically systematize and group monuments, publish a catalog.

Unknown icon painter, end of the XIV century. Discussion Chin ("Vysotsky")
1387-1395
Tree, temperature
148 x 93.

The famous Russian artist Viktor Mikhailovich Vasnetsov became the designer of this exposition (1848-1926). According to his sketches in Abramtsevsky workshops, there were shop windows, imitating kyots - in them, and all collected by the Tretyakov Icons were presented. The icons did not exist then in any Russian Art Museum. (It should be noted that some icons were exhibited back in 1862 in the Moscow Rumyantsev Museum and in 1890 a goal in the historical museum, but the icons were exhibited while the objects of church antiquity, and not as works of art. They were not restored, were dark, polluted, with Losses of the colorful layer).

Andrei Rublev
Savior in power
1408

It is noteworthy that the opening of the Hall of Old Russian Icon Pouring in the gallery occurred in the early years of the XX century - the period of the origin of the restoration case in Russia, when a professional scientific study began ancient Russian art.

In 1918, despite the tragic post-revolutionary events, the "Commission on the Conservation and Disclosure of Ancient Painting Monuments in Russia" was organized. This commission was headed by the then director of the Tretyakov Gallery I.E. Grabar. The Commission took up the systematic identification of ancient monuments, expedition and exhibition activities.
In 1929-30, after restoration exhibitions, the decision of the then government was decided to turn the Tretyakov Gallery as the largest museum of Russian art, to the Center for the Study of the Cultural Heritage of the Ancient period of our history. In those years, our museum received many monuments of Old Russian art from a variety of sources, including from reformed museums and private assembly. These revenues are mainly and formed the current collection of Old Russian art in the gallery.

In the mid-1930s, the Gallery created the Scientific Department of the Old Russian Art and Restoration Workshop. A new exposition was opened, in which the principles of the historical and art show of the monuments were observed, the main centers, stages and directions in the Iconopy of the XII - XVII centuries were presented.
A number of valuable icons, sometimes very ancients, entered the gallery as a result of expeditions across the Russian North and the central regions held by the gallery employees in the 1960s and 1970s.

Now the collection is already over six thousand storage units. These are icons, fragments of frescoes and mosaics, sculpture, small plastic, applied art items, copies of frescoes.

In Doparerovskaya Rus, almost all painting was exclusively religious. And we can call all painting with full right icon painting. All the desire for the beautiful, thrust for beauty, glowing and aspiration in return, in the Spirit area to God, found their permission in church icons. In the skill of creating these sacred images, the talented representatives of the gifted Russian people reached the genuine peaks of world sound.

Unknown icon painter, middle of the XVI century
"The military of the heavenly king ..." (the church is militant)
Mid XVI century
tree, temperature
143.5 x 395.5

The flourishing of Russian icon painting as such is to the Dopurerovsk era. Tested in the process
there are several bright and amazing development in the form and the workshop of the incarnation of the religious-theological tasks of the takeoffs who stood in front of them, the Russian icon painted after the Petrovsky era comes in decline, continuously degrades, turning, finally, in the handicraft works of the handles. At the beginning of the 20th century, talented artists of Nesterov, Vasnetsov, and others, tried to bring Russian icon painted from that congestive position in which it was, but a number of objective and subjective reasons did not allow the opportunity to come to the true revival of this holy art and did not create anything that could stand in one A row with the immortal creations of the spiritual painting of Doparyrovskaya Rus.

According to its own tasks, according to its own purpose, the icon is fundamentally different from close, it would seem, and similar to her worldly portrait painting. If a portrait necessarily implies the existence of some kind of nature, the artist accurately reproduces, trying not to shy away from portrait similarity, then the icon painter, in whose tasks is to reproduce the sacred image or some definite theological thought, clothed in the most intelligent embodiment, maybe in their talent and Razumion, to a certain extent shy away from the "iconographic originals" approved by the church practice and give their solution to the task in front of him.

Unknown icon painter, beginning of the XIII century. Delius: Savior, Virgin, John the Forerunner
The first third of the XIII century. Derevo, tempera 61 x 146

From here it becomes clear that the importance of the old church rules of the personality itself and the behavior of the artist-icon painter during work on the icon. Thus, in the famous collection of the resolutions of the Cathedral of the Cathedral of 1551, known under the name "Stoglav", the requirement is given that the icon painter is "Smiren, meek, benwich; He lived in a post and prayer, keeping with every fear of physical and physical clean. " In the same "Stallow" we will find a certain requirement of an indispensable consequence of antique "icon-painted origins" so that the sacred images created by again, did not bring up with the traditions established since the tradition and were immediately familiar and they are understandable to everyone with a prayer.

The main principle that is laid in the work of the icon painter is sincere religious inspiration; The artist knows that in front of him there is a challenge for the mass of believers image, an icon intended for prayer.

Its defined and firmly discharged Russian icon painting produces in the XIV century. It will be the so-called Novgorod school. Researchers see here direct compliance with the artistic dawn of Byzantium of the era of Paleologists, whose masters worked in Russia; One of them is the famous Faofan Greek, signed between 1378 and 1405. Some Novgorod and Moscow cathedrals were a teacher of the ingenious Russian master of the XIV-XV centuries. Andrei Rubleva.

Andrei Rublev.

Rublev and his followers belong to the Moscow School. His creativity is the next step compared to Feofan Greek, whose works are typical for the Novgorod school and its varieties, more archaic Pskov.

The Novgorod school is characterized by major massive sainch figures, with a large size of the icons themselves. They were intended for extensive and majestic temples, generously erected, rich and piously "Mr. Veliky Novgorod". Tone icons reddish, dark, bluish. The landscape is the stepped mountains and architecture of buildings - portico and columns - largely close to genuine nature of the territory of Alexandria and related areas where events from the life of the saints depicted on the icons and martyrs occurred.

Unknown icon painter, Novgorod school
Fatherland with selected saints.
Beginning of the XV century
tree, temperature
113 x 88.

Unknown icon painter, XIV - beginning of the XV century
Nikola with Life.
End of XIV - early XV century
Tree, temperature
151 x 106.

The type of the Faces of Saints and Our Lady is also not Russian: oblong, "Byzantized". This characteristic detail in the future, in Moscow: School, more and more accepts the Slavic shade, turning, finally, in the works of the ingenious "tsaristimi" XVII century Simon Ushakov and his schools in typical Russian round faces.

Magnificent brilliant Byzantium, the capital of which Tsargrad, according to the testimony of all historians and memoirs, was the richest city in the world, and her emperors considered themselves as if earthly representatives of the Almighty God, demanding for themselves almost divine worship. Naturally, with the help of icons, they sought to strengthen their credibility and strength. The Saints of the Byzantine School, in most, in the same way, as we passed on the walls of the Novgorod Councils and the monasteries of their reflection - harshs, punish-strict, majestic. In this sense, the amazing frescoes of Feofan Greek will be characteristic, who (leaving aside all the differences between eras and receptions) involuntarily resemble the harsh-fried figures of the Roman frescoes of Michelangelo.

In the middle of the XVII century, the famous "Tsarsky Isograph" Simon Ushakov became famous in Russia, personified a new Moscow school, which reflected the magnificent and wealth of the Moscow Tsarian Dwaria and Boyarskoye, who had stabilized after the troubled time and foreign intervention.

The works of this master are characterized by special softness and roundness of lines. The Master is striving for expression not so much and not only inner spiritual beauty, how much external beauty and, we would even say, "the beautiful" of their images.

Researchers are not without reason see Western influence in the work of this school and first of all "the Netherlands Italian Masters of the Second Half of the XVI century."

Tsarist Gate
Mid XV century

If the works of Ushakov and his comrades were mainly intended for temples, the need for wealthy people in a beautiful "measured" Icon for homemade was satisfied by the Stroganov school, the most famous masters of which: Family Borozdin, Eastom Savin, First, Prokoki Chirin, fully presented in the gallery, According to its artistic credo, the Ushakov school is pretty. No wonder most of them worked with great success in Moscow.

Unknown icon painter of the XII century. Complex is unspecified. (Right)
The second half of the XII century. Derevo, temperatures 77 x 71

Daerahler. I had a lot of one photo. So it looks like. Suitable impressive!
We must see!

13 Mar 2013 | From: Site

The beginning of the collection of ancient Russian painting in the Tretyakov Gallery was put on P.M.Tretyakov: In 1890, they were acquired by icons from the meeting I.L.Silin, exposed to the halls of the Historical Museum during the VIII archaeological congress in Moscow. In the future, other acquisitions from other private collections were made, including from the assembly N.M. Posnikov, S.A. Georova, Antiquary P.M.Ivanov. It contains the icons of Novgorod, Moscow schools; Icons of Strogonovsky letters (i.e. created in the workshops belonging to the richest people Stroganov). Among these acquisitions were such masterpieces such as the icons "King Tsar" ("Present Queen") of the XV century; "Good fruits of the exercise" of the beginning of the XVII century, written by Nikifor Savin; "Alexey Metropolitan" of the XVII century.

In the testament P.M.Trevyakov dated September 6, 1896, it is said: "A collection of ancient Russian painting ... to convey the Moscow city artistic name of the brothers Tretyakov Gallery." The assembly numbered 62 icons by this time. In 1904, it was first exhibited in the gallery on the second floor in the room, located near the halls of the artists of the XVIII - the first half of the XIX century. In drawings, V.M.vasnetsov in the Abramtsevskaya workshop for icons were made special display cases. To classify the collection Ilya Semenovich Ostrukhov (1858-1929), painter, collector, creator of the Museum of Icon Painting and Painting in Moscow, Member of the Tretyakov Gallery Council (1899-1903), Her Trustees (1905-1913) invited N.P.Likhachev and N. P. Kondakova. The work ended with the publishing "Brief description of the Icon of the Assembly P.M.Tretyakov" in 1905 (see ed. Antonova V.I. [ENTR. Art.] // Catalog of the Old Russian painting. T.1: M., 1963, p. 7-8). I.E. Grabar, producing in 1913-1916 a complete restructuring of the museum's exposure, left unchanged only the department of icon painting.

Until 1917, the replenishment of the Collection of Old Russian Painting did not occur, only in 1917 the Gallery Council acquires a large icon of the Pskov School of the XV century "Favorites", which is now in a permanent exhibition. (See ed. Rozanova N.V. [will enter. Art.] // Old Russian Art of the X-XV century. M., 1995, p. 10).

After the revolution of 1917, the Tretyakov Gallery from the Moscow City Art Gallery turned into a state, becoming with the time of the treasury of Russian art. Decree of October 5, 1918 creates a national (later state) Museum Fund (1919-1927), where nationalized meetings and individual works of painting, applied art, archaeological and numismatic collections flow, then distributed by museums. Through the National Museum Fund from the Moscow Kremlin in the gallery in 1919, the icon of the "Church of Militia" came.

After the revolution, the Department of Old Russian art (this is called part of the exposition), it safely existed before the reorganization of the gallery in 1923. At this time, by decision of the General Directorate of Scientific, Scientific and Artistic and Museum Institutions (Slavnayuk), which existed as part of the People's Commissariat for Enlightenment (NarcarPros) of the RSFSR (1922-1933), a scientific council was established, which at its meeting on May 3, 1923 approved List of 11 departments of the Tretyakov Gallery, deciding to rename the department of Old Russian art in the Department of Old Russian Painting. By this time, the gallery icon painting collection consisted of 70 icons and one parswas (7 icons were acquired on the Museum itself). Since the volume of the ancient Russian collection was small, then it was part of the part of the XVIII century painting department. Department of Painting XVIII - the first half of the 19th centuries was headed by Alexander Mitrofanovich Skvortsov (1884-1948), which combined this position with the post of deputy director of the gallery.

In 1924, by the decision of the drug addict, the Tretyakov Gallery becomes a museum of painting of the XVIII-XIX centuries, and the objects of ancient Russian sewing, plastics, the iconist from the mid-1920s are transferred to the State Historical Museum in the Department of Religious Life. In the historical museum there were icons of the Assembly of P. Ishukin, brought as a gift to this museum in 1905; Works of the ancient Russian painting from the collection of Count A.S.Uvarova, received in 1917-1923 in the will. In 1924-1927, the famous collections of Icons S.P. Ryabushinsky, A.P. Bakhrushina, Bobrinsky, A.A. Bakhrushina, Bobrinsky, A.A. Bakhrushina, Bobrinsky, Gora, Sologuba, Kharitonenko, and Sologuba, Kharytonenko, fall into the Historic Museum. Shibowan, Shirinsky-Shikhmatova, O.I. And L.L. Dube, E.E. Egorova, N.M. Postnikov, S.K. and G.K. Rakhmanov, A.V. Morozova, as well as a part of the collection of Christian antiquities from the collection of the Rumyantsev Museum and monuments belonging to the Museum of the Strogonovsky School. In the future, in the 1930s, most of these works will be transferred to the Tretyakov Gallery.

In 1926, due to significant revenues, it was necessary to close the arranged by I.Sostrohov, in 1904 the exposition of the ancient Russian painting. A new collection of the collection of Old Russian art was part of the collection of the museum of icon painting and painting I.Sostrojova, who after the revolution was attached to the Tretyakov Gallery as a branch. After the death of I.Stroostrookov in 1929, his museum was closed, and the collections were moved to the Tretyakov Gallery.

Receipt of the collection of I.S. Oostrojova and a number of other events (reorganization of the historical and artistic antirefall museum in the Trinity-Sergius Lavra in local lore; restructuring of the department of religious life in the historical museum; clusters of a significant number of works in the Central State Restoration Workshop Fund; Icon arrival from closed churches In the Foundation of the Moscow Division of National Education in the Drug Address; admission to the ethnographic department of the Rumyantsev Museum of the E.E. Georova collection) predetermined the creation of the Old Russian Division of the Tretyakov Gallery on new foundations. In addition, the construction of new gallery buildings began in the late 1920s made it hoped that the necessary premises will soon appear and for the department of Old Russian art.

At the end of 1929, a special commission was created in the Slavkock, a special commission. A.M.Skvortsov, and his deputy - Alexey Nikolayevich Svirin (1886-1976), who came to work in the gallery in the same 1929 from the Museum of Trinity-Sergiye Lavra, where he had worked as a researcher since 1920, and in Further head. In the department of the ancient Russian art gallery at that time worked by the trainee A.P. Zhurov. A.N. Svirin was sent to Leningrad to familiarize themselves with the exposition of Old Russian art in the State Russian Museum and an anti-Religious exhibition in the State Hermitage. The lists of unique monuments were drawn up and letters in the largest museums of Russia in order to organize the exhibition of Old Russian art in the halls of the Tretyakov Gallery. On April 16, 1930, the Methodological Commission of the Slavsuki Narkompros determined the date of opening of the department of Old Russian art - May 15, 1930, and also approved the transfer of monuments from other institutions and organizations, approved the work plan of the department and the expedition plan of surveys of provincial temples, churches and monasteries to search for the works of Old Russian art .

Yaroslav Petrovich Gamza (1897-1938), his deputy I.O.Sosfen, Valentina Ivanovna Antonova (1907-1993) was appointed to the head of the ancient Russian art. In October 1930, at a meeting of the Expanded Commission, the drug addicts were summed up. The results were unsatisfactory. The question arose about the correctly formed and equipped storage of the icons, about the need to strengthen the staff of the department, the restoration and publication of a separate directory. A.M.Stvortsov was removed from the department of department.

In the early 1930s, Soviet art and recognition seized the passion for the straightforward-sociological concepts expressed in extremely FMFric form, and visually represented in the "experienced complex Marxist Exposition" in their time, deployed in the Halls of the Tretyakov Gallery in 1931. She was carried out under the leadership of Alexey Alexandrovich Fedorov-Davydova (1900-1968). In connection with these events, restructuring occurred in the structure of the departments and their renaming. Instead of departments, sections of feudalism, capitalism, socialism appeared. The Old Russian Division, as before, entered the part of the feudalism department. In 1932, the Section of Feudalism was headed by Natalia Nikolaevna Kovalenskaya (1892-1969). For the organization of a new exposition, "his class essence in art" gallery was forced to attract materials from other museums that would allow the consistent historical development of the initial period of Russian art in the halls. These exposition experiences prompted to some extent to the systematic replenishment of the Old Russian department.

In 1932, the Tretyakov Gallery, together with central state restoration workshops (TSGM), organized seven expeditions on the examination of churches, monasteries and villages of the Moscow region, Volga region, the Arkhangelsk region, Novgorod and Pskov. In the first half of the 1930s, the icons were taken to the gallery - "Assumption" from the tithe Monastery in Novgorod, Dmitry Solunsky from Dmitrov, Kostroma and Belozerskie monuments of the XIV-XV centuries, including "Assumption" of 1497 from Kirillo Belozersky The monastery, part of the deesus rank of the Faratovsky monastery, written by Dionysia with sons, a group of small icons of the XV-XV centuries from Zagorsk (Trinity-Sergiev Posad) and a masterpiece - "Trinity" Andrei Rublev. In 1931, the gallery received a meeting of Alexander Ivanovich Anisimov (1877-1939) with early Novgorod icons.

A systematic nature acquired the transfer of newly disclosed monuments from the TSGM. To replenish the monuments of earlier periods, first-class works from antiques were made. So, in 1931, works were included in the gallery - "Wives of the Mironine Sale" of the XVI century, in 1933 - Novgorod Icon "Fatherland" of the beginning of the XV century from the St. Petersburg meeting of M.P. Kotkin, and in 1938 - the fold of the XV century from the meeting e .I.Silin. Thus, the active pickup enriched the gallery in the 1930-1940s by many monuments. Among them should be mentioned in 1935-1938 of the collection of A.I. and I.I.Novikov from the Church of Assumption on Apukhintikka, as well as several works from Kolomna and a large group of icons from the Rostov of the Great and its surroundings (selected and taken out these icons of N.A. Demin), and in 1938 - Dmitry Solunsky mosaic Kiev. The decensses of the XII century and the image of Boris and Gleb on the horses of the XIV century, transmitted together with some works of the XVI-XVII centuries from the State Armory of the Moscow Kremlin in 1936-1940, were the most worthwhile replenishments of the icon assembly of the gallery. In 1935, in the distribution of funds of the anti-Religious museum of arts in the gallery, a number of significant works of Moscow masters of the XVI-XVII centuries, which are, mainly from Moscow temples and monasteries - Novodevichiy, Donskoy, Zlatouustovsky, from the churches of Grigoria Neokezarovsky on Big Polyanka and Alexey Metropolitan "In clauses." In the same year, the collection of G.O. Chirikov is purchased through antiques. These revenues, as well as the arrival in 1945, Metropolitan Icons Alexy with a life written by Dionisia are associated with the participation of N.E.Mneva in the restoration work produced in the Kremlin Councils.

A collection of ancient Russian art of the Tretyakov Gallery disliked some units for drawing up a full picture of the diversity of painting XVII century, with her abundance of masters. These links were replenished by the transfer of the E.E. Georovo collection from the State Library named after V.I. Lenin, who was in library storage facilities. The most valuable signatory icons of Russian artists of the XVII century were acquired for the Gallery of the State Procurement Commission (GZK). In 1938, a small icon "Archangel Mikhail, Pouring Diazole" was acquired, performed by Simon Ushakov in 1676, and in 1940, the icon "Our Lady Vertograd concluded", written around 1670 by Nikita Pavlovts, and "Deesus Ottoman" Andrei Vladykina, created In 1673. So in 1940, through the GZK in the gallery, the rarest image of Saint Varvara, belonging to the Novgorod painting of the XIV century, was received.

The first half - the mid-1930s is noted not only by acquisitions. Galleries' funds did not avoid withdrawal, wave of riding in all museum and library collections of the country. Dozens of icons by order of government were issued to antiques for sale abroad.

Among the many expositions of the department, which changed over the 1930s, deserves attention, which exhibited an Icon exhibited in 1936 in the seven halls of the lower floor of the gallery. In the second half of the 1930s, the costs of methodological attitudes of vulgar sociology were overcome. In 1934, A.A. Fedorov-Davydov left the gallery. N.N. Kovalenskaya followed him. In November 1936, the Department was prepared by the re-exposure layout, which included proposals expressed in 1935 by the director of the Gallery P.M.Schekotov.

After the war in the second half of the 1940s, the processing of monuments of the meeting of the Old Russian painting, which consisted of about 4,000 works continued. This work was started back in the 1930s by drawing up lists, cards and primary descriptions.

In the 1950s and 1960s, the scale of research and restoration works conducted in the largest museums and restoration centers of Moscow and Leningrad were expanded. In 1958, an album was published dedicated to the meeting of the Old Russian painting of the Tretyakov Gallery, compiled by A.N. Svirin. At the same time, after a long break, the gallery renews the practice of the device of exhibitions of the Old Russian painting.

The systematic expeditionary work of the Department of Old Russian art began at the turn of the 1950s and 1960s. Expedition routes were not random, they were compiled so as to cover the previously not studied areas and centers, the ancient art of which was not fully studied, or not at all presented in the gallery meeting. This is Ryazan, Nizhny Novgorod region, a number of districts of the Vladimir region, the northern possessions of the ancient principalities of Northeast Russia. The result of the expeditions was the replenishment of the collection of the ancient Russian department with such masterpieces, as the Icons "Nicola Mozhaisky" began the XVI century from the village of Warinovo and Simeon Stattail of the XVI century from the Great Ustyug; Characteristic works of Nizhny Novgorod, Kostroma, Yaroslavl, Vyatsky iconographic painters of the XVIII century; Bright, distinguished by rare iconography and a peculiar flavor of the old-supplied icons of the XIX century from the Chernihiv and Bryansk regions; The peasant icons, the so-called "rubella" and "Chernushki", the study of which the oldest employee of the gallery E.F. Kamenskaya was engaged in (1902-1993).

The collection of the ancient Russian painting gallery was replenished over the past decades, including thanks to the generous dimens. Among the gifts was the most significant was the gift of P.D.Kurina, obtained by the will in 1967. In 1966, V.I. Yantonova issued a detailed scientific description of the Assembly of P.Korin, and in 1971 the House-Museum P. Kikinina received the status of a branch of the gallery. In 1965, a number of wonderful works came from the writer Yu.A.arbat, among them the unique icon "saved on the throne with the upcoming Joachim and Anna" of the late XVI century from Shenkursk Arkhangelsk region. In 1970, after the death of the conductor of the Bolshoi Theater N.S. Holovanov, his assembly of icons came to the gallery. The collection of icons collected by V.A. Alexandrov and brought to the gift of his wife N.N. Sushkin, exhibited at a specially arranged exhibition in March-April 1976.

According to the materials of the GTG and the site

On July 6, the Church of the Vladimir icon of the Mother of God. As you know, one of the greatest shrines of Russia has long been transferred to the church, prayers are performed in front of it and candles are lit. How can the life of the ancient shrine in the temple can be organized and when you can pray before it, I learned the correspondent of "NA".

In the Museum of the Museum, SVT.Nikolaya in Tolmachah, in a special bulletproof kyote, the Vladimir Icon of the Blessed Virgin Mary is kept. Inside the kyot is supported by the required temperature

Recall that the shrine was transferred to the SVT temple. Nicholas in Tolmachah at the State Tretyakov Gallery in 1999, on the feast of the status of the Vladimir Icon. At the same time, the temple was officially assigned the status of the Museum Temple, with its special museum regime. Since then, you can enter the church only through the doors of the Tretyakov Gallery from the small Tolmachevsky alley, next to the bell tower. Before climbing the stairs to the temple, it should be left in the wardrobe the upper clothes and put the booties.

Equipped as a museum hall with an artificially created climate, temperature regime and alarm, it remains an independent temple at the same time, where worship services are held on holidays and weekends and even candles are lit. (truth, it is allowed to use candles from natural wax). On working days from 10 to 12 am are the temple, and from 12 to 16 - the museum.

In the place of the temple, constant temperature regime is maintained, the instruments installed throughout the perimeter are followed. The device that watches moisture in the temple

Especially for the Vladimir icon at the Minatom plant of the Russian Federation produced a special bulletproof kyot. Inside the kyot, the temperature of +18 degrees and relative humidity of about 60 percent is supported. These are climate standards recognized as optimal to preserve the works of tempera painting written on a wooden basis. The safety of the icon, the performance of the climatic installation inside the kyot and security systems daily check engineers - employees of the Tretyakov Gallery.

Fastening icons. Ahead of it decorated with decorative facing

Wooden, carved Kyot Vladimir Icons with a back side more like a refrigerator - every day Engineers, Museum staff come to check the temperature regime inside the capsule, where the icon and the activity of the alarm system are stored

The bulletproof glass is installed and on the back side of the icon, where the instruments of the passions of the Lord are depicted. Kyot stands in such a way that you can get around the icon from behind and look at the image on both sides

The second exact same Kyot is at the right side of the temple. It is cooked for the "Trinity" icon created by St. Andrei Rublev. For a holiday of Trinity, for a few days, the icon is put up in this kyot for worshiping believers. Everything else there is a copy of it there. But the abbot of the Temple of Prot.nikolai Sokolov hopes that someday and this shrine will be available for believers in the houses of the gallery, especially since all the necessary conditions have already been created for this.

To the right of the entrance to the central attack is the second bulletproof kyot, with the possibility of maintaining special climatic lights - it is cooked for the icon of the PRT.andreya Rublev - Trinity. Now, as long as the question of transferring this icon is not yet resolved, its copy is stored in the cyote. But on the holiday of Trinity, in the summer, in this kid, the original icon is installed for a while
History icons:
On Russia Icon got from Byzantium at the beginning of the XII century (approx. 1131), as a gift to Yuri Dolgorukhu from Constantinople Patriarch Luke Khryzirch. Initially, Vladimir Icon was located in the Women's Virgin Moral Monastery, not far from Kiev. In 1155, Prince Andrei Bogolyubsky transported an icon to Vladimir (according to which she received the current name), where she was kept in the Assumption Cathedral. During the invasion of Tamerlane, with Vasily I in 1395, the Chtime Icon was postponed to Moscow to protect the city from the conqueror. At the site of "Recreation" (Meetings), Muscovites of the Vladimir Icon still houses Sretenka Street and the Sretensky Monastery was founded. Icon stood in the Assumption Cathedral of the Moscow Kremlin, on the left side of the royal gates of the iconostasis. The Riza of Greek work on an icon of pure gold with precious stones was estimated in the amount of about 200,000 gold rubles (now she is in the weapon ward). In 1918, the icon was seized from the Restoration Cathedral, and in 1926 they were transferred to the State Historical Museum. In 1930, she was transferred to the State Tretyakov Gallery.

Days of memory of the Vladimir icon of the Blessed Virgin Mary:
The church celebration of the Vladimir Icon is committed three times a year: August 26 (September 8) in memory of the wonderful salvation of Moscow in 1395, June 23 (July 6) in memory of the final transfer of the icons to Moscow and the bloodless victory over the Tatars on the River Ugra in 1480 and May 21 (June 3) in the memory of the rid of Moscow from the raider of Crimean Khan Makhmet-Girea in the 1521th year.

When you can pray before the icon:
Every Friday at 17 o'clock the singing of akafist is committed.
Wednesdays at 10 o'clock in the morning aquatic prayer is performed.
Every day from 10 to 12.00 in front of the icon you can pray and light the candle. In the "museum mode" - from 12.00 to 16.00, when the temple works, as one of the museum halls of the Tretyakov Gallery, the entrance to the temple is carried out only through the central entrance of the Tretyakov Gallery. Before the icon, the identity should be prayed and leave the candle that the employees of the temple will be lit during worship.