Collections of the Russian Museum. State Russian Museum What paintings are preserved in the State Russian Museum
The highest decree on the establishment of the Russian Museum of Emperor Alexander III in the Mikhailovsky Palace of St. Petersburg was signed 120 years ago, on April 13, 1895.
Currently, the State Russian Museum is the largest museum of Russian art in the world. Its collection includes 407.5 so-called storage units. On the eve of the memorable date, the site recalled 10 masterpieces of painting that can be seen in the Russian Museum.
Arkhip Kuindzhi. "Moonlit Night on the Dnieper". 1880
Bank of the river. The horizon line runs down. The silvery greenish light of the moon is reflected in the water. "Moonlit Night on the Dnieper" is one of the most famous paintings by Arkhip Kuindzhi.
The magic of the landscape conquered the Grand Duke Konstantin Konstantinovich, who bought it for a lot of money directly from the artist's workshop. The prince did not want to part with his favorite painting even during his round-the-world trip. As a result, Kuindzhi's masterpiece almost ruined his whim - because of the sea air, the composition of the paint changed, the landscape began to darken. But, despite this, the picture to this day has a magical appeal, forcing the audience to peer into it for a long time.
The magic of the landscape conquered the Grand Duke Konstantin Konstantinovich. Photo: www.russianlook.com
Karl Bryullov. "The last day of Pompeii". 1830-1833
"The last day of Pompeii was the first day for the Russian brush!" - this is how the poet Yevgeny Baratynsky wrote about this picture. And the British writer Walter Scott called the painting "unusual, epic."
The 465.5 × 651 cm canvas was exhibited in Rome and Paris. It was at the disposal of the Academy of Arts thanks to Nicholas I. The painting was presented to him by the famous patron Anatoly Demidov, and the emperor decided to exhibit it at the Academy, where it could serve as a guide for novice painters.
It is worth noting that Karl Bryullov portrayed himself against the background of a crumbling city. The artist's self-portrait can be seen in the left corner of the painting.
Karl Bryullov depicted himself against the background of a crumbling city. The artist's self-portrait can be seen in the left corner of the painting. Photo: Commons.wikimedia.org
Ilya Repin. "Barge Haulers on the Volga". 1870-1873
The summer of 1870, spent by the artist on the Volga, 15 versts from Samara, had a great influence on the work of Ilya Repin. He begins work on the canvas, in which many later saw the philosophical meaning, the embodiment of obedience to fate and the strength of the common people.
Being among the barge haulers, Ilya Efimovich Repin meets the former priest Kanin, from whom he would later create many sketches for the painting.
“There was something oriental about him, ancient. And here are the eyes, eyes! What is the depth of the gaze raised to the eyebrows, which also tend to the forehead ... And the forehead is a large, intelligent, intelligent forehead; this is not a simpleton, ”the master said about him.
"There was something oriental about him, ancient. But the eyes, the eyes!" Photo: Commons.wikimedia.org
Ilya Repin. "The Cossacks write a letter to the Turkish sultan." 1880-1891
"You are a Turkish shaitan, the damned brother of the devil, and the secretary of the Lutsyper himself!" According to legend, this is how the letter began, which the Zaporozhye Cossacks wrote in 1675 in response to the proposal of Sultan Mahmud IV to become subordinate to him. A well-known plot formed the basis of the famous painting by Ilya Repin.
A well-known plot formed the basis of the famous painting by Ilya Repin. Photo: Commons.wikimedia.org
Viktor Vasnetsov. "A Knight at the Crossroads". 1878
The poetic spirit of folk legends is masterfully conveyed in the work of Viktor Vasnetsov. For the first time, the canvas was presented to the audience in 1878 as part of a traveling exhibition.
The artist worked on the painting for several years. In the first versions, the hero was facing the viewer, but later the composition was changed. The Russian Museum contains a later version of the painting - 1882. The first version of 1878 is in the Serpukhov Museum of History and Art.
It should be noted that the plot of "A Knight at the Crossroads" is reproduced on the tombstone of the artist, who is buried at the Vvedenskoye cemetery.
The artist worked on the painting for several years. Photo: Commons.wikimedia.org
Ivan Aivazovsky. "The Ninth Wave". 1850
The painting "The Ninth Wave", created in 1850, was acquired by Nicholas I.
The ninth wave, in the view of seafarers, is the most crushing. It is he who will have to go through the heroes of the picture, shipwrecked.
The painting The Ninth Wave, created in 1850, was acquired by Nicholas I. Photo: Commons.wikimedia.org
Valentin Serov. Portrait of Ida Rubinstein. 1910
The famous dancer and actress Ida Rubinstein has inspired many artists: Kees van Dongen, Antonio de la Gandar, André Dunoyer de Segonzac, Leon Bakst and Valentin Serov.
The Russian painter, who is considered a master of portraiture, saw her for the first time on the Parisian stage. In 1910 he creates a portrait of her.
“There is monumentality in her every movement, just a revived archaic bas-relief,” the artist admired her grace.
The famous dancer and actress Ida Rubenstein has inspired many artists. Photo: Commons.wikimedia.org
Valentin Serov. Abduction of Europa. 1910
The idea to write "The Rape of Europe" was born to Valentin Serov during a trip to Greece. A visit to the Palace of Knossos on the island of Crete made a great impression on him. In 1910, the painting, based on the legend of the abduction of Europa, the daughter of the Phoenician king Agenor, by Zeus, was completed.
According to some testimonies, Serov created six versions of the painting.
The idea to write "The Rape of Europe" was born to Valentin Serov during a trip to Greece. Photo: Commons.wikimedia.org
Boris Kustodiev. Portrait of F.I. Chaliapin. 1922
“I knew a lot of interesting, talented and good people in my life. But if I have ever seen a really great spirit in a person, it is in Kustodiev, ”the famous singer Fyodor Chaliapin wrote about the artist in his autobiographical book“ Mask and Soul ”.
Work on the painting was carried out in the painter's apartment. The room where Chaliapin posed for Kustodiev was so small that the picture had to be painted in parts.
The artist's son later recalled the funny moment of the work. According to him, in order to capture Fyodor Ivanovich's beloved dog on canvas, one had to use a trick: “For the pug to stand with its head up, they put a cat on the closet, and Chaliapin did everything possible for the dog to look at it”.
The workshop where Chaliapin posed for Kustodiev was so small that the picture had to be painted in parts. Photo: Commons.wikimedia.org
Kazimir Malevich. Black circle. 1923
One of the most famous paintings of the founder of Suprematism - Kazimir Malevich - has several options. The first of them, created in 1915, is now kept in a private collection. The second - created by Malevich's students under his leadership - is exhibited in the St. Petersburg Russian Museum.
Experts note that the “Black Circle” for Kazimir Malevich was one of the three main modules of the new plastic system, the style-forming potential of the new plastic idea - Suprematism.
State Russian Museum (St. Petersburg, Russia) - expositions, opening hours, address, phone numbers, official website.
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The Russian Museum is the first museum of Russian fine arts in Russia, and today it is the largest in the world. It was opened in 1898 by Emperor Nicholas II in memory of Father Alexander III.
The first exhibits were donated to the Russian Museum by the Hermitage, the Academy of Arts, the Gatchina and Tsarskoye Selo Alexander Palaces, a lot was donated by private individuals, and a part was acquired through appropriations from the state treasury. Prince Alexander Lobanov-Rostovsky donated his personal collection of portrait painting to the museum, Princess Maria Tenisheva - a rich collection of graphics. During the first decade of the museum's existence, the number of exhibits has doubled. These were icons, drawings, prints, sculptures and objects of decorative and applied art. Over time, the collection was replenished with Soviet painting.
At present, the collection of the museum includes more than 320 thousand exhibits representing Russian art from the 11th century. to the present day. The museum complex consists of seven buildings: the Mikhailovsky Palace, the Benois Wing, the Stroganov and Marble Palaces, the Mikhailovsky Castle, the Summer Palace of Peter I and the house of Peter I.
Guests of the Russian Museum can learn interesting details from the history of the creation of paintings right in the exhibition halls. To do this, just install the Artefact augmented reality application on your phone and point the gadget's camera at the exhibit. Now available - interesting facts about five of them are told by the portal "Culture.RF".
"The threshing floor" by Alexei Venetsianov, 1822
The painting was first shown at the 15th exhibition of the Association of Traveling Art Exhibitions in 1887. There it was acquired by Emperor Alexander III. For some time the canvas was in the Winter Palace, but in 1897 it moved to the newly formed Russian Museum.
"Solemn meeting of the State Council on May 7, 1901, on the day of the centenary of its establishment" by Ilya Repin, 1903
Ilya Repin received the order for the painting in April 1901 from the Russian emperor. Boris Kustodiev and Ivan Kulikov helped the painter.
"The master himself remained the master, the commander and the true creator, the disciples were only his obedient hands."
Igor Grabar
Even before the jubilee, the artists created sketches of the interior in the Round Hall of the Mariinsky Palace. And on the day of the ceremonial meeting, Ilya Repin took photographs and sketches here - the painters used all the materials while working on the picture. It took three years to write the canvas.
In the center of the plot of the picture is Nicholas II and representatives of the imperial house: the Tsar's younger brother Mikhail, the Grand Dukes Mikhail Nikolaevich and Vladimir Nikolaevich, who was then president of the Imperial Academy of Arts. Next to them are persons who held the most important positions in the state. In total, the painting depicts 81 people.
State Russian Museum
The State Russian Museum in St. Petersburg is the largest museum of Russian art in the world. It was founded by Nicholas II in 1895 and solemnly opened to visitors on March 19, 1898.
Until 1917 it was called "Russian Museum of Emperor Alexander III"... Emperor Alexander III (father of Nicholas II) was a passionate collector; in this respect he can only be compared with Catherine II. The Emperor's Gatchina castle literally turned into a warehouse of priceless treasures. Alexander's acquisitions no longer fit in the galleries of Zimny, Anichkov and other palaces - they were paintings, objects of art, carpets ... The extensive collection of paintings, graphics, objects of decorative and applied art, sculptures collected by Alexander III was transferred after his death to the Russian Emperor Nicholas II. museum in memory of his father.
State Russian Museum
Initially, the museum was located in the halls Mikhailovsky Palace... The collection of the museum at that time numbered 1,880 works of painting, sculpture, graphics and Old Russian art, transferred from the Imperial Palaces, the Hermitage and the Academy of Arts.
History of the Mikhailovsky Palace
The building was built in the Empire style. The idea of building a new residence for Prince Mikhail Pavlovich belonged to his father, Emperor Paul I. But Paul I did not have to see the embodiment of his idea, since he died as a result of a palace coup. Despite this, the emperor's order was carried out. When Michael was 21 years old, Emperor Alexander I decided to start building the palace.
The architect planned not only the palace, but also the square in front of it and two new streets (Engineering and Mikhailovskaya).
Mikhailovsky Palace
The ceremonial laying of the building took place on July 14, and the construction itself began on July 26. From the side of the Field of Mars, a garden appeared at the palace - also Mikhailovsky. On September 11, 1825, the palace was consecrated.
Museum branches
Today, the Russian Museum is located, in addition to the Mikhailovsky Palace, in buildings that are architectural monuments of the 18th-19th centuries:
Summer Palace of Peter I
Marble palace
Stroganov Palace
House of Peter I
The museum space is complemented by the Mikhailovsky Gardens and the Summer Gardens.
Summer Palace of PeterI
Summer Palace of Peter I
The Summer Palace was built in the Baroque style according to the project Domenico Trezzini in the years 1710-1714. This is one of the oldest buildings in the city. The two-story palace is quite modest and consists of only fourteen rooms and two kitchens.
The residence was intended for use only in the warm season: from May to October, so the walls in it are quite thin, and in the windows there are single frames. The decoration of the premises was created by artists A. Zakharov, I. Zavarzin, F. Matveev.
The facade of the palace is decorated with 29 bas-reliefs, which depict the events of the Northern War in allegorical form. The bas-reliefs were made by the German architect and sculptor Andreas Schlüter.
Marble palace
Marble palace
The marble palace was built in 1768-1785. designed by an Italian architect Antonio Rinaldi... It completes a series of ceremonial buildings adjacent to the Winter Palace. The outstanding architect A. Rinaldi, the author of more than twenty-five large buildings in St. Petersburg and its suburbs, was considered an unsurpassed master of "marble facades". His architectural techniques and solutions are always easily recognizable.
Rinaldi came to Russia at the invitation of Count K.G. Razumovsky, and in 1754 he received the post of architect at the court of Prince Peter Fedorovich and his wife, the future Empress Catherine II. He built the Chinese Palace in Oranienbaum, the palace of Count G.A. Orlova in Gatchina, etc. But the Marble Palace is perhaps the most significant of all its structures. The palace was intended for Grigory Orlov, the favorite of Catherine II, the main organizer of her accession to the throne. The building got its name because of the natural stone decoration of the facades, which is unusual for St. Petersburg. At this time, rich deposits of marble were found in Russia. For the interior and exterior decoration of the palace, thirty-two varieties of northern and Italian marble were used. The austere exterior of the building is typical of early classicism.
The main facade of the Marble Palace faces the Champ de Mars. It is decorated with columns, and the opposite facade is decorated with Corinthian pilasters. The famous sculptor F.I. Shubin made two statues on the attic and compositions from military armor. In collaboration with M.I. Kozlovsky, he participated in the creation of the internal sculptural and decorative decoration of the palace. The decoration of the main staircase and the first tier of the walls of the Marble Hall have survived to this day. An elegant fence of spears and pillars with vases and trophies encloses the vast front yard. Later, a service building was built from the eastern part near the Marble Palace. The bas-relief "The Serving of the Horse to Man" by the sculptor P.K. Klodt adorns the western facade of the building.
In the 90s of the XX century, the palace became a branch of the Russian Museum.
Engineering (Mikhailovsky) castle
Engineering (Mikhailovsky) castle
It was built by order of Emperor Paul I at the turn of the 18th-19th centuries and became the place of his death.
The Mikhailovsky Castle owes its name to the temple of the Archangel Michael, the patron saint of the Romanovs' house, located in it, and to the whim of Paul I, who took the title of Grand Master of the Order of Malta, to call all his palaces "castles"; the second name - "Engineering" comes from the Main (Nikolaev) Engineering School, which was located there since 1823, now VITU.
The palace project was developed architect V.I.Bazhenov on behalf of Emperor Paul I, who wanted to make it his main ceremonial residence. The construction was supervised by architect V. Brenna(who for a long time was mistakenly considered the author of the project). Brenna reworked the original design of the palace and created artistic furnishings for its interiors.
In addition to Bazhenov and Brenn, the emperor himself took part in the creation of the project, who composed several drawings for him. Brenn's assistants also included Fyodor Svinin and Karl Rossi. Paul I accelerated construction, Charles Cameron and Giacomo Quarenghi were sent to help him. By order of the emperor, construction was carried out day and night (by the light of lanterns and torches), since he demanded to rebuild the castle in rough the same year.
On November 21, 1800, on the day of St. Michael the Archangel, the castle was solemnly consecrated, but work on its interior decoration continued until March 1801. After the assassination of the emperor, 40 days after the housewarming, Mikhailovsky Castle was abandoned by the Romanovs and came for two decades. into desolation. When Alexander I needed silver for a luxurious service - a wedding present for his sister Anna Pavlovna, Queen of the Netherlands, the silver gates from the palace church were melted down. Nicholas I ordered the architects to "mine" marble in the palace for the construction of the New Hermitage.
In 1823 the castle was taken over by the Main Engineering School.
In 1991, a third of the castle's premises were donated to the State Russian Museum, in 1995 the entire castle was donated to the museum.
Stroganov Palace
Stroganov Palace
Palace of the Stroganovs, built according to the project by architect Francesco Bartolomeo Rastrelli in 1753-1754, one of the examples of Russian baroque.
In addition to F.B. Rastrelli, A.N. Voronikhin, I. F. Kolodin, K. Rossi, I. Charlemagne, P. S. Sadovnikov.
Stroganovs (Strogonovs) - a family of Russian merchants and industrialists, from which came the large landowners and statesmen of the 16th-20th centuries. Natives of the wealthy Pomor peasants. Since the 18th century - barons and counts of the Russian Empire. The family died in 1923.
The building has been a branch of the Russian Museum since 1988.
Peter's houseI
House of Peter I
The first building in St. Petersburg, the summer home of Tsar Peter I in the period from 1703 to 1708. This small wooden house of 60 m² was built by soldiers-carpenters near Troitskaya Square in just three days. Here, on May 27, 1703, a celebration was held on the occasion of the annexation of lands and the founding of a new city.
The house was built from hewn pine logs in the manner of a Russian hut. The canopy divides it into two parts. Apart from this feature, as well as doors decorated with ornamental metal plates - typical features inherent in Russian architecture of the 17th century - everything in the house reminds of the Tsar's passion for Dutch architecture. So, Peter, wishing to give the house the appearance of a stone structure, ordered to cut the logs and paint them under red brick, to cover the high roof with shingles under the shingles, and to make unusually large windows with fine glass. There were no stoves and chimneys in the house, since Peter lived in it only during the warm season. The house has been preserved almost in its original form.
Collections of the Russian Museum
The most complete is the collection of arts of the 18th - first half of the 19th centuries. It is enough to list only a few surnames to get an idea of the artistic wealth of the museum: A. Matveev, I. Nikitin, Carlo Rastrelli, F. Rokotov, V. Borovikovsky, A. Losenko, D. Levitsky, F. Shubin, M. Kozlovsky, I. Martos, S. Shchedrin, O. Kiprensky, A. Venetsianov, F. Bruni, K. Bryullov, P. Fedotov, A. Ivanov.
Painting by K. Bryullov "The Last Day of Pompeii"
K. Bryullov "The Last Day of Pompeii"
Bryullov visited Pompeii in 1828, making many sketches for a future painting about the famous eruption of Mount Vesuvius in 79 AD NS... and the destruction of the city of Pompeii near Naples. The painting was exhibited in Rome, received rave reviews from critics and transferred to the Louvre. "The Last Day of Pompeii" represents romanticism in Russian painting, mingling with idealism. The artist's image in the left corner of the painting is a self-portrait of the author. The canvas also depicts Countess Yulia Pavlovna Samoilova three times - a woman with a jug on her head, standing on a dais on the left side of the canvas, a woman who crashed to death, stretched out on the pavement, and next to her a living child - both, presumably, were thrown out of a broken chariot - in the center canvases, and a mother attracting daughters to her, in the left corner of the picture.
In 1834 the painting "The Last Day of Pompeii" was sent to St. Petersburg. AI Turgenev said that this picture was the glory of Russia and Italy. E. A. Baratynsky wrote the famous aphorism on this occasion: "The last day of Pompeii was the first day for the Russian brush!" A.S. Pushkin also left a poetic review:
K. Bryullov "Portrait of A. Demidov"
Vesuvius opened its mouth - smoke poured in a club - flame
It has developed widely as a battle banner.
The earth is agitated - from the reeling pillars
Idols are falling! A people driven by fear
Under the stone rain, under the inflamed ashes
In droves, old and young, running out of the city.
By the way, the famous painting was painted by Karl Bryullov by order Anatoly Demidova, Russian and French philanthropist, who was at the Russian embassy, first in Paris, and then in Rome and Vienna. He inherited from his father colossal wealth and a collection of wonderful works of painting, sculpture, bronze, etc. Anatoly Demidov, following the example of his father, was generous with large donations: he donated 500,000 rubles to set up a home in St. Petersburg for the charity of workers, which bore the name of the donor; together with his brother Pavel Nikolayevich he donated the capital for which a children's hospital was set up in St. Petersburg; at the Academy of Sciences in St. Petersburg established an award of 5,000 rubles for the best work in Russian; in 1853 he sent 2,000 rubles from Paris to decorate the church of the Demidov Lyceum in Yaroslavl, donated all his publications and several other valuable French books to the library of the Lyceum, and also generously patronized scientists and artists. So, it was Anatoly Demidov who presented Bryullov's painting "The Last Day of Pompeii" to Nicholas I, who exhibited the painting at the Academy of Arts as a guide for novice painters. After the opening of the Russian Museum in 1895, the canvas was moved there, and the general public gained access to it.
The second half of the 19th century is represented by the works of artists: F. Vasiliev, R. Felitsyn, A. Goronovich, E. Sorokin, F. Bronnikov, I. Makarov, V. Khudyakov, A. Chernyshev, P. Rizzoni, L. Lagorio, N. Losev, A. Naumova, A. Volkova, A. Popova, V. Pukireva, N. Nevreva, I. Pryanishnikova, L. Solomatkina, A. Savrasov, A. Korzukhina, F. Zhuravlev, N. Dmitriev-Orenburgsky, A. Morozov, N. Koshelev, A. Shurygin, P. Chistyakov, Ivan Aivazovsky.
Painting by I. Aivazovsky "The Ninth Wave"
I. Aivazovsky "The Ninth Wave"
The Ninth Wave is one of the most famous paintings by Ivan Aivazovsky, the world famous Russian marine painter.
Depicts the sea after a violent night storm and shipwrecked people. The sun's rays illuminate huge waves. The largest of them - the ninth shaft, is ready to fall on people trying to escape on the wreckage of the mast.
Everything speaks of the greatness and power of the sea element and the helplessness of a person in front of it. The warm colors of the picture make the sea less harsh and give the viewer hope that people will be saved.
The size of the painting is 221 × 332 cm.
The museum also exhibits paintings by Itinerant artists: G. Myasoedov, V. Perov, A. Bogolyubov, K. Makovsky, N. Ge, I. Shishkin, I. Kramskoy, V. Maksimov, I. Repin, V. Vasnetsov, V. Surikova, N. Abutkova.
Painting by Nikolay Ge "The Last Supper"
N. Ge "The Last Supper"
The artist's painting depicts an episode from the earthly life of Christ, described in the Gospel of John (ch. 13). It was Ge's favorite gospel. An excerpt of this text coincides in detail with that depicted in the picture.
Jesus got up from supper ... poured water into the laver and began to wash the disciples' feet and wipe them with a towel ... When he washed their feet ... then, lying down again, he said to them: do you know what I have done to you? … If I, the Lord and Teacher, washed your feet, then you must also wash each other's feet. For I have given you an example so that you also do the same that I have done to you ...
… Jesus was troubled in spirit and said: Truly, truly, I say to you that one of you will betray Me.
Then the disciples looked around at each other, wondering who he was talking about. One of his disciples, whom Jesus loved, was reclining on Jesus' bosom. Simon Peter made a sign to him to ask who it was ... he, leaning to the breast of Jesus, said to Him: Lord! Who is this? Jesus answered: the one to whom I, having dipped a piece of bread, will give it. And, dipping a piece, he gave it to Judas Iscariot Simonov. And after this piece Satan entered into him. Then Jesus said to him: what you are doing, do quickly. But none of the reclining ones understood why He told him this ... He, having taken the piece, immediately went out; but it was night.
An amphora with water, a washstand with a towel in Ge's "Last Supper" is the theme of Christ's sacrificial love. After Judas left, the famous words were spoken to the apostles: « I give you a new commandment, that you love one another; how I have loved you ... Therefore, everyone will know that you are My disciples, if you have love for one another. "
The late 19th and early 20th centuries are represented by artists I. Levitan, P. Trubetskoy, M. Vrubel, V. Serov.
Painting by I. Levitan “Twilight. Moon"
I. Levitan "Twilight. Moon"
At the end of his life, Levitan became especially characteristic of his appeal to twilight landscapes filled with silence, rustles, moonlight and shadows. One of the best works of this period is this painting from the collection of the Russian Museum.
Works of the "World of Art" association
"World of Art"(1898-1924) - an artistic association formed in Russia at the end of the 1890s. The founders of the "World of Art" were the St. Petersburg artist A. N. Benois and theatrical figure S. P. Diaghilev. Artists of the World of Art considered the aesthetic principle in art a priority and strove for modernity and symbolism, opposing the ideas of the Wanderers. Art, in their opinion, should express the personality of the artist.
The association included artists: Bakst, N. Roerich, Dobuzhinsky, Lanceray, Mitrokhin, Ostroumova-Lebedeva, Chambers, Yakovlev, Somov, Tsionglinsky, Purvit, Sunnerberg.
In the Old Russian section, icons of the XII-XV centuries are widely represented (for example, the Angel of the Golden Hair, the Mother of God of Tenderness, Dmitry Solunsky, the Miracle of George about the Dragon, Boris and Gleb, etc.), works by Andrei Rublev, Dionisy, Simon Ushakov and other masters. The total collection of the Russian Museum is about 5 thousand icons of the XII - early XX century.
Andrey Rublev
Andrey Rublev "Apostle Paul"
Andrey Rublev(died about 1430) - icon painter, disciple of Theophanes the Greek, reverend.
At first he was a novice at the Monk Nikon of Radonezh, and then a monk at the Spaso-Andronikov Monastery in Moscow, where he died and was buried.
Currently, the collection of the Russian Museum includes the following departments: Russian and Soviet painting, sculpture, graphics, arts and crafts and folk art(furniture, porcelain, glass, carving, varnishes, metal products, fabrics, embroidery, lace, etc.). The collection of the museum has more than 400 thousand items.
Those who love Russian painting must have visited the Russian Museum in St. Petersburg (opened in 1897). Of course have . But it is in the Russian Museum that the main masterpieces of such artists as Repin, Bryullov, Aivazovsky are kept.
If we think of Bryullov, then we immediately think of his masterpiece “The Last Day of Pompeii”. If about Repin, then the picture “Barge Haulers on the Volga” arises in my head. If we recall Aivazovsky, we will recall the "Ninth Wave".
And this is not the limit. “Night on the Dnieper” and “Merchant's Wife”. These iconic paintings by Kuindzhi and Kustodiev are also in the Russian Museum.
Any guide will show you these works. And you yourself are unlikely to pass them by. So I just have to tell about these masterpieces.
Adding a couple of my favorites, albeit not the most "hyped" ("Akhmatova" Altman and "The Last Supper" Ge).
1. Bryullov. The last day of Pompeii. 1833 g.
Karl Bryullov. The last day of Pompeii. 1833 State Russian Museum 4 years of preparation. Another 1 year of continuous work with paints and brushes. Several swoons in the workshop. And here is the result - 30 square meters, which depicts the last minutes of the life of the inhabitants of Pompeii (in the 19th century, the name of the city was feminine).
For Bryullov, everything was not in vain. I think there was no such artist in the world whose picture, just one picture, would have made such a splash.
People rushed into the exhibition in droves to see the masterpiece. Bryullov was literally carried in his arms. He was christened revived. And Nicholas I honored the artist with a personal audience.
What so amazed Bryullov's contemporaries? And even now it will not leave the viewer indifferent.
We see a very tragic moment. In a few minutes, all these people will die. But this does not turn us off. Because we are fascinated by ... Beauty.
The beauty of people. The beauty of destruction. The beauty of a disaster.
See how harmonious everything is. The red hot sky goes well with the red dress of the girls on the right and left. And how spectacularly two statues fall under a lightning strike. I'm not talking about the athletic figure of a man on a reared horse.
On the one hand, the picture is about a real disaster. Bryullov copied the poses of people from those who died in Pompeii. The street is also real, you can still see it in the city cleared of ash.
But the beauty of the characters makes it look like an ancient myth. As if the beautiful gods were angry with beautiful people. And we are not so sad.
2. Aivazovsky. The ninth wave. 1850 g.
Ivan Aivazovsky. The ninth wave. 221 x 332 cm.1850 Russian Museum, St. Petersburg. Wikipedia.orgThis is the most famous painting by Aivazovsky. Which even people who are far from art know. What is she so famous for?
People are always fascinated by the struggle of a person with the elements. It is desirable with a happy ending.
There is more than enough of this in the picture. There is nowhere more action-packed. The six survivors cling desperately to the mast. A large wave rolls in nearby, the ninth wave. She is followed by another one. People face a long and terrible struggle for life.
But it's already dawn. The sun breaking through the torn clouds is the hope of salvation.
Aivazovsky's element, like that of Bryullov, is stunningly beautiful. Of course, sailors are not sweet. But we cannot but admire the transparent waves, sun glare and lilac sky.
Therefore, this painting produces the same effect as the previous masterpiece. Beauty and drama in one bottle.
3. Ge. The Last Supper. 1863 g.
Nikolay Ge. The Last Supper. 283 x 382 cm.1863 State Russian Museum. Tanais.info The two previous masterpieces by Bryullov and Aivazovsky were enthusiastically received by the public. But with Ge's masterpiece, everything was more complicated. Dostoevsky, for example, did not like her. She seemed too mundane to him.
But most of all the churchmen were unhappy. They even managed to get a ban on the production of reproductions. That is, the general public could not see it. Until 1916!
Why is there such an ambiguous reaction to the picture?
Remember how the Last Supper was portrayed before Ge. At least . The table along which Christ and the 12 apostles sit and eat. Judas is among them.
With Nikolai Ge, everything is different. Jesus reclines. Which was just the Bible. This is how the Jews took food 2,000 years ago, in the oriental way.
Christ has already uttered his terrible prediction that one of the disciples will betray him. He already knows that it will be Judas. And asks him to do what he planned, without delay. Exit Judas.
And just at the door, we seem to collide with him. He puts on a cloak to escape into the darkness. Both literally and figuratively. His face is almost invisible. And his ominous shadow falls on the rest.
Unlike Bryullov and Aivazovsky, here are more complex emotions. Jesus deeply but humbly experiences the betrayal of his disciple.
Peter is outraged. He has a hot temper, he jumped up and looked in bewilderment at the trail of Judas. John cannot believe what is happening. He is like a child who faced injustice for the first time.
And there are less than twelve apostles. Apparently, for Ge it was not so important to fit everyone. For the church, it was essential. Hence the censorship prohibitions.
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4. Repin. Barge Haulers on the Volga. 1870-1873
Ivan Repin. Barge Haulers on the Volga. 131.5 x 281 cm.1870-1873 State Russian Museum. Wikipedia.org Ilya Repin first saw the barge haulers on the Niva. And I was so struck by their miserable appearance, especially in contrast to the summer residents resting nearby, that the decision to paint a picture immediately matured.
Repin did not write about sleek summer residents. But the contrast is still present in the picture. The dirty rags of the barge haulers are contrasted with the idyllic landscape.
Maybe for the 19th century it didn't look so defiant. But for a modern person, this kind of worker seems depressing.
Moreover, Repin depicted a steamer in the background. Which could be used as a tug, so that people would not be tortured.
In reality, the barge haulers were not so destitute. They were well fed, after dinner they were always allowed to sleep. And during the season they earned so much that in the winter they could feed themselves without working.
Repin took a canvas that was highly stretched horizontally for the picture. And he chose the angle of view well. The barge haulers go towards us, but at the same time they do not block each other. We can easily consider each of them.
And the most important barge haule with the face of a sage. And a young guy who can't adjust to the strap. And the penultimate Greek looking back at the goner.
Repin was personally acquainted with everyone in the team. I had long conversations with them about life. Therefore, they turned out to be so different, each with its own character.
5. Kuindzhi. Moonlit night on the Dnieper. 1880 g.
Arkhip Kuindzhi. Moonlit night on the Dnieper. 105 x 144 cm.1880 State Russian Museum. Rusmuseum.ru "Moonlit Night on the Dnieper" is Kuindzhi's most famous work. And not surprising. The artist himself very effectively introduced her to the public.
He organized a solo exhibition. It was dark in the showroom. Only one lamp was directed to the only picture of the exhibition, "Moonlit Night on the Dnieper".
People were staring at the painting with fascination. The bright greenish light of the moon and lunar path was mesmerizing. The outlines of a Ukrainian village are visible. Only part of the walls, illuminated by the moon, protrude from the darkness. The silhouette of the mill against the background of the illuminated river.
The effect of realism and fantasticness at the same time. How did the artist achieve such “special effects”?
In addition to mastery, Mendeleev also put his hand here. He helped Kuindzhi create a composition of paint, especially one that shimmers in the twilight.
It would seem that the artist has an amazing quality. To be able to promote your own work yourself. But he did it unexpectedly. Almost immediately after this exhibition, Kuindzhi spent 20 years as a recluse. He continued to paint, but did not show his paintings to anyone.
The painting was bought by the Grand Duke Konstantin Konstantinovich (grandson of Nicholas I) even before the exhibition. He was so attached to the picture that he took it on a trip around the world. Salty humid air contributed to the darkening of the canvas. Alas, that hypnotic effect cannot be returned.
6. Altman. Portrait of Akhmatova. 1914 g.
Nathan Altman. Portrait of Anna Akhmatova. 123 x 103 cm.1914 State Russian Museum. Rusmuseum.ru “Akhmatova” by Altman is very bright and memorable. Speaking about the poetess, many will remember this particular portrait of her. Surprisingly, she didn't like him herself. The portrait seemed to her strange and "bitter", judging by her poems.
In fact, even the poet's sister admitted that in those pre-revolutionary years Akhmatova was like that. A true representative of Art Nouveau.
Young, slim, tall. Its angular figure is perfectly echoed by "bushes" in the style of cubism. A bright blue dress is successfully combined with a sharp knee and a bulging shoulder.
He managed to convey the look of a stylish and extraordinary woman. However, he himself was like that.
Altman did not understand artists who can work in a dirty workshop and not notice the crumbs in their beards. He himself was always dressed with a needle. And he even sewed his underwear to order according to his own sketches.
It was also difficult for him to refuse being extraordinary. Once he caught cockroaches in his apartment, he painted them in different colors. He painted one of them gold, called him a “laureate” and let him go with the words “His cockroach will be surprised!”
7. Kustodiev. The merchant's wife at tea. 1918 g.
Boris Kustodiev. The merchant's wife at tea. 120 x 120 cm.1918 State Russian Museum. Artchive.ru Kustodiev's "The Merchant's Wife" is a cheerful picture. On it we see the good-quality, well-fed world of the merchants. The heroine with skin lighter than the sky. A cat with a muzzle similar to the face of the mistress. A pot-bellied polished samovar. Watermelon on a rich platter.
What could we think of the artist who painted such a picture? That the artist knows a lot about a well-fed life. That he loves curvy women. And that he is clearly a life-lover.
And here's how it really was.
If you paid attention, the picture was painted during the revolutionary years. The artist and his family lived extremely poorly. Thoughts only about bread. Hard life.
What is the use of such abundance when there is devastation and hunger all around? So Kustodiev tried to capture the beautiful life that was irrevocably gone.
What about the ideal of female beauty? Yes, the artist said that thin women did not inspire him to work. Nevertheless, in life he preferred just such. His wife was also slender.
Kustodiev was cheerful. What amazes you, since by the time the picture was painted, he had been confined to a wheelchair for 3 years. He was diagnosed with bone tuberculosis back in 1911.
Custodian attention to detail is very unusual for a time when the avant-garde flourished. We see every dryer on the table. Walking by the Gostiny Dvor. And a fellow trying to keep the horse running. All this looks like a fairy tale, a fable. Which once was, but ended.
Summarize:
If you want to see the main masterpieces of Repin, Kuindzhi, Bryullov or Aivazovsky, go to the Russian Museum.
“The Last Day of Pompeii” by Bryullov is about the beauty of the disaster.
"The Ninth Wave" by Aivazovsky is about the scale of the elements.
Ge's “Last Supper” is about the realization of imminent betrayal.
“Barge Haulers” by Repin is about an employee of the 19th century.
“Moonlit Night on the Dnieper” is about the soul of light.
Altman's “Portrait of Akhmatova” is about the ideal of a modern woman.
Kustodiev's "Merchant's Wife" is about an era that cannot be returned.
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