Information about the Tretyakov Gallery Building. State Tretyakov Gallery
Read also
The State Tretyakov Gallery is one of the largest artistic museums of Russia and the world, named after the founder - the merchant and the patron of Pavel Tretyakov. Collective painting P. Tretyakov began in 1850, and after 17 years he opened the gallery, the meeting of which had about two thousand works of fine art and several sculptures. In 1893, a collection previously transmitted as a gift, became referred to as the Moscow City Gallery of the Tretyakov and kept for money, bequeathed by the founders.
In 1918, the Tretyakov Gallery was nationalized and became the "state ownership of the RSFRS", art historian and artist I. Grabar became the first directors, and then architect A. Schusev. They grew up the funds of the museum, several new buildings were added, new exposures were actively developed.
During the Great Patriotic War, all the canvas and sculptures were exported to Novosibirsk and Molotov. Evacuation lasted for more than a year, but on May 17, 1945 the exhibitions were again open for residents and guests of Moscow.
During the next decades, the museum continuously grew, and today it includes a gallery on the Crimean shaft, the gallery in Laurelsky Lane, the House-Museum V. M. Vasnetsov, the Church of St. Nicholas in Tolmachi and other branches.
The collection of the museum includes works of art XI-XXI, among which Russian painting, sculpture, graphics are listed. The most famous works stored in the museum are considered to be the icons of the XI-XVII centuries and the Lick of Vladimir Mother of God, Rublevskaya "Trinity" and Icons written by Dionisia, Feofan Greek, Simon Ushakov, are valued.
The basis of the collections of the Tretyakovka Gallery is Russian painting, most of which refers to the second half of the XIX century. The meeting presents the works of Kramsky, Perova, Vasnetsova, Savrasov, Shishkin, Aivazovsky, Repin, Vereshchagin and other famous Russian artists. In the XX century, the gallery was replenished with works by Vrubel, Levitan, Serov, Malevich, Roerich, Benoit. In the Soviet period, Deinek, Brodsky, Kukryniks, Nesterov and others appeared in the expositions. In addition to painting, the museum stores and exhibits the works of Antortholol, Mukhina, Shadra, Konenkov and other famous sculptors.
Currently, the Tretyakov Gallery is developing new expositions and exhibitions, actively cooperates with many Museums of Peace and Russia, providing them with collections for temporary exhibitions, also holds restoration and research work, replenishes funds, develops cultural and educational programs, participates in the largest museum, film and musical festivals.
The Tretyakov Gallery in 1995 was recognized as one of the most valuable objects of culture for its activities in the field of conservation of art objects and the propaganda of museum values.
Tretyakov Gallery Address: 119017, Moscow, Lavrushinsky Lane, 10
Travel: Tretyakovskaya metro station or Polyanka
Tretyakov Gallery Summary.
History of the Tretyakov Gallery.
The State Tretyakov Gallery belongs to the number of the world's largest museums. Its popularity is almost legendary. To see her treasures, hundreds of thousands of people come annually in a quiet laurelist lane, which is located in one of the oldest regions of Moscow, in Zamoskvorechye.
The Collection of the Tretyakov Gallery is devoted to exclusively national Russian art, those artists who contributed to the history of Russian art or who were closely related to it. This was conceived by the gallery by the founder, Moscow merchant and industrialist Pavlom Mikhailovich Tretyakov (1832-1898), it was preserved to the present day.
The date of the Foundation of the Tretyakov Gallery is considered to be 1856, when the young Tretyakov acquired the first works of modern Russian artists, setting the goal of creating a collection, which in the future could turn into a museum of national art. "For me, truly and flamely loving painting, there can be no better desire, how to put the beginning of a public, all the available repository of elegant arts, bringing to many benefits, everyone," wrote a collector in 1860, adding: "I would wish Leave the National Gallery, that is, consisting of Russian artists. "
Years will be held, and the good intentions of the young collector will be brilliantly fulfilled. In 1892, Moscow, and with her and all Russia, received a lot from Tretyakov (Ok.2 thousand paintings, drawings and sculptures) and the famous gallery of genuine masterpieces of national art. And grateful Russia in the person of her leading artists will be announced by the donor: ". The news about your donation has long shielded Russia and in any way, to whom the interests of Russian enlightenment caused a living joy and surprisingly to the significance of your efforts and victims."
Photo of Moscow
Together with the collection of Pavel Mikhailovich, a collection of His brother Sergei Mikhailovich was also brought to Moscow, shortly before the Moscow City Head, who was in the 1880s, is also a collector, but already mainly the works of Western European artists of the middle and the second half of the XIX century. Now these works are in the meetings of the State Museum of Fine Arts named after A.S. Pushkin and State Hermitage.
Who was Pavel Mikhailovich Tretyakov and what was guided in his actions and endeavors? Tretyakov remained a large business man, and in glory and in obscurity he was a worthy successor of the trading business of his grandfather - the Moscow merchant of the 3rd Guild, the lowest in the merchant "table of ranks". Tretyakov died in an eminent, honorary citizen of the city of Moscow, a lot of ambiguing the capital of his ancestors.
But "My idea," he will say at the end of the way, - from the most young years it would be based on the society (people) to return from society in any useful institutions; this thought did not leave me in my entire life. " As you can see, the idea of \u200b\u200bpublic service, typical of his era, in his own way they understood and interpreted, inspired him.
Tretyakov - the collector was in the famous genus phenomenon. Contemporaries were a lot of surprised by the natural mind and the impeccable taste of this hereditary merchant. "I need to confess," the artist I.N. Kramskaya wrote in 1873 - that this person with somehow should be a devilish flavor. " Nowhere has not been specifically studied (the Tretyakov brothers received home education, in the advantage of a practical nature), he possessed nonetheless broad knowledge, especially in the field of literature, painting, theater and music. "The Tretyakov for Nature and Knowledge was a scientist," the artist and critic A.N. will say in 1902 in his "History of Russian Art" Benua.
Tretyakov never worked with "souflers." Being closely familiar with a huge number of artists, writers, musicians, and with many very friendly, Tretyakov willingly listened to their advice and comments, but he always did in his own way and his decision, as a rule, did not change. Interventions in their affairs he did not tolerate. Kramskaya, who used indisputably the largest location and respect Tretyakova, was forced to notice: "I have known him for a long time I have been convinced that no one has influenced on Tretyakov, both in his personal opinions. If there were artists who believed, What could be influenced by him, they had to refuse their misconceptions. " Over time, the high taste, the rigor of the selection and, of course, the nobility of intentions brought by Tretyakov deserved and indisputable authority and gave him "privileges", which no other collector had: Tretyakov received the right to watch new works of artists or directly in their workshops, or At exhibitions, but, as a rule, before their public discovery.
Pavel Mikhailovich's visit to artists has always been an exciting event, and not without spiritual trembling, they, masts and beginners, were waiting for his quiet: "I ask you a picture of counting me." What was for everyone is equivalent to public recognition. "I confess to you frankly, I wrote in 1877 by I.E. Repin P.M. Tretyakov - that if you sell it (it was about the film of Repin" Protodyakon ". - L. I.), then only in your hands, It's not a pity to your gallery, for I say without a flattery, I consider the honor for myself to see my belongings there. " Often, artists walked Tretyakov for concessions, and the Tretyakov never bought without trading, and reduced their prices for him, thereby providing any post support for him. But the support here was mutual.
Artists and historians of art have long ago noticed that, "N. Tretyakov appeared at one time. Tretyakov, do not give it a whole big idea, not to start collecting Russian art, his fate would be different: perhaps, we would not know either "Boaling Morozova", nor "crosses." Nor all those big and small paintings, koi are now decorated with the famous State Tretyakov Gallery. (M. Nesterov). Or: ". Without his help, Russian painting would never come to an open and free way, as the Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and delometry in Russian art "(A. Benua).
Scope of collecting activity and the latitude of the horizons of P.M. Tretyakova were truly amazing. Every year, starting from 1856, dozens of his gallery received, and even hundreds of works. Tretyakov, despite his calculation, did not stop even before very large trips, if the interests of his case were required.
He bought the interested paintings interested, despite the noise of criticism and discontent censors, as it was, for example, with the "rural procession on Easter" V.G. Perova or with "Ivan Grozny" I.E. Repin. I bought, if not even in the picture answered his own views, but corresponded to the spirit of the time, as it was with the band of the same Repin "our congestion in the Kursk province", the social acuity of which did not fully impressed the collector. Bought if very strong and dear authorities seemed to be against L.N. Tolstoy, who did not recognize the religious painting V.M. Vasnetsova. Tretyakov clearly understood that the museum created by him should not comply with his personal (or anyone) tastes and sympathies, how much to reflect an objective picture of the development of domestic art. It may be that that is why the Tretyak-collector of more other private collectors was deprived of taste narrow and limited. Each new decade introduced new names and new trends to his collection. The tastes of the museum creator developed and evolved together with the art itself.
Stock Foto Active, adventure, wellness tours
Righting, voluntarial or unwittingly, preference to modern art, Tretyaks, nevertheless, from the first to the last steps of their collective activities, he stubbornly tracked and generously acquired everything the best that was on the artistic market from the works of Russian artists of the past epochs of the XVIII - the first half of the XIX century and even ancient Russian art. After all, he created essentially the first museum in Russia, reflecting the entire progressive course of the development of Russian art. What does not mean that the Tretyakov did not have miscalculations and mistakes at all. Thus, linking his hopes for the great future of the Russian school with the works of Movies, Tretyakov almost did not acquire the work of artists of the academic direction of the XIX century, and their art is still poorly presented in the museum. Not enough attention showed Tretyakov and the famous Aivazovsky. At the end of his life, the collector clearly looked at the new artistic trends of Russian art of the 1890s. Passionately, loving painting, the Tretyakov created first of all the art gallery, less often acquiring sculpture and graphics. Significant replenishment of these sections in the Tretyakov Gallery occurred after the death of its creator. And so far almost everything that PM has been acquired. Tretyakov, constitutes a genuine Golden Fund not only the Tretyakov Gallery, but also of all Russian art.
At first, everything that was purchased by Pavel Mikhailovich Tretyakov, was located in the rooms of his residential building in Lavrushinsky Lane, purchased by the Father Tretyakov in the early 1850s. But by the end of the 1860s, there were so much that there was no possibility to place them all in the rooms.
With the acquisition of a large Turkestan series of paintings and etuds V.V. Vereshchagin, the question of the construction of a special building of the art gallery was resolved by itself. In 1872 construction began, and in the spring of 1874 there was a resettlement of paintings into a two-story, consisting of two large halls (now halls No. 8, 46, 47, 48) the first premises of the Tretyakov Gallery. It was erected by the project of the son-in-law Tretyakov (sister's husband) architect A.S. The Kaminsky in the garden of the Zamoskvoretsky estate of the Tretyakov and is connected to their residential house, but had a separate entrance for visitors. However, the rapid growth of the meeting soon led to the fact that by the end of the 1880s, the number of gallery halls increased to 14. The two-storey building of the gallery from three sides was surrounded by a residential building from the garden right up to a small Tolmachevsky alley. With the construction of a special building of the Gallery, the Tretyakov Assembly was given the status of a real museum, private on belonging, public in nature, the museum of free and open throughout almost all days of the week for any visitor without the difference in kind and title. In 1892, Tretyakov presented his Museum in the city of Moscow.
By decision of the Moscow City Duma, legally now by the owned gallery, P.M. Tretyakov was appointed by her lifelong trustee. As before, the Tretyakov used the almost sole right to selection of works, carrying out purchases of both the capital, allocated to the Duma and on its own funds, transferring such acquisitions as a gift to the "Moscow City Art Gallery of Paul and Sergey Mikhailovich Tretyakov" (this was Then the full name of the Tretyakov Gallery). She continued to take care of the expansion of the premises, attached in the 1890s to the existing 14 more spacious rooms. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P.M. Tretyakov Gallery Affairs began to lead the Board of Trustees, elected by the Duma.
It consisted in different years, prominent Moscow artists and collectors - V.A. Serov, I.S. Ostrukhov, I.E. Flowers, I.N. Grabar. For almost 15 years (1899 - early 1913), the daughter of Pavel Mikhailovich was a permanent member of the Council - Alexander Pavlovna Botkin (1867-1959).
In 1899-1900, the launched residential building of the Tretyakov was rebuilt and adapted for the needs of the gallery (now Halls No. 1, 3-7 and lobby 1st floor). In 1902-1904, the whole complex of construction was combined by Laurelian Lane, a common facade, built on the project V.M. Vasnetsova and a large architectural originality of the Tretyakov Gallery, which still allocates it among other Moscow sights
At the beginning of the 20th century, the Tretyakov Gallery becomes one of the largest museums not only Russia, but also in Europe. It is actively replenished with works of both new and old Russian art. In 1913-1918, on the initiative of the artist and the historian of art, I.N. Grabar, who was in those years a trustee of the Tretyakov Gallery, reforms its exposition. If earlier new arrivals exhibited separately and did not mix with the main assembly of P.M. Tretyakova, now the worship of all works is subject to the general historical and chronological and monographic principle, observed and understood.
The new period in the history of the Tretyakov Gallery began after the nationalization of the gallery in 1918, which turned it from the municipal ownership of the state, consolidating its nationwide significance.
In connection with the nationalization of private collections and the process of centralizing museum assembly, the number of exhibits in the Tretyakov Gallery by the beginning of the 1930s increased more than five times. A number of small Moscow museums entered the gallery, such as the Tsvetkov Gallery, Museum of Icon Pouring and Painting I.S. Ostrukhov, partially Rumyantsev Museum. At the same time, the collection of works of Western European art, formed from the collections S.M., was removed from the gallery and transferred to other museums. Tretyakova, MA Morozov and other donors.
Over the past half century, the Tretyakov Gallery has become not only a huge museum with world fame, but also to a major scientific center engaged in storage and restoration, learning and propaganda museum values. Research staff of the gallery actively participate in the development of issues of the history and theory of Russian art, arrange numerous exhibitions both in our country and abroad, read lectures, conduct excursions, lead a large restoration and expert work, introduce new forms of museum computer computer science. The Tretyakov Gallery has one of the richest specialized libraries in Russia with more than 200 thousand volumes of books in art; the only one in its kind photo - and slide-ship; equipped with modern technician restoration workshops.
The rapid growth of the Collection of the Tretyakov Gallery Already in the 1930s, the question of expanding its premises was keenly. Durable, where it was possible, the new halls were rebuilt and included in the complex of the gallery adjusted residential buildings and other buildings to its territory. By the end of the 1930s, exposure and official areas were increased almost twice, but this was not enough for a rapidly growing and developing museum. The projects of reconstruction of the Tretyakov Gallery began to be developed, which included the project demolition of all neighboring buildings and expansion to the embankment of the bypass channel (project of architects A.V. Schuseva and L.V. Rudnev, 1930s), then the construction of a new building In a new place and transferring the entire collection of the Tretyakov Gallery (building on the Crimean shaft, Architect N.P. Sukoyan, and others, 1950-1960). As a result of many discussions, it was decided to preserve the Tretyakov Gallery of the historical premises in Lavrushinsky Lane. In the early 1980s, his reconstruction and expansion began with the active support of the Director of the Tretyakov Gallery O.K. Queen (1929-1992). In 1985, the first building was commissioned - the depositary, where spacious storage facilities were accommodated for works of various types of art and restoration workshops; In 1989 - the second, so-called engineering building, with premises for temporary exhibitions, lecture and conference rooms, children's studio, information and computer and various kinds of engineering services. The reconstruction of the main building, which began in 1986, was completed in 1994 and finally gallery opened for visitors on April 5, 1995.
During the years of the reconstruction, a new concept of the Tretyakov Gallery was formed as a single museum in two territories: in Laurelsky Lane, where the expositions and storage facilities of old art are concentrated, starting from ancient times to the beginning of the 1910s, and in the building on the Crimean shaft, the exposition areas of which are given to art XX century. Exhibitions, both old and new art, are arranged on both territories. In the process of restructuring the Gallery Building in Laurelsky Lane, many of the historical and architectural monuments are included in its immediate vicinity of the historical and architectural monuments included in its immediate vicinity. So, restored after the breaking of the 1930s and the renovated Church of St. Nicholas in Tolmachas (the XVI-XIX centuries), the status of the "House Church" at the museum, that is, the churches and the museum at the same time; In the ancient urban buildings of the XVIII and XIX centuries in Lavrushinsky Lane (house number 4 and 6), additional museum expositions of Russian graphics and Old Russian art will be located. Design projects of the new exhibition hall at the corner of the Lavrushinsky Lane and Cadashevskaya Embankment are being developed.
The current meeting of the Tretyakov Gallery has more than 100 thousand works and is divided into several sections: the ancient Russian art of the XII-XVIII centuries - icons, sculpture, small plastic, applied art (OK.5 thousand exhibits); painting XVIII - the first half of the XIX century, the second half of the XIX century and the turn of the XIX and XX centuries (OK.7 thousand works); Russian graphics of the XVIII - early XX century (over 30 thousand works); Russian sculpture of the XVIII - early XX century (OK 1000 exhibits); A collection of old antique frames, furniture, applied art and a huge section (more than half of the entire collection) of post-revolutionary painting, sculptures and graphics, placed in the rooms on the Crimean shaft.
State Tretyakov Gallery, National Gallery of Russian Painting, - Art Museum of World Value. The very formation of the gallery was at the same time the process of the formation of Russian national art, moreover, the Russian national self-consciousness. The very fact of the existence of this amazing gallery turned out to be a powerful incentive for artists who contribute to the creation of works facing people imbued with the vital truth, a sense of excellent.
In 1918 V.I. Lenin, signing a decree on the nationalization of the gallery, assigned it the name of the State Tretyakov Gallery, thereby appreciating the merit of the founder of the Gallery of Pavel Mikhailovich Tretyakov.
The year of the foundation of the Tretyakov Gallery is considered to be 1856. It was then that Pavel Mikhailovich acquired two first paintings of Russian artists: "Temptation" N.G. Scheduker and "Shake with Finnish smugglers" V.G. Khudyakova. Earlier in 1854 - 1855 P.M. Tretyakov bought 11 graphic sheets and 9 paintings of old Dutch masters. These paintings were decorated with rooms in Tolmachi. When Pavel Mikhailovich began to collect pictures of Russian artists, he shut them first in his office. Over time, when it became closely there, the paintings were shed in the dining room, then in the living room. He sent the old Dutch in Ilyinsky alley, where his mother lived since 1865. When the first gallery was built and the paintings from the residential rooms were transported to a new place, the Dutch returned to the empty walls and remained there until the end of the life of Pavel Mikhailovich. Whether all these paintings were originals - it's hard to say. Subsequently, Pavel Mikhailovich said that, having bought them, he immediately realized that he had knowledge and experience too little to risk buying unmistakably work of old Western masters, and decided to acquire only paintings of Russian artists from exhibitions or from the authors themselves. In 1853, a description of the Gallery of the Spinchikov appeared. Pavel Mikhailovich could not be interested in this meeting and, of course, having seen him, could not be wanted by the desire to follow the example of spinishnikov. But the spanking was collected by the works of his contemporaries, our oldest best masters. Young Pavel Mikhailovich at that time it was not forces, and he starts gathering from his contemporaries.
The beginning of his assembly, the first picture of Russian artists, Pavel Mikhailovich calls the "temptation" of Schilder. He marks this acquisition in the 1656 catalog. On the letter of the sign, you can install another date (July 1858). This difference in dates can be explained, suggesting that the picture was only started or even in the sketch, when Pavel Mikhailovich saw her for the first time, and that she was finished with an artist for Pavel Mikhailovich. Apparently, Pavel Mikhailovich noted the name of the artist of Schilder, as it was the first artist to whom he made an order.
According to the documentary data of the first purchase of Pavel Mikhailovich, the picture of Khudyakov "Finland smugglers". The picture was written in 1853, and he bought it in 1856, visiting the workshop Khudyakov in St. Petersburg. During his stay in St. Petersburg in 1856, Pavel Tretyakov ordered pictures to several artists: N.G. Schilder, N.E. Sverchkov, I.I. Sokolov, A.S. Bogomolov-Romanovich, A.G. Gorravsky.
In the spring of 1856, Pavel Mikhailovich met in St. Petersburg with Khyatakov and the Brothers Rorave, Apollinaria and Ippolite. Since 1857, there are already several artists from the Tretyakov, they are made by close and enthusiastic friends of the whole family. Muscovites were neutrov, Trutnev, who after some time moved to St. Petersburg, and Khudyakov, who after an overseas travel settled in Moscow. From the arrivals were Goravsky, K.A. Trutovsky, L.F. Lagorio.
In the late 1850s, the "College" canvas appear in his meeting. Sokolova, "Performer" V.I. Jacobi, "View in the vicinity of Oranienbauma" A.K. Savrasova, "Patient Musician" M.P. Klodta. Probably, even then Tretyakov found the Create Museum, where the National Russian School of Painting will be presented.
The Trotovsky Pavel Mikhailovich begins to acquire in 1859. The famous "dance" falls to the Tretyakov, one of the best things of the Truitovsky. On the acquisition of a "dying musician" M.P. Klodta in the letters nothing was found. The picture was written in 1859 and, probably, was also bought.
In the 1860s, Tretyakov acquired the paintings of the "Prival of the Arrests" V.I. Skobi, "Last Spring" M.P. Klodt, "Babushkina Dreams" V.M. Maximov and others. Highly appreciated Pavel Mikhailovich Creativity V.G. Monov, who wrote in October 1860: "Take care of yourself for the service of art and for your friends." In the 1860s, the works of Perov were acquired as the "Rural Procession for Easter", Troika and "Dieletant"; In the future, the River continues to acquire the pictures of Perov, orders portraits to him, actively participates in the organization of a posthumous exhibition of works by the artist.
In 1862, Bogolyubov sends Pavlu Mikhailovich "Ipatiev Monastery".
At the same time, Pavory Mikhailovich "Rural Cross in Easter" will fall to Pavel Mikhailovich, Pukirev's "unequal marriage".
In 1864, the first picture appears in the meeting, written in the plot of Russian history, - "Princess Tarakanova" K.D. Flavitsky. In the late 1860s, Pavel Mikhailovich orders F.A. Bronnarnik, the work that later became the favorite picture of the faith of Nikolaevna Tretyakova, "Anthem Pythagoreans by the rising sun."
P.M.Trevyakov loved nature and thinly understood it, so the acquisition of landscapes was always not by chance. In the 1860s, Pictures of L.F. appear in his meeting. Lagorio, A.P. Bogolyubova, MK Klodta, I.I. Shishkin. Ordering A.G. Gorravsky Performance of the landscape, P.M. Tretyakov wrote: "I don't need a rich nature, nor a magnificent composition, nor spectacular lighting, no wonders, let me even a dirty, but in order to be, poetry, and poetry in everything can be, this is a matter of artist."
The portrait gallery occupied a special place in the Tretyakov Meeting. In the 1860s, a portrait of the Italian archaeologist MA was purchased in Italy. Lunches of work k.p. Bryullov, a little later, portraits of architects A.M. Gornostayev, I.A. Monighetti, poet V.A. Zhukovsky and others, also brush brush. At the same years, the portrait of V.A. Tooth work V.A. Tropinine. The thought of Pavel Mikhailovich about the meeting of portraits of outstanding people in the field of art and science is developing especially since 1869 - 1870. Prior to that, portraits were purchased, for the most part, as works of interested in his big artists. Now Pavel Mikhailovich Tretyakov conceived to create a portrait gallery of outstanding figures of Russian culture - composers, writers, artists. He began not only to buy already created works, but also to order portraits. So, V.G. Perov, at the request of P.M. Tretyakova, wrote portraits A.N. Ostrovsky, F.M. Dostoevsky, A.N. Majkova, M.P. Pogodina, V.I. Daly, I.S. Turgeneva; I.N. Kramskaya - portraits L.N. Tolstoy, M.E. Saltykova-Shchedrin, S.T. Aksakova and N.A. Nekrasov.
In 1870, Pavel Mikhailovich was lucky enough to get a portrait of Gogol, written from Nature F.A. Moleler. In the same year, Perov writes for Tretyakov Potret N.G. Rubinstein and in 1871 - A.N. Ostrovsky; Kramskaya wrote Shevchenko, Vasilyeva, Anticoline and M.K. Klodta.
In 1872, a whole series of portraits of writers written by Perov: Dostoevsky, Mikov, Turgenev, Dal, Pogodin, received a whole series of portraits of writers.
In Portraights, Turgenev Pavel Mikhailovich sought similarities, such that would transmit Turgenev as he saw him and understood him. He met him, was a sign, and no portrait satisfied him quite. He wanted Turgeneva to write a gun, who lived in Paris simultaneously with the writer, but this did not take place, - Gun did not decide to write it. Posted by Turgenev after all the same feathers, although Pavel Mikhailovich and did not want to have so many portraits of one brush.
Portrait orders were often associated for Pavel Mikhailovich with great unrest: or portraits were not managed, or the originals did not agree to pose, or even worse - people were sick and died.
In 1869, Tretyakov asked A.A. Feta Crowding to L.N. Tolstoy agreed to pose. On October 25, Athanasius Afanasievich informed Paul Mikhailovich, that Tolstoy positively and definitely refuses. Four years have passed. Pavel Mikhailovich learns that I.N. Kramskaya lives five versts from the estate of Tolstoy, in the manor, where he is going to write the painting "Inspection of the Old House." Pavel Tretyakov asks Kramsky to consume all efforts for the consent of Leo Nikolayevich. And in a letter of September 5, Kramskaya writes Pavel Mikhailovich about the consent of Leo Nikolayevich Tolstoy.
Pavel Mikhailovich highly appreciated Talent I.N. Kramsky, with whom he especially came together in 1876. At this time, the artist lived in Tretyakov in the house in Laureli Lane, where he wrote the portrait of the faith of Nikolaevna Tretyakova. Taking advantage of the malaise and forced inaction of the forever busy Tretyakov, the artist began to write his portrait. Since then, friendship has begun to families. Common artistic views, and conviction in the public, civil mission of art contributed to the rapprochement. At this time, the Tretyakov becomes a sincere supporter of just the emergence of a partnership of mobile art exhibitions (TPC). Pavel Mikhailovich attends all the exhibitions of TPHV, provides material and moral support to mobile artists. From now on, most of the paintings for the gallery are bought at TPHV exhibitions or even to them, right in artists workshops. In the 1870s, paintings "Christ in the desert" appear in the Tretyakov Meeting. Kramsky, "Sosnovy Bor" I.I. Shishkin, "Wet meadow" F.A. Vasilyeva, "Grachics flew" A.K. Savrasova, "Peter I interrogating Tsarevich Alexey Petrovich" N.N. Ge and others.
After the Council of Dostoevsky, transmitted by Perov, which would have to have a portrait of Tyutchev, Pavel Mikhailovich, probably, had it in mind, especially since Tyutchev himself himself very high. In 1873, Pavel Mikhailovich hurried. There was a rumor about Tyutchev's disease. Repin did not have time to write the portrait of Fedor Ivanovich. Tyutchev for Pavel Mikhailovich did in 1876 by Alexandrovsky from the photo.
In the second mobile exhibition, Tretyakov acquired a picture of the "mouth of the Neva" Bogolyubov, for the indication of which I thanked Kramsky. There were also exhibited by the works of Perov - portraits of Turgenev, Dalya, Pogoden, Dostoevsky and Majkova; Myasoedov - "Zemstvo dints", Klodta - "On Pashne", "Creek in the Forest" and "Noon" - Shishkin.
The name of Vereshchagin first sounded loudly in 1868, when he, having gone by the artist at the expedition of General Kaufman, distinguished himself and received George. In 1869, Kaufman returned to St. Petersburg, and on the initiative of Vereshchagin, a general-rig expense exhibition with zoological and mineralogical collections, with paintings and etudes of Vereshchagin, was arranged. Although there are no traces of visiting Pavl Mikhailovich this exhibition, it is necessary to think that he did not miss her. But it was purchased on it not.
In the autumn of 1872, Pavel Mikhailovich visited Vereshchagin's workshop in Munich, from which he left the hot fan of his talent.
In the spring of 1874, Vereshchagin arranged an exhibition of his works performed after the Turkestan campaign and traveling for Central Asia. Pavel Mikhailovich from the very beginning wanted to acquire the whole collection without a fragmentation, put it in Moscow, in a separate gallery, convenient to arrange (with top lighting) on \u200b\u200ba large street and constantly open to the public. Overcoming different obstacles, Tretyakov bought pictures for a very high price - 92,000 rubles in order to give all Moscow School of painting, science and architecture, but the Council of School rejected the gift due to the lack of space and means to build it. Pavel Mikhailovich decided to convey the collection to the Moscow society of art lovers with the condition to be open to inspection. The society was to find funds for three years, which was failed to do, and the Turkestan series of Vereshchagin returned to Tretyakov, who possessed this time by the meeting of the artist's etudes performed in India.
Painting Pavel Mikhailovich posted in his house in Lavrushinsky Lane. Places lacked. In 1872, the construction of the two first versions of the museum halls began, in 1874 they were ready. Halls were reported with residential premises. Leading construction works by the husband of one of the sisters of Tretyakov, Architect A.S. Kaminsky. Turkestan series V.V. Vereshchagin forced to think about a new perestroika. In 1882, after her return to the gallery, 6 new halls were attached. In the 1880s, the Tretyakov meeting was significantly replenished.
Pictures of V.I. were acquired. Surikov "Morning Streletskaya execution", "Menshikov in Berezov", "Boar Morozova"; Works I.E. Repin "Our Cross in Kursk province", "did not expect", "Tsar Ivan the Terrible and Son of His Ivan"; Work V.M. Vasnetsova "After traveling Igor Svyatoslavovich with Polovtsy", I.I. Shishkin "Morning in a pine forest", I.N. Kramsky "Rezaznaya Mountain", N.A. Yaroshenko "everywhere life" and others. Pictures of V.D. appear in the gallery Polenova, I.I. Levitan, A.M. Vasnetsova, I.S. Ostrukhova. In 1885, 7 more halls are attached to the house in Lavrushinsky. By this time, Pavel Mikhailovich, when choosing works, is fully relying on his taste, despite the objections, and sometimes the indignation of famous artists. In 1888, he buys a picture of V.A. Serov "The girl illuminated by the Sun", ambiguously encountered by the audience. In the late 1880s - early 1890s, the paintings of the young M.V. are also coming to the gallery. Nesterova "Dishman" and "Vision of the Pattern of Bartholomew", as well as "after the rain. Ples "I.I. Levitan. Again, it is necessary to expand the exposure areas, and in 1892 another 6 rates are added.
1892 was a significant gallery for the gallery, this year Paul Mikhailovich Tretyakov handed her to the city of Moscow.
The Tretyakov Gallery is the most visited museum of the country. The gallery was founded at the end of the XIX century by famous merchants and patterned by Pavlom and Sergey Tretyakov, who gave their collections to the city. The gallery is located in the former estate of the Tretyakov brothers in Lavrushinsky Lane. The museum fund was significantly replenished after the October Revolution of 1917 by the meetings of the rich nobility and merchant families. The spacious halls of the Tretyakov Gallery presents the ancient Russian icons and pictures of the Russian picturesque school. Moving along the chronologically located halls of the museum, you can study in detail Russian visual arts from the XVII century at the beginning of the XX century.
The brothers of the Tretyakov lost their father, when the eldest - Paul was seventeen years old, and the younger - Sergey - fifteen. They turned out to be entrepreneurs from God. Very soon the brothers expanded the case from ordinary trading in the shops to their own large store of linen, paper and woolen goods on the famous merchant street Ilyinka. They organize a trading house "P. And S. Brothers Tretyakov. " In the mid-1860s, they acquired the New Kostroma linen manufactory, which was subsequently made one of the best in Russia. The historian of the Moscow merchants P.A. Buryshkin called the Tretyakov, among the five richest merchant names of Moscow
Tretyakov were famous donors and benefactors. Pavel Mikhailovich was a trustee of the Arnoldovsky school for deaf-and-dumb, provided financial assistance to research expeditions, sacrificed money for the construction of temples. Sometimes Tretyakov donations exceeded the cost of purchasing paintings. Sergey Mikhailovich actively participated in the public life of Moscow. He was the vowels of the Moscow City Duma and the city head. In this position he did a lot for Moscow. Thanks to Tretyakov, Sokolniki Grove became a city park Sokolniki: he bought it for his own money.
In 1851, the Tretyakov acquired from the merchants of the sixth estate in Lavrushinsky Lane with a two-story mansion, decorated with a classic attic, and an extensive garden. The full mistress of the house was Alexander Danilovna, and the brothers of the Tretyakov focused on trade. It was an ideal family and business union in a merchant medium. At the same time, the Tretyakov was characterized by characters. Paul was closed, he liked to work and read in solitude, could consider the clock and study paintings and engravings. Sergey, more sociable and cheerful, was always in sight, loved to fit.
Once Pavel Mikhailovich Tretyakov arrived in the affairs of the company in St. Petersburg and got into Hermitage. He was so struck by the richness of the artistic assembly, which certainly wanted to take up collecting. Soon he acquired nine paintings of little-known Western artists. "The first two or three mistakes in such a difficult matter as defining the authenticity of old paintings, forever turned it away from the gathering of the cauldons of old masters, - wrote I.S. Ostrochov after the death of the collector. "" The most genuine painting for me, which is personally purchased by the artist, "said Tretyakov." Soon, Tretyakov meets the collection of F.I. Spicy and decides to collect pictures of Russian artists.
In the Tretyakovsky Gallery, the foundation of the museum is considered to be 1856, when Paul Mikhailovich Tretyakov acquired two first paintings "Temptation" N.G. Scheduker and "Shake with Finnish smugglers" V.G. Khudyakova. Today they hang next to one hall. The condition for which Pavel Mikhailovich took the paintings for his gallery, can be found in his words facing artists: "I don't need a rich nature, nor a magnificent composition, nor spectacular lighting, no miracles, give me even puddle dirty, but in order to It was true, poetry, and poetry in everything could be, this is the case of the artist. "
But this does not mean that the Tretyaks simply missed everyone who visited the paintings to him. He was a bold criticism who did not recognize other people's authorities, often made comments to artists, and sometimes it was amended. Usually Pavel Mikhailovich bought a cloth before the opening of the exhibitions, right in the workshop, when the picture had not yet seen criticism, no viewers nor journalists. Tretyakov perfectly understood in art, but it was not enough to choose the best. Pavel Mikhailovich possessed a peculiar gift of Providza. No authorities could affect his decision. Indicatively, the case of S.N. writes Duralin in the book "Nesterov in life and creativity":
"On the preliminary, closed, the supernice of the XVIII mobile exhibition, where a few elected friends of the mobile friends were allowed, the meatseedov led to the" warfolome "V.V. Stasova, Tribune-apologist of motion, D.V. Grigorovich, Secretary of the Company's Promotion of Arts, and A.S. Suvorin, editor of the newspaper "New Time". All four tried a picture of a terrible court; According to all four, they recognized her harmful ... Evil needs to be silent. We went to find out the exhibition of the Moscow Silence, found somewhere in the far corner, before some picture. Stasov spoke first: this picture fell to the exhibition on a misunderstanding, she was not a place at the partnership exhibition.
The tasks of the partnership are known, the picture of Nesterov does not respond to them: Harmful mysticism, the lack of real, this ridiculous circle around the head of the old man ... Errors are always possible, but they should be corrected. And they, his old friends, decided to ask him to abandon the picture ... a lot was mentioned smart, convincing. Everyone found the word to stick the poor "Bartholomew". Pavel Mikhailovich listened silently, and then when the words were dried, asked them modestly, they cumshots; When I learned that they were exhausted all evidence, replied: "Thank you for what was said. I bought the picture back in Moscow, and if I hadn't bought it there, I would buy it now, after listening to all your charges. "
Sergey Mikhailovich Tretyakov began collecting his collection for fifteen years later, and managed to acquire only about a hundred works. However, his meeting was the only one in its kind, because he was interested in modern Western painting - J.-B. K. Koro, Sh.-f. Kotovy, F. Mile, and others. Pavel Mikhailovich, unlike his brother, who collected paintings for himself, sought to create a publicly available museum of national art. Back in 1860 (and then he was only twenty-eight years old), he made a will, according to which she won one hundred and fifty thousand rubles to the device in Moscow "Art Museum". Pavel Mikhailovich persuaded his brother to do the same.
In 1865, the wedding of Pavel Mikhailovich was held with faith of the Nikolaev Mammutov - the cousin of the famous patron of Sava Ivanovich Mamontov. The Tretyakov had six children - four daughters and two sons. In the family, everyone loved each other. Pavel Mikhailovich wrote his wife: "I sincerely sincerely thank God and you, that I happened to make you happy, however, there are great guilt here: without them there would be no complete happiness!" Sergey Mikhailovich married a much earlier brother, in 1856, but his wife died shortly after the birth of the son. Only ten years later, Sergey Mikhailovich entered into a second marriage.
Pavel Mikhailovich adhered to traditional merchant views on raising children. He gave children a wonderful home education. Of course, artists, musicians and writers who were visiting Tretyakov almost every day played a prominent role in the formation of children. In 1887, the son of Pavel Mikhailovich Vanya died from Scarletin, complicated by meningitis - the universal favorite and hope of his father. Tretyakov painfully endured this heavy loss. The second son Mikhail suffered a dementia and could not become a full-fledged heir and a follower of a family case. Alexander's daughter recalled: "Since that time, the character of the father has changed a lot. He became a sullen and silent. Only grandchildren were forced to manifest themselves in his eyes. "
For a long time, Tretyakov was the only collector of Russian art, at least on such scales. But in the 1880s, he had more than a worthy opponent - Emperor Alexander III. There are many legends associated with the confrontation of Tretyakov and the king. Pavel Mikhailovich several times literally from under Nosa Alexandra took pictures of artists who, with all due respect for the August, preferred Tretyakov. Alexander III, who was called the "Menietic king", came into rage if visiting mobile exhibitions, saw on the best paintings of the "Property of P.M. Tretyakova. "
But there were cases when representatives of the emperor simply interrupted the price of Tretyakov. For example, after the death of Alexander III, his son Nicholas II proposed an incredible at that time the sum of the picture "Conquest Siberia Yermak" V.I. Surikova - Forty thousand rubles. The newly connected emperor did not want to slip into the memory of his father, who dreamed of acquiring this canvas. Surikov had already an agreement with Pavel Mikhailovich, but he could not refuse such a favorable deal. Tretyakov simply could not offer more. As a consolation, the artist spent completely free to collector sketch for the picture, which still hangs in the museum.
In 1892, Sergey Mikhailovich died. Long before his death, the brothers Tretyakov decide to give their collections as a gift to Moscow. In his testament, Sergey Mikhailovich sacrificed the city of half of the house in Laurelsky Lane, all the paintings and the amount per hundred thousand rubles. Pavel Mikhailovich presented his huge collection (more than three thousand works) Moscow while life together with the collected brother. In 1893, the opening of the "Moscow Gallery of Paul and Sergey Tretyakov" took place, and the collection of Western art hung near the pictures of Russian artists. December 4, 1898 Tretyakov died. His last words were: "Take care of the gallery and be healthy."
After the death of Tretyakov during the 1899-1906, the main house was converted to exhibition halls. Facade, decorated in drawing V.M. Vasnetsova, became the Emblem of the Tretyakov Gallery for many years. The central part of the facade was highlighted by a chic Kokoshnik with a relief image of George Victorious - ancient coat of arms of Moscow. At that time, the artists showed interest in the forms of Old Russian art. Luxuriously decorated portals, lush windows, bright patterns and other decorations - all this talks about Vasnets's desire to do from the Tretyakov Gallery Old Russian Tappy Terem.
In 1913, the Trustee of the Tretyakov Gallery was the artist I.E. Grabar. The alteration of exposure on the scientific principle began, as in the best museums of the world. The works of one artist began to hang in a separate hall, and the location of the paintings was strictly chronological. In 1918, the Tretyakov Gallery was nationalized and transferring it to the introduction of the People's Commissariat of Enlightenment. It was at that time that the museum was significantly replenished with huge collections of P.I. and V.A. Kharitonenko, E.V. Borisova-Musatova, A.P. Botkin, V.O. Girschman, M.P. Ryabushinsky and collections from the suburban estates.
In the 1980s, a grand reconstruction of the gallery was held. The project assumed "the creation of a large museum complex, including repository, an extensive exhibition room, a conference room by building inland courtyards and re-equipment of an old building while maintaining its historically established appearance." Unfortunately, the new building built at the intersection of Laurelian and Big Tolmachevsky lanes turned out to be an alien to the architectural ensemble of the old Tretyakov buildings. Reconstruction turned into the actual death of the monument. The new corner body was outside the traditional connections with the environment.
As a result of the reconstruction, the Exhibition Square of the Tretyakov Gallery increased one and a half times. In 1998, the first permanent exposition of the art of the twentieth century, built according to historical and chronological and monographic principles, opened in the new corps of the museum on the Crimean shaft. The museum meeting is now about one hundred and fifty thousand works. The collection of Pavel Mikhailovich increased more than fifty times. The Tretyakov Gallery is a huge educational and cultural center involved in scientific, restoration, educational, publishing, popularization and other activities.
In one of the letters, the artist Vasily Vasilyevich Vereshchagin P.M. Tretyakov wrote: "Your indignation against Moscow is clear, I myself would have indignantly and long ago I would have threw my goal of gathering artistic works, if I had in mind only our generation, but believe me that Moscow is not worse than St. Petersburg: Moscow is just easier and as if ignorant . What is Petersburg better than Moscow? In the future, Moscow will have a big, huge meaning (of course, we will not live to it) ". A real patriot and a noble man was Pavel Mikhailovich Thare. And here it also turned out to be a real stamp.
Each time, coming to the gallery, we remember her great creator not only because before the entrance there is a monument to Tretyakov (wonderful, by the way, monument). Pavel Mikhailovich is not just a collector, founder of the museum, he, along with artists, created Russian visual arts, and the role of Tretyakova here objectively more than the role of any of them. I.E. Repin (and he knew in this) once: "Tretyakov brought their work to grandiose, unparalleled sizes and made one of his shoulders the issue of the existence of a whole Russian school of painting."
Architectural Style Travel GuideIn St. Petersburg, Tretyakov saw a collection of paintings by Fyodor Spanking. His works were struck by the works of Tropinin, Venetsian and especially "Major" and "Fresh Cavalier" Fedotov. The owner of the collection offered her for 70,000 rubles. Tretyakov did not have such money, and then the spinters recommended buying pictures from the artists themselves: so cheaper.
Pavel Mikhailovich went to the workshops of the capital's painters, and Nikolai Schilder saw the work of "temptation": a sick female is hard on the bed, and next to Swaha with a proposal of a profitable marriage of her daughter. The heroine of the picture refused, but the determination of her melted it, because the mother urgently needed money for medicines. This plot stirred by Tretyakov himself, whose beloved in the same situation could not reject the proposal of a rich Uchager. Pavel Mikhailovich did not open this mystery to anyone to keep the good name of the girl, but I bought a picture of the spotter. So the principle of the collection was determined: no parade portraits - only realism and living plots.
Pavel Tretyakov replenished the collection throughout his life. She was located in his house in Lavrusensky Lane. Tretyakov bought it for the merchants of the sixth back in 1851. And in 1860 Pavel Mikhailovich wrote the first testament, where he highlighted 150,000 rubles to create a gallery of paintings by Russian artists. He visited his meeting on this good and offered to redeem several more collections. His brother, Sergey Tretyakov, was also a collector, but collected Western painting.
Pavel Mikhailovich preferred exclusively to Russian artists.
For example, he did not buy paintings by Semiramid, as he gave his best work to Krakow. When choosing Pictures, Tretyakov relied on his taste. Once at the exhibition, art historians rushed to criticize "Bartholomew" Nesterov. They convinced Tretyakov that the picture should be removed. After hearing the arguments, Pavel Mikhailovich replied that he bought this job long before the exhibition, and would acquire again even after the angry tirady of opponents.
Soon, Tretyakov began to have a huge impact on the development of art. He could require artists to make edits. He ordered portraits of those persons who were considering worthy for the gallery. So there came Herzen, Nekrasov, Saltykov-Shchedrin. And Konstantin Tona or Apollo Majkova for him as if it did not exist.
Every young artist (and an old) cherished dream was to get into his gallery, and mine - especially since: After all, my father has long announced to me half-see that all my medals and titles will not kill him in the fact that I am "Ready Artist", While my painting will not be in the gallery.
True, the Tretyakov appeared an opponent in the field of collectibles. And what is Alexander III himself! The king came into rage, when at the exhibitions of the heads saw on the best works of the note "Property of P.M. Tretyakova. " But often he managed to interrupt the price offered by Pavel. So Nicholas II in memory of the father bought at Surikov for the fabulous money "conquering Siberia Ermak". The artist promised this picture Tretyakov, but did not resist the favorable deal. And he presented a sketch of work for free for free. He is still exhibited in the gallery.
All this did not prevent the Tretyakov Assembly, and the Kaminsky architect rebuilt several times the Gallery Building.
In the winter of 1887, the favorite son of Pavel Tretyakov died from Scarletna. The last words were pleased to go to church. And then Pavel Mikhailovich began collecting icons.
In 1892, after the death of Sergei Tretyakov, the collections of the brothers were connected. Pavel Mikhailovich presented them and the building in Lavrusensky Lane Moscow. So the Museum of the Tretyakov Gallery appeared.
At the time of the base, the meeting included 1,369 paintings, 454 drawings, 19 sculptures, 62 icons. Pavel Tretyakov received the title of an honorary citizen of Moscow and before the death remained a trustee of the Tretyakov Gallery. He continued to replenish the Tretyakov collection at his own expense. And it required the expansion of the exposure area, so all new premises were attached to the mansion. At the same time, the gallery wore the name of both brothers, although, in fact, was a collection of Pavel Mikhailovich.
After the death of the patron, the facade of the Tretyakov Gallery was rebuilt according to the sketches of V.M. Vasnetsova in the form of a fabulous tower. Above the entrance to the museum there was a bas-relief of the saint and the name written by the Old Russian Vysu.
In 1913, the Moscow City Council appointed a trustee by the Tretyakov Gallery of Igor Grabar. He turned the Tretyakov in the European Type Museum with a chronological principle exposure.
How to read facades: crib in architectural elementsThe principles for selecting pictures for the collection have changed. Already in 1900, Gallery bought from the background Mecca Vasnetsovskaya "Alyonushka". Previously rejected by Tretyakov.
And in 1925, contrary to the will of the Founders of the Treasury, its collection was divided. Part of the meeting was transferred to the Western Painting Museum (now the Museum of Fine Arts named after A.S. Pushkin), and some paintings were taken to Hermitage.
But the Tretyakov Gallery meeting remained real treasures. The most complete is a collection of art of the second half of the XIX century - there is no equal. Here are just some masterpieces of the Treasury: "Did not wait", "Ivan the Terrible and Son of His Ivan" I.E. Repin, "Morning Strelletsovka execution", "Menshikov in Berezov", "Boyaryna Morozova" V.I. Surikova, Troitza A. Rublev, "Apotheosis of War" V. Vereshchagin, "Burya" I. Aivazovsky, "Last Day Pompeii" K. Bryullova, "Bogatyri" V. Vasnetsova, Portrait A.S. Pushkin work O. Kiprensky, "Unknown" I. Kramsky, "Golden Autumn" I. Levitan, Troika V. Pereova, "Unequal marriage" V. Pukireva, "Graci flew" by A. Savrasova, "Princess Tarakanova" K. Flavitsky. There is a separate hall where the "phenomenon of Christ people" is being exposed. A.A. Ivanova. In the Vrulevskaya hall you can see the "Princess Grezu", "Tsarevna-Swan", Majolika. And the pictures of P.A. Fedotov usually accompanied poetry.
I am a fresh cavalier,
And everything is now clear
I will be all as an example
And everything will go to the offset.
I am a fresh cavalier,
I am a guy impressive,
Satin this fler
I am very suitable.
Open the tailor door,
For some reason it is hot
I deserved a cross
And the fame of me,
I am a fresh cavalier,
Purchase to me, cook,
And caress
You sometimes sometimes.
Now I, like an actor,
I am Hamlet, I'm Othello,
Gorgeous San
I shines like a portrait
And my satin fler,
Skid so skillfully
And even my topchain,
Everyone radiates light.
There is a cross with me
But this is not enough for me
I am a fresh cavalier,
I am a conqueror ladies,
I'll wait for such a day
How to become a general
And I will be all as an example,
For daughters and moms ...
There are among the treasures of the Tretyakov Gallery and real secrets.
For example, in the picture "Morning in the Pine Forest" by the author is indicated only by Shishkin, although Savitsky wrote bears. But Pavel Tretyakov, who did not speak about the second authors, personally Skipidar erased Savitsky's signature.
In the picture of the Rockot "Unknown in the triangle" depicts a woman. Initially, it was a portrait of the artist's first wife's first wife. When, Ovdov, he married the second time, he asked Rokotov to spare the feelings of the second wife, and the painter struck the second layer, turning a woman in a man, but did not touch his face.
And when in 1885, Pavel Mikhailovich bought a picture of Repin "Ivan the Terrible and his son Ivan," he was forbidden to exhibit her. At first he showed a cloth in a narrow circle, and then hung it in a special room. In 1913, in the gallery, the old co-owner came to Abram Balashev with a knife in his boot and used the cloth. Fortunately, the picture managed to restore.
On May 25, 2018, the rope of Repin again suffered: a resident of Voronezh Igor Podorin broke the glass and broke the canvas. He explained his actions by the fact that the picture depicts unreliable events. And January 27, 2019, right in front of visitors from the gallery was stolen by the Kuinji Archka "Ai-Petri. Crimea". The criminal was quickly found, and the picture was returned.
Now the Tretyakov Gallery welcomes guests a fabulous facade. And in the yard there is a monument to the founder - P.M. Tretyakov. He changed the monument I.V. Stalin work S.D. Merkulova 1939.
They say that... ... The building of the Tretyakov Gallery suffered during the Great Patriotic War: two fuhas bombs broke the glass roof in several places, destroyed the inter-storey overlap of some halls and the main entrance. The restoration of the building began in 1942, and in 1944 it worked 40 out of 52 rooms, where the evacuated exhibits returned.
... Lonely girls can make a desire near the painting V.M. Vasnetsova "Alenushka", and love does not force yourself to wait.
... Girls are not issued for a long time to look at the portrait of Maria Lopukhina in the Tretyakovka. She died shortly after writing the painting, and her father, mystic and Mason Lodge Master, lured his daughter's spirit into this portrait.
... The Swiss of the Tretyakov Gallery did not let Ilya Repin to the paintings, if he had brushes in his hands. The artist was so self-critical that it was narrowed to fix the finished paintings.
... The Collection of the Tretyakov Gallery almost died in the flood of 1908. When Lavrushinsky began to pour water, the building was taken by a brick wall, which was constantly extended to restrain the water. And the gallery workers at the time of the flood moved all the paintings on the second floor.
... In the Tretyakov, there is a portrait of Ivan Abramovich Morozov against the background of Still Life Henri Matisse. The guardians joke that Serov accurately copied the French artist so accurately, that in Russia it became one picture of Matisse more.