History of the State Tretyakov Gallery. Tretyakov Gallery

State Tretyakov Gallery, GTG (also known as Tretyakovka) - Art Museum in merchant and having one of the world's largest collections of Russian visual art. Exposition in the main building "Russian painting XI - early XX B" ( , d. 10) is part of the All-Russian Museum Association "State Tretyakov Gallery" formed in .

History

He began to collect his collection of painting in the middle of the 1850s. The year of the foundation of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two pictures of Russian artists: "Temptation" N. G. Schilder and "Shake with Finnish smugglers" Although earlier in 1854-1855, he bought 11 graphic sheets and 9 paintings of the old Dutch masters. IN For the general public in The Moscow City Gallery of Paul and Sergey Tretyakov was opened. Its collection numbered 1276 paintings, 471 drawing and 10 sculptures of Russian artists, as well as 84 paintings of foreign masters.

In August Pavel Mikhailovich passed his art gallery as a gift . In the meeting, by this time there were 1287 picturesque and 518 graphic works of Russian school, 75 paintings and 8 drawings of European school, 15 sculptures and icons collection. The official opening of the museum entitled "Moscow City Gallery Paul and Sergey Mikhailovich Tretyakov".

The gallery was in the house that the Tretyakov family bought in another . As the meeting grows, new premises required for storing and demonstrating works of art gradually were gradually attached to the residential part of the mansion. Such an extensions were made in 1873, 1882, 1885, 1892 and finally in 1902-1904, when the famous facade developed in - Architect in the drawings of the artist . Construction management carried out architect .

The Tretyakov Gallery was announced by the "state property of the Russian Federal Soviet Republic" and received the name of the State Tretyakov Gallery. The director of the museum was appointed again who held this post still with . With his active participation, the State Museum Fund was created in the same year, which up to He remained one of the most important sources of replenishment of the museum collection.

IN Academician architecture became the director of the museum . Already next year, the gallery received a neighboring house for the Small Tolmachevsky Lane (the former home of the merchant Sokolikova). After perestroika B. The Gallery Administration, Scientific Departments, Library, Manuscript Department, Graphic Funds are located. Later, in 1985-1994, the administrative building was prescribed under the project of architect A. L. Bernstein 2 floors and in height was equal to the exposure halls.

In 1928, a serious repair of heating and ventilation was performed in the gallery, Electricity has been carried out.

In 1929, the Church of St. Nicholas in Tolmachi was closed, and in 1932 her building was transferred to the gallery and became a stained with painting and sculpture. Later it was connected to the exposition halls built by a two-story building, the top floor of which was specifically designed to explorate the picture " "(1837-1857). A transition between the halls located on both sides of the main staircase was also built. This ensured the continuity of the exposure review. The museum began the development of a new concept of placement of exhibits.

IN A new two-storey building was opened on the northern side of the main building - the so-called "Shchushevsky Corps". These halls were first used for exhibitions, and with were included in the main exposure route.

From the first days The gallery began dismantling the exposition - like other museums of Moscow, she was preparing for evacuation. In the middle of summer Echelon from 17 cars went from Moscow and delivered a collection to . Only The gallery was reopened in Moscow.

IN In honor of the 100-year-old anniversary, the Tretyakov Gallery was honored by A. A. Ivanov.

IN - The Tretyakov Gallery headed . Because of the increased number of visitors, he actively engaged in the expansion of exposure area. In 1983, construction work began. IN Depository was put into operation - a repository of works of art and restoration workshops. IN The reconstruction of the main building of the Tretyakov Gallery (architects I. M. Vinogradsky, G. V. Astafiev, B. A. Klimov and others). IN From the south side of the main building, a new building was built, where a conference room, an information and computing center, a children's studio and exhibition halls were hosted. The building was called "Engineering Corps", because most of the engineering systems and services were concentrated in it.

From 1986 to The Tretyakov Gallery in Lavrushinsky Lane in connection with the conduct of capital reconstruction was closed for visitors. The only exposure area of \u200b\u200bthe museum for this decade was the building on the Crimean Shaft, d. 10, which in 1985 was united with the Tretyakov Gallery.

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

• Tretyakov Gallery in Lavrushinsky Lane, 10,
• Museum-Temple of St. Nicholas in Tolmachi,
• Tretyakov Gallery on the Crimean Shaft, d. 10,

In 1985. Located on , 10, was merged with the Tretyakov Gallery in a single museum complex under the general name of the State Tretyakov Gallery. Now in the building there is an updated constant exposition "Art of the XX Century".

Part of the Tretyakov Gallery is representing a unique compound of the museum exposure and the acting temple. The complex of the museum in Lavrushinsky Lane includes engineering corps and an exhibition hall in Tolmachi intended for temporary exhibitions. The museum offers services .

Heads of the State Tretyakov Gallery

• (- present time)
• ( — )
• ( — )
• (1926—1929)
• (1913—1925)

Museum collection

By 1917, the Collection of the Tretyakov Gallery numbered about 4,000 works, by 1975 - 55,000 works. The gallery collection was constantly growing at the expense of planned public purchases.

Currently, the collection includes Russian painting, graphics, sculpture, separate works of decorative and applied art - Beginning.

Second half

The Russian painting of the second half of the XIX century is particularly fully represented. Tretyakov Gallery has the best collection of works ( , , , , , , , , and etc.).

Creativity is multifaceted (including "not waiting", ) And (including "", "", "") ,, sculptor.

End of the XIX - start

The main artists presented in the Collection: ,,,,, Masters (,

Tretyakovka for more than century of existence managed to become legendary: every year, people from all corners of the globe come to see the exhibits that are stored here. A unique museum that gathered picturesque masterpieces in his walls leads a story not only about the development of art, but also about the difficult path of the Russian people reflected in the paintings of the famous domestic masters.

Long and glorious officially began in 1856. The emergence of a famous now museum is associated with the name Pavel Mikhailovich Tretyakov, who at that time began to collect a collection of works of modern domestic artists.

About Pavel Mikhailovic Tretyakov

Pavel Mikhailovich Tretyakov was born in 1832 in a rich family belonging to the well-known merchant family. Like all siblings of wealthy surnames, Paul received an excellent formation. Over time, he began to help his father in commercial affairs. After leaving both parents, Tretyakov engaged in the development of a family case: the factory enterprise grew and brought more and more income.

However, Pavel Mikhailovich has always been interested in the history of art. On the creation of the first permanent exposition of Russian painting, he wondered long before the foundation of the museum. True, two years before the discovery of the Tretyakov Gallery, the future patronage acquired pictures of Dutch masters, and only in 1856 the beginning of its legendary Russian collection was found. The first canvases in it were painted by oil "temptation" N. Schilder and "Shash with Finnish smugglers" V. Khudyakov. Then the names of these artists were not yet known to the general public, and Pavel Mikhailovich began his assembly of paintings from their work.

Within a few decades, the Tretyakov collected the canvas of the outstanding masters of painting, supported friendly relations with many artists and helped those of them who needed it. A brief history of the birth of the Great Collection would not attend the names of everyone who was grateful to the patron.

House for paintings

The Tretyakov Gallery in Moscow is among the leading world museums. The main building is located in Lavrushinsky Lane, relating to one of the most ancient regions of the capital - Zamoskvorechye, the new halls on the Crimean shaft.

The history of the Tretyakov Buildings is a permanent expansion of the area. Initially, the paintings were located directly in the collector's house. Then the merchant mansion of the Tretyakov was attached a kind of passage, which surrounded the house from three sides. Since 1870, the exhibition has become available for visiting. Over time, an understanding has come to accommodate the entire pictorial collection on the existing space is no longer possible, therefore in 1875 and was built on a special order of Pavel Mikhailovich the building of the Tretyakov Gallery, constantly growing with those times the necessary squares.

Application Replenishment: Major Milestones

According to the creator, the Tretyakov Museum should include only the works of Russian artists and only those of their works that would transmit a special essence of the genuine Russian soul.

In the summer of 1892, the collection was presented as a gift to Moscow. At that time, the meeting consisted of 1,287 paintings and 518 graphic works of Russian artists. The exposition included more than 80 works of European authors and a numerous assembly of icons. Since then, at the expense of the city treasury, the gallery began to be replenished by real masterpieces of world art. Thus, the collateral of the Treasury for the history of Russia in 1917 to the fatal of the Russian history consisted of 4,000 storage units. A year later, the gallery became state, then there was a nationalization of a variety of private collections. In addition, the history of the artistic assembly continued to enter the foundation of works from small Moscow museums: the Tsvetkov Gallery, the Rumyantsev Museum, the Museum of Icon Pouring and Painting I. S. Ostrukhov. That is why at the beginning of the thirties of the last century the collection was more than five times increased. At the same time, the work of Western European masters go to other meetings.

Such is the history of the creation of the State Tretyakov Gallery, which stores the canvas, capable of taking the identity of the Russian person.

Today's day and prospects

Now the Tretyakov Gallery is no longer just a museum exposition, but also the Center for the Study of Art. The opinion of its employees and specialists is highly appreciated worldwide, experts and restorers are considered among the most professional arts in the modern world. A unique local library is another taste of the Tretyakov: the book assembly contains more than 200,000 specialized volume volumes.

The most significant exhibits are exhibited in a historic building. Exposure is divided into sections:

• old Russian art (XII-XVIII centuries);
• painting from the XVII century to the first half of the XIX;
• painting the second half of the XIX and turn of the XIX and XX centuries;
• russian graphics of the XIII - early XX century;
• russian sculpture of the XIII - early XX century.

Today, the collection includes more than 170,000 works of Russian art, while the replenishment of exposures and storage continues. Artists, private donors, a variety of organizations and heirs bring wonderful works as a gift, which means that the history of the creation of a unique collection of domestic masterpieces is not completed.

In the list of famous art museums in the world State Tretyakov Gallery It takes one of the highest places. Today, its collections present more than 180 thousand exhibits, among which are paintings, sculptures and jewelry. The exhibited masterpieces were created in the historical period dated by the XI-twentieth centuries. The building, where the main collection is located, was built in 1906, and today is incorporated into the register of cultural heritage of the Russian Federation.

Every year the museum visits more than one and a half million people.

History of creating a gallery

May 22, 1856, patron and successful industrialist Pavel Tretyakov I bought the picture of Vasily Khudyakova "Shake with Finnish smugglers." This day is considered the date of the founding of the museum, which Tretyakov together with his brother conceived for a long time. He dreamed of presenting people of Russian artists. Soon the collection was replenished with the "Procession in Easter" web, "Peter I interrogated Tsarevich Alexei Petrovich in Peterhof" N. Ge and many others. The collection has grown and multiplied, and Tretyakov decided to show the pictures of the audience. In 1867, he opened the first gallery in his own estate in Lavrushinsky Lane. At that time, the meeting included 1276 paintings, almost five hundred drawings, a small collection of sculptures and several dozen works of foreign artists.

Tretyakov supported many little-known masters and, thanks to his patronage, became famous Vasnetsov and Makovsky. By purchasing paintings, unwanted by the authorities, the founder of the gallery inspired painters to freedom of thoughts and courage against censors.

The National Museum of the Tretyakovka became at the end of the XIX century, and from now on anyone could visit it and absolutely free. In 1892, after the death of Brother Pavel Tretyakov transmits a collection of a gift to the city. So in Moscow appears art gallery, which over time becomes one of the largest assemblies of artwork on the planet.

When the Tretyakov had just begun to collect pictures, their collection was located in the rooms of the mansion where the brothers lived. But in 1860, they decided to build a separate building for the storage of the collection, which by that time went into a solid artistic assembly. A two-story extension to the Tretyak mansion received a separate entrance for visitors, and the pictures are two spacious halls.

New paintings continued to arrive, and the gallery was put up and completed. After the death of the owners, the mansion was reconstructed, and at the beginning of the twentieth century it was united with gallery halls. The facade in the form of an ancient terme was designed by the artist Vasnetsov.

Golden Foundation Tretyakovka

The oldest exhibits of the museum will see in the collection of icon painting of the XII-XVII centuries. For example, the image of the Vladimir icon of the Mother of God, brought at the beginning of the XII century from Constantinople. After the persecution of the ROC during the formation of the Soviet power, Icon got into the museum.

Rublevskaya "Trinity" - Another world-famous masterpiece of Russian icon painting. The author created it in memory of Sergei Radonezh in the first third of the XV century.

Master Dionysia - no less famous icon painter, and his work "Alexey Metropolitan", written in the late XV century, is also in the list of the most valuable exhibits of the Tretyakov Collections.

Unknown to the master of the Mikhailovsky Gosteuric Monastery at the beginning of the XII century produced mosaic depicting Saint Dmitry Solunsky. In the work of them were used frosted colored stones and Golden Smalta. Work is exhibited in the department of Russian icon painting.

Among the set of clients of the State Tretyakovskaya Gallery of special attention of visitors, the most famous pictures are usually honored.

The XVIII century is presented by works Dmitry Levitsky, Vladimir Borovikovsky and Fedor Rockotov. The most famous works of this era - portraits of Gabriel Golovkin, the former companion of Peter I, and the Empress Elizabeth Petrovna. The first was written by Ivan Nikitin, and the queen was painted Georg Groot.

The replacement of the XIX century gave the world of new artists, presented in the museum especially widely:

Outstanding masterpiece I. Kramsky "Stranger" Pictures a young woman who drives in an open crew along Nevsky Prospect. Neither in the letters of the artist, nor in his diaries there is not even a hint of the identity of the model, and her name remains a mystery at all times.

- "Princess Tarakanova" Konstantin Flavitsky Pictures the death of the adventurers who gave himself for the daughter of Empress Elizabeth Petrovna and Sister Pugachev. After exposing the woman was thrown into the caasemates of the Petropavlovsk fortress, where, as the legend says, died from flooding. The picture was written by Flavitsky in 1864. The critic of Stasov called her "the brilliant creation of Russian painting."

Another amazingly beautiful female portrait, exposed in Tretyakov - "Girl with peaches". The picture shows the daughter of Savva Mamontov, but attracts viewers to the canvas V. Serov. completely different. The work is permeated with amazing light and filled with freshness, which does not disappear over time.

The textbook scenery is called work A. Savrasova "Gracchi flew". Critics consider the picture an important stage in the development of landscape painting in Russia. Despite the simpleness of the plot, the picture seems to be particularly close to the heart of any Russian man.

- "Moonlight Night on Capri" Pictures the sea scenery of the Naples Bay. Her author is a famous Russian marinist artist I. Ayvazovsky, painter of the Chief Maritime Staff and the author of amazing works dedicated to the sea.

There is an opinion that "Prival Hunters" were written V. Pepov Based on the stories I. Turgenev. The plot composition, represented by the author of the audience, depicts three landowners who stayed on vacation after successful hunting. Perov managed so brightly portray the characters and the surrounding environment that the viewer becomes an involuntary participant in the conversation of hunters.

- "Unequal marriage" V. PukirevaAccording to his contemporaries, it was written by the artist at the time of his own torment: the beloved girl Pukireva was married for the calculation. The picture is made with great love, and the mood of the heroes are transferred to the master. Self-portrait of the artist on the canvas you can also see - he stands behind the bride, arms crossed on his chest.

Another three famous canvas XIX century. In the Tretyakov, the enthusiastic spectators are invariably:

Picture "Ivan Grozny and Son His Ivan on November 16, 1581" Ilya Repin Look more known to the public called "Ivan Grozny kills his son." The artist depicts the moment that occurred in a couple of seconds after the fateful strike, which the king inflicted Tsarevich Ivan. The distraught from Grief Tyran and the failed heir taking his fate was discharged so skillfully that the picture still causes the brightest feelings and emotions from the audience.

- "The phenomenon of Christ to the people" A. Ivanov wrote about 20 years. During the work, he created several hundred etudes and called the plot of his canvas "Worldwide". Ivanov believed that I was depicting the moment of time that played a decisive role in the fate of all mankind. Huge cloth is exhibited in a separate room built for him in the 30s of the last century.

- "Bogatyri" Vasnetsova Pictures three heroes of Russian epic in mighty horses in military armor. They inspect the surroundings and demonstrate their readiness to protect the land Russian from enemies. According to the author, he sought to "identify the continuity of the heroic past of the Russian people with his great future."

The twentieth century is presented by the works of Petrova-Vodkina, Benoit, Crimea, Shagal, Konchalovsky, Korovina, as well as the sculptures of faith Muhina. The authors of the Soviet period, whose pictures were honored to take their place on the walls of the Tretyakov - Isaac Brodsky, the team of Kukryniks, Tatyana Yablonskaya, Evgeny Vuchethich and many others.

Branches of the Tretyakov Gallery

The main body of the gallery is located at: Lavrushinsky Lane, 10. It represents the permanent exposition of the museum and periodically introduces visitors with temporary exhibitions. Recently, an engineering building was attached to the main building, where residents and guests of the capital are presented meetings of regional museums. In addition, the Tretyakovka has several branches:

- New Tretyakovka on the Crimean Shaft It was built near the place where P. Tretyakov was born, who founded the museum. The branch demonstrates work in the modern style, written in the XX-XI centuries.

State Tretyakov Gallery, GTG (also known as Tretyakovka) - Art Museum in Moscow, founded in 1856 by a merchant Pavlom Tretyakov and having one of the largest collections of Russian visual arts. The exposition in the engineering building "Russian painting XI - early XX B" (Loverushinsky Pereulok, d. 10) is part of the All-Russian Museum Association "State Tretyakov Gallery" formed in 1986.

Pavel Tretyakov began collecting his painting collection in the middle of the 1850s. This later led to the fact that in 1867, the Moscow City Gallery of Paul and Sergey Tretyakov was opened to the general public in Zamoskvorechye. Its collection numbered 1276 paintings, 471 drawing and 10 sculptures of Russian artists, as well as 84 paintings of foreign masters. In 1892, Tretyakov bequeathed his gallery in the city of Moscow. The facades of the gallery building are designed in 1900-1903 by architect V. N. Bashkirov in the drawings of the artist V. M. Vasnetsov. The construction management was carried out by architect A. M. Kalmykov.

In August 1892 Pavel Mikhailovich passed his art gallery as a gift to Moscow. In the meeting, by this time there were 1287 picturesque and 518 graphic works of Russian school, 75 paintings and 8 drawings of European school, 15 sculptures and icons collection. On August 15, 1893, the official opening of the museum called "Moscow City Gallery Paul and Sergey Mikhailovich Tretyakov" took place.

On June 3, 1918, the Tretyakov Gallery was announced by the "state property of the Russian Federal Soviet Republic" and was named the State Tretyakov Gallery. Igor Grabar was appointed director of the museum. With its active participation, in the same year, the State Museum Fund was created, which up to 1927 remained one of the most important sources of replenishing the GTG collection.

Ilya Efimovich Repin, Portrait of Pavel Mikhailovich Tretyakov

From the first days of the Great Patriotic War, the Gallery began dismantling the exposition - like other Museums of Moscow, GTG was preparing for evacuation. In the middle of the summer of 1941, Echelon from 17 cars went from Moscow and delivered a collection to Novosibirsk. Only on May 17, 1945 GTG was reopened in Moscow.

In 1985, the State Art Gallery located in the Crimean Shaft, 10, was merged with the Tretyakov Gallery in a single museum complex under the general name of the State Tretyakov Gallery. Now in the building there is an updated constant exposition "Art of the XX Century".

A part of the Tretyakov Gallery is the Museum-Temple of St. Nicholas in Tolmachah, representing a unique compound of the museum exposition and the acting temple. The complex of the museum in Lavrushinsky Lane includes engineering corps and an exhibition hall in Tolmachi intended for temporary exhibitions.

The federal state institution of culture All-Russian Museum Association The State Tretyakov Gallery (FGUK WMO GTG) includes: Museum-workshop sculptor A.S. Goluboy, house-museum V. M. Vasnetsova, Museum-Apartment A.M. Vasnetsova, house-museum P.D. Corina, exhibition hall in Tolmachy.

Pictures from the meeting of the State Tretyakov Gallery

Ivan Kramskaya. Unknown, 1883.

This is perhaps the most famous work of Kramsky, the most intriguing, which remains incomprehensible to this day and unsolved. By calling his picture "Unknown", Kramskaya fastened forever over her halo of mystery. Contemporaries literally lost in guesses. Its image caused anxiety and anxiety, a vague premonition of depressing and dubious new - the appearance of a woman's type, which did not fit into the previous system of values. "Unknown: who is this lady, but a whole era sits in it," some stated. In our time, the "unknown" Kramsky became the embodiment of aristocracy and secular refinement. As if the Tsarina she rises above the misty white cold city, driving in an open carriage according to Anichkovo Bridge. Her outfit is a hat "Francis", decorated with elegant light feathers, "Swedish" gloves, stitched from the finest skin, coat "Skobeliev", decorated with sable fur and blue satin ribbons, coupling, a gold bracelet - all this fashionable details of a female costume 1880s GG, applying for expensive elegance. However, this did not mean accessories to the highest light, rather, on the contrary, the Code of Unwritten Rules excluded strictly follow the fashion in the highest circles of Russian society.

I.E. Repin. Autumn bouquet, 1892

In the picture, the artist captured his daughter - faith Ilyinichna Repin. She gathered the last autumn flowers, walking in the vicinity of Abramsev. The heroine of the picture is full of vital energy. She just stopped for a moment, wrapped a beautiful bright face to the viewer. Faith's eyes slightly risen. It seems that she is about to smile, giving us the warmth of his soul. Against the background of fading nature, the girl looks beautiful, fragrant flower, cheerful youth and beauty blows from strong and static shape. The artist skillfully and truthfully portrayed it in full growth - emitting energy, optimism and health.

Repin wrote:

I start the portrait of faith, in the middle of the garden with a large bouquet of rough autumn colors, with boutonniere of thin, elegant; In Take, with an expression of a sense of life, youth, aneg.

Looking at this flowering girl, believes in the eternal celebration of the life, its endlessness and update. Picture I.E. Repin "Autumn Bouquet" gives hope for the inevitable victory of good over evil, beauty over fading and to immortality of human talent.

In the heritage of Ilya Efimovich Repina, the portrait takes prominent place. Everything attracted the artist in his models - the expressiveness of the face, poses, temperament, clothing ... and each work is characterized by the vital completeness and multilateral characteristics. The artistic dust of the wizard made it not only to transfer the features of the person depicted, but also to create a generalized image - the image of the time in which he lives.

Valentin Aleksandrovich Serov. Girl with peaches, 1887.

Valentin Aleksandrovich Serov, a long stay in Abramtsev, near Moscow, Savva Ivanovich Mamontov. Here, in the dining room of the manor house, and the famous picture of the "Girl with Peaches" was written - a portrait of faith Mammoth (1875-1907), twelve-year-old daughter of the patron. This is one of the first in Russia of the works of impressionistic painting. Clean paints, living energetic strokes give birth to the image of youth, full of poetry and happiness. Unlike the French Impressionists, serov does not dissolve the substantive world in the light and air, and it takes care of the transfer of its materiality. This was shown by the closeness of the artist to realists, its predecessors and teachers - I.E. Repin and P.A. Cleaner. He pays special attention to the face of the girl, admiring the clarity and seriousness of his expression. Connecting a portrait with an interior image, the artist created a new type of portrait-painting.

Valentin Serov said so about the work on this picture:

All that I achieved is freshness, the special freshness that you always feel in kind and you do not see in the paintings. I wrote more than a month and wrote her, poor, to death, I really wanted to keep the freshness of painting with full finished, - that's how old masters

Mikhail Alexandrovich Vrubel. Tsarevna-Swan, 1900.

The prototype of the image was the wife of the artist Nadezhda Ivanovna Zabel-Vrubel. The master was amazed by her scenic embodiment of the role of princess-swan in the opera Roman Corsakov "Tale of the Tsar Saltan". Nadezhda Ivanovna, the famous singer and muse of the artist, made a charm of female charity to the inner world of painter. The art of Vrubel and creativity fells were related to the invisible, but durable threads. The source of inspiration Mikhail Alexandrovich also served as Russian epic epos and national folk traditions. Relying on the legend, myth, epic, the artist did not illustrate them, but created his own poetic world, colorful and tense, full of triumphant beauty and at the same time alarming mystery, the world of fabulous heroes with their earthly longing and human suffering.

In the very depths of our soul, widely openly obsolete "velvet" eyes of the princes are peeled. She seems to see everything. Therefore, it may be so sad and slightly surprised raised sables to the eyebrows, lips closed. It seems to be enchanted. But you hear the heartbeat of the Russian fairy tale, you are captured by the eyes of the princes and are ready to look endlessly to her sad good eyes, admire the charming, cute face, beautiful and mysterious. The game of emerald self-auction stones on Kokoshnik at the princess, the position of the feathers on the wings. The artist handed over with rhythmic strokes, strokes similar to a mosaic. This rhythm gives the image of musicality. She "hears" in the twinkling and overflows of air, weightless paints in the foreground, in the thinnest gradations of gray-pink, in a truly intangible painting material of the canvas, "turning", melting. All the vast, sad beauty of the image is expressed in this special picturesque matter.

... Behind the sea there is,
What you can not have an eye to hide:
In the afternoon, the Light of God eclipses,
At night illuminates the land.
Monthly shine shine
And in the forehead the star is burning ...

Alexander Sergeevich Pushkin

Ivan Shishkin, Konstantin Savitsky. Morning in a pine forest, 1889.

The picture is popular thanks to the entertaining plot. However, the true value of the work is the perfectly pronounced state of nature. Not a deaf forest is shown, and sunlight, breaking through the giants column. The depth of ravines is felt, the power of the age-old trees. And sunlight as if timidly peeking into this dense forest. Sensing the morning frozen bearings. We are observers for wildlife and its inhabitants.

The idea of \u200b\u200bthe picture suggested Shishkin Savitsky K.A. Bear wrote Savitsky in the picture itself. These bears with some differences in poses and quantities (first there were two of them) appear in the preparatory drawings and sketches. Bears turned out from Savitsky so fortunate that he even signed in the picture along with Shishkin. And when this picture acquired Tretyakov, he removed Savitsky's signature, leaving the authorship for Shishkin.

Victor Vasnetsov. Alyonushka, 1881.

The artist began work on the painting in 1880. At first he painted landscape sketches on the shore of Vori in Abramtsev, at the pond in Akhtyark. Many sketches of this time have been preserved.

Picture "Alenushka" V.M. Vasnetsova became one of the most touching and poetic creatures. On the bank of the Dark Omut sits the girl, slamming his head in sorrow. The yellowing birch trees drop around it the leaves in still water, behind the back - a firing stubborn pool.

The image of Alenushka and Reaen, and is fabricated at the same time. Sadful appearance and dilapidated, poor clothes of a young heroine recreate the artist's straightened sketch in memory, made from the peasant girl-orchard in the year of writing a picture. Image vitality is combined here with a fabulous poetic symbolism. Above the head of Alenushka, sitting on a gray cold stone, an archer curved a thin branch with shrinking swallows. According to the famous researcher of the Russian folk tales A.N. Afanasyev, with whom Vasnetsov was acquainted through Abrahasevsky circle, swallow brings good news, consolation in misfortune. Dark forest, omut and loose hair were identified in ancient beliefs with misfortune, danger and heavy thought, and birch, growing from the water, was a sign of healing.

Even if the artist did not put such a detailed symbolism into the cloth, it does not impress hopelessness, perhaps because we remember a fairy tale with a happy end.

Vasnetsov himself responded so much about her picture: "Alenushka" as if she had long lived in my head, but I really saw her in Akhtyrka, when I met one proliferant girl, who was amazing my imagination. So many longing, loneliness and purely Russian sadness were in her eyes ... Some special Russian spirit washed from her.

Critic I. E. Grabar called the picture of one of the best paintings of the Russian school.

Alexey Kondratievich Savrasov. Grachics flew, 1871.

"Graci flew" - the famous picture of the Russian artist Alexei Savrasova, established in 1871. The picture is the most famous work of Savrasov, in fact, he remained the "artist of one picture."

Etudes to this picture were written in the village of Malvitino (now Susanino) Kostroma province. Refinement of the picture took place in Moscow, in the artist's workshop. At the end of 1871, the picture "Graci flew" for the first time appeared before the public at the first exhibition of the partnership of mobile art exhibitions. "Graci" became a discovery in painting. Static landscapes of Queenji and Shishkin immediately lost the status of innovative.

The work was immediately bought by Pavel Tretyakov for his collection.

Konstantin Dmitrievich Flavitsky. Princess Tarakanova, 1864.

The history of Princess Tarakanova, adventurers, who issued themselves for the daughter of Empress Petrovna and sister Yemelyan Pugachev, served as the painting. According to the command of Empress Catherine II, she was arrested and in May 1775 was delivered to the Petropavlovsk fortress, was subjected to a long interrogation by Field Marshal Prince Golitsyn, during which various testimony gave. Died from Chakhotka on December 4, 1775, the mystery of his birth even from the priest.

The picture was written in 1864, and in the same year the exhibition of the Academy of Arts was first put up. V. V. Stasov, a famous critic of the time, highly appreciated the picture, called the Flavitsky's canvas:

"The wonderful picture, the glory of our school, the brilliant creation of Russian painting"

The picture was purchased by Pavel Tretyakov for his collection after the death of the artist.

The plot for the picture was the tradition of the death of Tarakanova during flooding in St. Petersburg on September 21, 1777 (historical data suggest that she died two years before this event). The canvase depicted a caasemate of the Petropavlovsk fortress, behind the walls of which the flood is raging. On the bed, fleeing from the water arriving in a born window, stands a young woman. Split rats are chosen from the water, climbing to the legs of the prisoner.

For the painting "Princess Tarakanova", the artist Konstantin Flavitsky was awarded the title of professor of historical painting.

Vasily Vladimirovich Pukirev. Unequal marriage, 1862.

The work was written in 1862, immediately after the end of the Moscow School of Painting, Drainies and Architecture. The painting "unequal marriage" was delivered to the academic exhibition of 1863, with its common idea, strong expression, extraordinary for the domestic plot of the size and workshop, immediately nominated the artist for one of the most prominent places in the Russian painters. For her, the Academy rewarded him by Professor.

The plot of the paintings is an unequal marriage of a young beautiful girl and a shallow rich old man. Around indifferent faces, only one young man crossed hands condemningly looking at a couple. It is believed that in this person the artist depicted himself, as if expressing his protest.

Isaac Levitan. March, 1895.

The whole picture is executed by the particular human joy that comes in spring. The unclosed door left at the porch Dianka's horse talk about the invisible presence of people. Isaac Ilyich knew how to talk about a man through the landscape, he could "seek and discover in nature - according to Mikhail Mikhailovich Svarvina (1873-1954) - the beautiful sides of the human soul."

The canvas is written in 1895 in the Tver province in the estate of familiar Turkish slides. Isaac Ilyich watched and wrote the first days of spring, and her rapid approach was forced him to hurry. In several sessions, without any etude preparation, the master wrote his radiant March from Nature. What is shutting on canvas? The backyards of the usual estate, fitted and lit by the sun, melting snow with blue shadows, thin branches of trees on the sky, bright wall of the house ... How many in all this spring melodies!

The revival of nature in this composition is revealed through the poetry of light, a dazzling bright March sun, and even then reinforced by the seamless snow. We are accustomed to calling it "white", but for a greedy eye of a landscape player, whiteness is created from a variety of color shades. Snow on the painting of Levitan lives - breathes, flickers, reflects the blue sky. The picturesque gamma with its color shadows is built on an impressionist combination of complementary colors. If the Impressionists dissolve the color in the light, Levitan sought to keep the color of the displayed item. Mart fabric is written in bright, joyful paints. An unpretentious, ordinary motive, hoped from rustic life, the author managed to give emotional saturation, charm the viewer to the immediacy of the transmission of lyrical feeling. In the means of painting are caused not only visual, but also other sensations. We hear all the roots and sounds of nature: the rustle of the branches of the trees, the singing of drops. Levitan created a landscape full of life, the sun, carved by light and air.

Ivan Kramskaya. Christ in the desert, 1872.

Conceived in 1868, the picture demanded several years of intense work. The completed work immediately was purchased directly in the artist's workshop Pavel Tretyakov. "I think this is the best picture in our school lately," he wrote.

Presented at the second mobile exhibition "Christ in the desert" became a sensation. Before the picture, hot discussions flared up, the audience was looking for a certain hidden meaning in this strong but hopelessly lonely figure, lost in a barren stone desert. Kramsky managed to create an O6PAZ of exceptional expressiveness equal, possibly the most tragic pages of the evangelical history. Asceticism of the flavor and picturesque techniques only enhances the concentration on the moral side of the content of the work. The severe spiritual experiences of Christ may be for the first time in Russian visual arts make you think about the problem of personal choice. In this deep drama, the inadequacy of Christ and human opportunities is already initially opened.

"I see it's clear that there is one moment in the life of every person, the Malski created by the Eagle and the likeness of God, whether God is ruble for the Lord, or not to give up a step of evil. We all know how similar oscillation ends," the artist wrote .

Kuzma Sergeevich Petrov-Vodkin. Swimming red horse, 1912.

The most famous picture of the artist Kuzma Petrova-Vodkina. Posted in 1912, became the stage for the artist and brought him world fame.

In 1912, Petrov-Vodkin lived in the south of Russia, in the estate near Kamyshin. It was then that they were made the first sketches for the painting. And also written the first, unaccompanied option of the canvas, known in black and white photography. The picture was a lot of household rather than a symbolic, as it happened with the second option, simply several boys with hors were depicted on it. This first option was destroyed by the author, probably shortly after his return to St. Petersburg.

Horse Petrov-Vodkin wrote from a real stallion named a boy inhabited in the estate. To create an image of a teenager sitting on it, the artist used the features of his shura nephew.

On a large, almost square canvase, the lake of cold bluette shades is depicted, which serves as a background of the semantic dominant of the work - horse and rider. The figure of a red stallion occupies the whole foreground of the picture almost completely. It is given so much that his ears, croup and legs below the knees are cut into the frame frame. The saturated scarlet color of the animal seems even brighter compared to the cool color of the landscape and the light body of the boy.

From the front leg horse, entering into the water, the waves of slightly greenish, compared to the rest of the surface of the lake, shade. Everyone canvas is a beautiful illustration of such a favorite Petrov-Vodkina spherical perspective: the lake is round, which is emphasized by the shore fragment in the upper right corner, the optical perception is slightly distorted.

In total, the picture shows 3 horses and 3 boys - one in the first plan on a red horse, two others behind him on the left and right side. One leads a white horse under the boils, another, visible from the back, riding an orange, departs deep into the picture. These three groups form a dynamic curve, emphasized the same bend of the front leg of the red horse, the same bend of the leg of the rider boy and the pattern of waves.

It is believed that initially the horse was Gesty (red), and that the color of his master changed, having acquainted with the colorist gamma of the Novgorod icon, which was shocked.

The picture from the very beginning caused numerous disputes, in which it was invariably mentioned that there were no such horses. However, the artist argued that this color he took over the ancient Russian icon painters: for example, a horse is depicted completely red on the icon "Miracle of Arkhangel Mikhail". As in the icons, there is no mixing of paints in this picture, paints are contrasting and as if faced in confrontation.

The picture was so struck by contemporaries with his monumentality and fatefulness, which was reflected in the work of many masters of brushes and words. So Sergey Yesenin was born lines:

"I now became storm in the worst.
My life! Ile you dreamed of me!
As if I am a spring bunker
Specked on a pink horse. "

Red horse acts as a fate of Russia, which is unable to keep fragile and young sedoxes. According to another version, the red horse and there is Russia herself, identified with the block "steppe mare". In this case, it is impossible not to note the valid gift of the artist, symbolically predicted by his picture "Red" the fate of Russia of the 20th century.

The fate of the picture was extraordinary.

For the first time, the canvas was shown at the exhibition "World of Art" in 1912 and had a stunning success.

In 1914, she was at the Baltic Exhibition in Malmo (Sweden). For participation in this exhibition K. Petrov-Vodkin, the Swedish king was awarded a medal and gram.

The override World War, then the revolution and civil war led to the fact that the picture for a long time remained in Sweden.

After the end of World War II and after stubborn and exhausting negotiations, in 1950, the works of Petrov-Vodkina, including this canvas, were returned to their homeland.

The artist's widow passed the picture to the collection of famous collectors K. K. Basevich, and in 1961 he presented her by the Tretyakov Gallery.

F. Malyavin. Whirlwind, 1906.

The painting "Vortex" - the top of Creativity Philip Andreevich Malyavina - was conceived by him in 1905 (a sketch of her from the meeting of the Tretyakov Gallery was dated to this year). The events of the first Russian revolution of 1905-1907 influenced the choice of the plot and the picturesque plastic manner of a huge monumental canvas. The scale of the canvas emphasizes the significance of the plan. The entire field of the picture is filled with a raw vortex of paints, flying in the dance skirts and sails, among which the heated faces flashes the peasants. The predominant red color due to the expression of the brush and the intensity of the heat loses the properties of the designation of the objective world, but acquires a symbolic value. It is associated with fire, fire, unmanaged elements. This is the head of the brewing folk rebellion and at the same time the elements of the Russian soul. The symbolic perception of color from Malavin is largely coming from the icon - as a child, he studied the icons in the Afonov Monastery in Greece for several years, where the sculptor V.A. Beklemishev and sent to them to the Academy of Arts in St. Petersburg.

Kazimir Malevich. Black square, 1915.

Black square is the most famous job of Casimir Malevich, created in 1915. It is a cloth of 79.5 to 79.5 centimeters, which shows a black square on a white background.

The work was performed by Malevich in the summer and in the fall of 1915. According to the artist, he wrote it for several months.

The work was exhibited at the last futuristic exhibition "0.10", which opened in St. Petersburg on December 19, 1915. Among the thirty nine paintings exhibited by Malevich in the most prominent place, in the so-called "red corner", where icons are usually hanging, hung "black square".

Subsequently, Malevich performed several copies of the "Black Square" (according to some data, seven). It is reliably known that in the period from 1915 to the beginning of the 1930s, Malevich created four variants of the "black square", which differ in the pattern, texture and color. One of the "squares", although dated by the author in 1913, it is customary to belong to the Rubel 1920s-1930s. They also wrote pictures "Red Square" (in two copies) and "White Square" ("Suprematic composition" - "White on white") - one.

There is a version that the "square" was written to the exhibition - as a huge hall had to fill something. This interpretation is based on a letter of one of the organizers of the Malevich exhibition:

We must write now a lot. The room is very large, and if we, 10 people, write pictures 25, then it will be only.

Initially, the famous Square Malevich first arose in the scenery to the Opera "Victory over the Sun" as a plastic expression of the victory of active human creativity over the passive form of nature: a black square instead of a solar circle. It was a famous scenery to the fifth stage of the 1st action, which is a square in a square, divided into two areas: black and white. Then, from the scenery, this square migrated to the machine product.

The largest artistic critic at that time, the founder of the Association "World of Art" Alexander Benua wrote immediately after the exhibition:

Undoubtedly, this is the icon that the Lord Futurists put instead of Madonna.

At the 2004 sign exhibition in the Warsaw Gallery "Zakent" "Warsaw - Moscow, 1900-2000", where more than 300 paintings, sculptures, installations (in particular, many paintings of the Russian avant-garde) "Square" from the Tretyakov Gallery was presented as a central Exhibit exhibition. At the same time, it was posted in the "Red Corner", as at the exhibition "0.10".

Currently, in Russia there are four "black squares": in Moscow and St. Petersburg two "squares": two in the Tretyakov Gallery, one in the Russian Museum and one in the Hermitage. One of the works belongs to the Russian billionaire Vladimir Potanin, who acquired him from Inkombank in 2002 for 1 million US dollars (30 million rubles) and referred to perpetual storage in the Hermitage. This first of the existing canvas variants depicting the "black square" of the brush of the founder of Suprematism.

One of the "black squares", written in 1923, is part of triptych, which also includes the "Black Cross" and "Black Circle".

In 1893, a similar picture of Alfons Alla was already exhibited, called the "Battle of Blacks in the Deep Cave of the Dark Night".

Yuri Pimenov. New Moscow, 1937.

The picture is part of a series of works on Moscow, over which the artist worked from the mid-1930s. The artist depicted Sverdlov's Square (now theatrical), located in the city center, not far from the Kremlin. The house of unions and the Moscow Hotel are visible. The plot of the paintings is the woman behind the wheel of the car - a rather rare phenomenon for those years. This image was perceived by contemporaries as a symbol of a new life. An unusually composite solution when the image looks like a frame, grilled a camera lens. Pimenov focuses on the viewer's attention on the figure of a woman shown from the back, and as if invites the viewer to look at the morning city with her eyes. This is how the feeling of joy, freshness and spring mood is created. Imprisionist manner of the artist's letter and gentle color flavor contributes to everything.

The State Tretyakov Gallery is one of the most famous artistic museums of the Russian capital, and the whole country. It was founded in 1856 by the merchant and the patron of Pavel Tretyakov. It is here that one of the world's largest collections of Russian visual arts.

History of creating a gallery

The State Tretyakov Gallery actually began to form in the mid-1850s. The official year of its discovery is considered to be the 1856th. It was then that the Tretyakov acquired two pictures of domestic artists - "Shock with Finnish smugglers" Khudyakov and "Temptation" of Schilder. They became the basis of the formation of the collection.

Although his interest in art began to manifest itself even earlier. So, two years before, the Tretyakov had already seen 9 pictures of old Dutch masters and 11 graphic sheets.

The first prototype of the State Tretyakov Gallery was the Moscow City Gallery of Paul and Sergey Tretyakov. She first opened its doors in 1867, while there were more than a thousand paintings, as well as sculptures and drawings of Russian artists. 84 works were represented by foreign masters.

Moscow in Dar.

An important event for the State Tretyakov Gallery took place in 1892, when it was actually given to the gift of Moscow. The collection of works of art by that time significantly replenished. After a year, the gallery officially opened.

At the same time, Pavel Tretyakov, before his death, remained its official manager. In 1898, the Board of Trustees was created for the gallery management, which was headed by sharpuchov. Contain it has become percentage of capital at 125,000 rubles, which visited the Founder himself. Additionally, a certain amount annually highlights the city Duma.

Location

The building in which the State Tretyakov Gallery was located in Moscow was acquired by the merchant family in 1851. With an increase in the collection to the mansion, new rooms were constantly attracted, which demonstrated and the works of art were shown. The first such building was built back in 1873, and from 1902 to 1904, the facade famous for the entire capital appeared, who developed the architect Bashkirov in the drawings of Vasnetsov. Directly led the construction of the architect Kalmykov.

Tragedy with a repeated picture

Many works of the State Tretyakov Gallery represented great value for Russian and world culture. Therefore, the whole light struck the case that occurred in 1913. Vandal attacked the picture of Ilya Repin "Ivan the Terrible and Son of His Ivan." She seriously suffered from a knife. The artist, because of this, had to actually re-recreate faces in the image. Khruslov, who at that time was the keeper of the Tretyakov, having learned about this incident, rushed under the train. Soon after, the city Duma elected the new trustee of the Gallery Gallery of Grebar.

Shortly after the victory of the October Revolution, the gallery declared the property of the Soviet Republic, it was then that she was named 1 of the State Tretyakov Gallery. Grabar was appointed its director. With his direct participation, a museum fund was created, which up to 1927 remained one of the key sources of full replenishment of the collection.

In 1926, the director is replaced by the gallery. They are becoming an academician of the architecture of Shauses. Next year, a certain part of the collection moves to the house for a small Tolstoral Lane, located next door. A large-scale restructuring was carried out here, after which the administration was located here, as well as the library, scientific departments, funds, manuscripts.

Already by 1985-1994, the administrative corps were administered under the project of Architect Bernstein, after which he was equal to the exposition halls. In 1929, electricity was held in the gallery.

During the Great Patriotic War

When the Great Patriotic War began, the gallery began to perform urgent dismantling of the exposition, as in most other Museums of Moscow. She was preparing for evacuation. The canvases shifted on special wooden trees, laid out the cigarette paper, stored in waterproof boxes. Already in the middle of the summer of 1941, 17 cars went from Moscow to Novosibirsk. Works of art were evacuated until the fall of 1942. When a fracture in the war became obvious, the collection began to return. In May 1945, the exposition reopened again in front of Muscovites and guests of the capital.

Expansion of exposure area

In the post-war period, a important role in expanding the exposition area was played by Korolev, who headed the Tretyakovka in 1980. He already began active construction in 1983, and in two years the depositary was commissioned. This specialized storage for works of art, also on its basis there were restoration workshops.

Since 1986, a full-scale reconstruction of the main building was carried out. And in 1989, a new building was even built, which opened an information and computing center, a conference room, a children's studio, as well as additional exhibition halls. The building began to call the engineering corps, because the main engineering services and systems were concentrated in it.

But the hulls located in Lavrushinsky Lane, from 1986 to 1995, were closed at all due to capital reconstruction. For a decade, at that time, a building left on the Crimean shaft remained on the only exhibition platform. In 1985, he was officially united with the Tretyakov.

Tretyakovka collection

The collection of exhibits of this museum is considered the most extensive in our country and one of the most significant in the world in general. The State Tretyakov Gallery, the collection of which has already numbered about four thousand works by 1917, was perhaps the richest in Russia. That is why she caused such interest among numerous visitors.

In the future, it was only replenished. By 1975, the State Tretyakov Gallery, the collection of which has already numbered about 55 thousand works, was one of the most ambitious in Europe. Regularly it was replenished at the expense of government procurement. Nowadays, in the meeting of the State Tretyakov Gallery, you can meet a collection of Russian painting, sculptures, graphics, creations of foreign authors, as well as the work of decorative and applied creativity of the XI-XXI centuries.

Separately, it is worth mentioning the icon collection. Here are the icons of the XI-XVII centuries, including the work of Simon Ushakov, Dionysius, the famous "Trinity" Andrei Rublev.

Many famous paintings of the second half of the XIX century can be found in Tretyakov. Here is the richest collection of mobile phone. Among them, the works of Kramsky, Perov, Savitsky, Makovsky, Savrasova, Polenov, Shishkin, Vasnetsov.

Many paintings of Ilya Repin, among the lower mentioned in this article "Ivan the Terrible and Son of His Ivan", "did not wait." Many are familiar with the creation of Surikov "Menshikov in Berezov", "Boyajna Morozova", "Morning Strelleskaya execution", as well as the works of Anticoline and Vereshchagin.

Soviet art is widely represented. There are familiar to everyone and every grabra, Kukryniks, Konenkov, Serov, Mukhina, Brodsky.

The State Tretyakov Gallery, the collection of which has more than 60 thousand works today, remains the most attractive place for numerous fans of art from all over the world.

Tretyakovka in philately

Marks with the State Tretyakov Gallery have long become a value for philatelists. For example, a special valuable is the 1949 brand, on which the Tretyakov Gallery building shows a monument to Joseph Stalin, subsequently demolished. In 1956, a postage stamp was issued dedicated to the 100th anniversary of the foundation of the State Tretyakov Gallery. And in 2006, a whole postal block appeared in circulation, which was released to the 150th anniversary of the gallery.

How to get?

The main building of the Tretyakov, which is worth a visit, if you expect to get acquainted with the richest collection assembled here, is located in Moscow at Loverushinsky Lane, 10.

The mode of operation of the gallery is: on Monday - weekends, on Tuesday, Wednesday and Sunday it works from 10 am to 6 pm, and on Thursdays, Fridays and Saturdays from 10:00 to 21:00. Please note that at the same time the cash desks are closed in one hour before the completion of the gallery.

The Tretyakovka is almost in the very center of Moscow, so it's not to get to it. The easiest way to do this, taking advantage of the metropolitan metro. To do this, you need to get to Polyanka or Tretyakovskaya stations, which are located on the Kalinin line, or to the Oktyabrskaya or Novokuznetskaya stations of the Kaluga-Riga line. Another option is to get out of the car at the Oktyabrskaya Station ring line.

Ticket price

For adult visitors a Tretyakov Ticket will cost exactly 500 rubles. Such prices are defined in the Gallery for 2018. Russian students and retirees will have to pay 200 rubles. Entrance for minors up to 18 years free.

Please note that the gallery is organized a free visit for Russian students in the first and second Sunday of the month.

By visiting the Tretyakov Gallery, take the time to explore the sights located nearby. This is the Church of St. Nicholas, Schmeleva Square, Tretyakovsky Pier, Museum "Kadashevskaya Sloboda", Yakiman Square, a ore-petrographic museum.

If you are going to visit the Tretyakov Gallery, then do not try to argue immense. Do not put the task in one day to see all collections. It is better to decide in advance with two three masters or directions on which we will concentrate attention this time. And leave the others until the next visit.

Help to navigate you will help the free guidebook, which you can install yourself on your phone and see the most interesting thing with it, without spending too much time.

In the very museum you can offer the official audio guide, the use of which you will cost 350 rubles. Such audiogides exist in Russian, Italian, English, French, German, Chinese and Spanish. Remember to take advantage of them, you will have to leave a deposit in the amount of two thousand rubles. An alternative to money as a collateral can serve as any document certifying your identity. The only exception is impossible to leave a passport.