Hoody museum. Morozova S.T.

Museum-workshop D.A. Nalbandian was created by the Government of Moscow on the basis of a collection, transferred by the artist as a gift from the city at the end of 1992. In the apartment in the house 8/2 on Gorky (Tverskaya), Dmitry Nalbandyan moved in 1956. The windows of the second building went to the Mossovet's building and the Soviet (Tverskaya) Square with a monument to the founder of the city of Yuri Dolgorukhu, open in 1954. Demyan Poor, Ilya Ehrenburg, Mikhail Romm, lived in this house, in 1958, a bookstore №100 of the shopping house "Moscow" was opened here. The last floors of the house decided to give artists - Kukryniksami, Nikolay Zhukov, Fyodor Konstantinov, Vladimir Minaev, Dmitry Nalbandian ... Today, in the meeting of the Museum-workshop, the structural division of the Manezh's Museum and Exhibition Association, more than 1,500 artist's work: picturesque canvases, etudes, drawings, Photos, personal belongings. Dmitry Nalbandyan was born in 1906 in Tiflis. After graduating from the Academy of Arts of Georgia in the classes of Evgeny Lancer and Egyse Tatevosyan, in 1931 Nalbandyan arrives in Moscow: works by the cartoonist in the Crocodile, a multiplier on the "Mosfilm" and a posterist in the "isogiza". In 1934, an event occurred, in many respects identifying the fate of the artist, - in the Kremlin, he meets with Sergo Ordzhonikidze, another of his father Arkady Nalbandian, killed by Mensheviks in Georgia. Ordzhonikidze introduces Nalbandian with Sergey Kirov and introduces the party elite in the circle. Soon Nalbandyan writes his first largest cloth "S. S.M. Kirov at the XVII Congress of WCP (b) "- the picture is exhibited in the State Museum of Fine Arts, published in the newspapers" True "and" Izvestia ", is represented in reproductions ... Already later, Nalbandyan will become a member of the Moscow Union of Soviet artists and a member of the Academy of Arts, will receive the Stalin Prize For the portrait of Stalin and Leninsky - for images of Leninians. For the Soviet audience, Nalbandian was a "first brush" politburo, classic of socialist realism, a portrait of the chronicle of the era, the author of the invented and consistent paintings: "Vladimir Mayakovsky in Georgia (Bagdadi) in 1927", "V.I. Lenin and A.M. Gorky among fishermen on the island of Capri. 1908 "," Vernatun (mighty hand). Group portrait of outstanding figures of Armenian culture ", familiar to many on reproductions in the magazine" Ogonos ". Landscapes and still lifes Nalbandian are known much less, although they say they are talking about it as a "Impressionist of a Korovinsky sense", capable of passing the mood of a quick and easy brush. Nalbandian graphics know even less. His drawings - and this is a gallery of the first persons of politics and art: Lenin, Stalin, Khrushchev, Brezhnev, Chernenko ... Saryan, Roerich, Van Klibern, Kataev, Leonov ... - For a clear exception to be made from nature and today are amazing documents of time. In the early 1990s, Nalbandian bequeathed a part of the collection of his works in the city, provided that they would not leave the walls of his workshop. And today Museum D.A. Nalbandian recreates the space of the life and creativity of the artist of Soviet times as it was then.

One of them is a companion of Peter the Great Autonom Golovin, who served in the rank of Claim - owned by two-story chambers built from the stone in Sheremetyevsky Lane (now - Leontiev Lane, 7).

In 1871, the building was transferred to the ownership of Anatoly Mamontov, who had to be brother Savva Mamontov - an entrepreneur and patron. With a new owner, the publishing house was opened in possession, as well as the printing house. For the latter, even rebuilt special premises on the project of architect V.A. Gatmana (today - Leontiev Lane, House 5).

Mamontov's publishing house was engaged in the release of children's books, whose pages illustrated such artists as Victor Vasnetsov, Valentin Serov and Sergey Malyutin.

At the beginning of the 20th century, possession was divided into two parts, and the right plot with the current home number 7 in Leontievsky Lane passed to the property to the industrial and collector S.T. Morozov.

Sergey Timofeevich was a passionate connoisseur of easels of national fishery. That is his passion and predetermined the story and the fate of the ancient building.

First of all, Morozov ordered the project of reconstruction of the house to the famous architect. An old Russian terme was given by the old Russian chambers. This appearance is unchanged to this day.

The next step of Sergei Timofeevich was the transfer of an updated structure as a gift from the handicraft museum, which at that time was located at the Big Nikitskaya Street and led his story since 1885. It is interesting to know what exactly in Him, in 1898, the general public was presented for the first time, the beauty-matryoshka was represented by the artist Sergey Milyutin.

New halls began to fill in new masterpieces of folk art. Visitors could see carved rifts and rockers, as well as sculptures of various birds and animals.

In 1911, the building in Leontievsky Lane, house 7 increased by an additional volume, where the store was opened, offering visitors to the Kustar Museum various products and crafts of Russian folk crafts.

A few words about the architecture of an extension.

Easured her at the initiative of S.T. himself Morozova, and the project fulfilled architects and. The entrance is decorated in the form of a porch in the "Old Russian" style with the column-barrels inherent in it. The roof of the structure crosses the vane, decorated with a toy image. The lobby is striking the beauty of a ceramic fireplace, the sketch of which was performed by the artist Mikhail Vrubel.

The Kustar Museum made a huge contribution to the preservation and development of Russian art fisys. Starting from the 1910s, his staff not only participated in various exhibitions and fairs, but also were their organizers.

Nowadays in the building at Leontyevsky Lane, house 7 are located and

Among the museums, the history of which is inextricably linked to the activities of patrons, the Kustar Museum occupies a special place. His successor is the All-Russian Museum of Decorative and Applied and Folk Art.

In the 60-70s of the XIX century, an interest in the Russian intelligentsia is awakened in the Russian intelligentsia, which is associated with the manifestation of the national in domestic culture. Study, gathering and collecting of the objects of peasant art begins. Public interest in folk culture prompted both Zemskiy organizations pay attention to handicraft crafts, attempt to improve the condition of handicrafts as a special area of \u200b\u200btraditional artistic culture.

In 1882, at the All-Russian industrial and art exhibition, held in Moscow on the Khodynskiy field, the public for the first time, products of artisans of the Moscow and other provinces of Central Russia were widely presented. The famous critic V. Stasov wrote: "Of all Russian exhibitions, which we have so far have been, this is the most magnificent exhibition." The section of the handicrafts had a deafening success and attracted the attention of the public to the problems of the handicraft industry.

A passionate amateur of ancient, an excellent sign of art, a representative of the famous family of entrepreneurs and patrons, Sergey Timofeevich Morozov acquired the entire exhibition collection of folk crafts products, which was the basis of the future of the Shrub Museum.

The collection was posted on the street of Zamenka in the house of V. Ya. Lepsekina, where in three years a trade and industrial museum of handicrafts opened. Three years later, the Museum moved to the rented S. T. Morozov, the room at the corner of Nikitskaya Street and the passage of Nikitsky Boulevard, and in 1903 he found his permanent address - Leontyevsky lane, 7.

The new home of the Kustar Museum in the Russian-Byzantine style was built on the funds of S. T. Morozov on the project of the architect S. U. Solovyov. Later, in 1911, the museum building is expanding due to an extension for the store, made on the project of architects V.N. Bashkirov and A. E. Erichson.

The handicraft museum occupied a special position in the cultural life of the capital. His influence extended far beyond Moscow, because the museum not only performed collecting and scientific and educational functions, but also was the engine of the handicraft industry.

The main activity of the museum was aimed at assisting and supporting trees as carriers of traditional folk culture. The museum was to become the center for the popularization of handicrafts, to promote their artistic level, assist masters in improving their work, promote sales of handicraft products, participate in school organizations, schools and workshops.

In the 1900s, the structure of the Moscow Handicraft Museum is developing, and in the root, which in other museums of that time. In the Kustar Museum, three independent units were created, which carried out specific tasks: the bureau to promote the fishery, the trade department and the "Museum of Designs", which was given a special role: he became a kind of artistic and experimental laboratory.

To create highly artistic samples of handicrafts, according to which the masters could work, well-known artists were attracted - the Vasnetsov brothers, A. Ya. Golovin, V. D. Polenov and many others. The collection of the museum was constantly updated by the monuments of the "Russian Starna", which served as samples for the development of new works, the formation of artistic taste of handles, preserving and multiplying cultural traditions.

To supply artisans with samples and drawings, S. T. Morozov replenished the collection of museum by monuments of applied arts of the XVII-XIX centuries, and for their own funds.

Of great importance for the popularization and development of folk art fishes of Russia, the Kustar Museum was part of the largest Russian and international exhibitions.

A special place among them belongs to the World Exhibition in Paris in 1900. The pavilion of handicrafts and needlework has highlighted among the other exhibition pavilions with their national flavor. He was a string of small wooden buildings in the typical style of the Russian North of the XVII century with a hollow and a rural wooden church.

"Russian Village" - "Village Russe", as the French was painted, this unusual structure was built on the project of the artist K. A. Korovin architect I. E. Bondarenko.

In the 1920s and 1930s, the Kustar Museum did a lot in order for the fishers to adapt to new socio-economic conditions. In particular, he played a major role in the formation and development of lacquer miniatures in ancient icon-painted centers - Palekh, Mster and Holo, contributed to the revival of Gzhel ceramics.

In 1931, a research institute was created on the basis of the Kustar Museum, since 1941, called the artistic industries (NIIP). The museum became his structural division at the Rights of the Department and was called the "Museum of Folk Art."

In 1999, upon order of the Government of the Russian Federation, the collection of the Museum of Folk Art named after S. T. Morozov was transferred to the All-Russian Museum of Decorative and Applied and Folk Art (NSDPNI).

From Peter the Great, National Russian art has lost its original nature, but the old original foundations did not disappear, they have survived to this day in folk depths. Separate artists, and after them and public organizations managed to open live beauty in distinctive Russian art and with great perseverance began to be reborn.

The living hearth of this revival is in Moscow, the Kustar Museum of the Moscow Gubernsky Zemstvo. It is placed in Leontyevsky alley, between Tver and Nikitskaya, in a small white building, simple and cozy: porch with puzzled squat columns and columns with columns give a peculiar tone to the entire building. Looking at these two houses, connected by the gallery transition with patterned frames in small windows, you feel the charm of the ancient Moscow, when all the buildings were so comfortable and nicely simple.

This house is built several years ago and is designed in strict styleXVII century. The severity of the style is particularly beneficial to compare with a neighboring building (No. 5, the former typography of Mammoth), built in the 70s of the last century on the arch. Gatmanan, who one of the first began to develop and apply to the buildings of ancient Russian architectural forms and, marked the beginning of the so-called false-Russian style.

More than thirty years ago, the Moscow Gubernskoye Zemstvo, under the influence of famous statistical studies of the peasant life of the Moscow Lights. Who were led by the father of Russian Zemstvo statistics V.I. Orlov, decided to show at the All-Russian exhibition (1882) the entire handicraft industry of the Moscow lips.

Many thousands of the province of the province are breastned with handicrafts, and the handicraft exists here.

The exhibition clearly showed that this primordial branch of folk learning and creativity is not at proper height: imperfection of equipment, vulgar samples inspired by factory production, and one-dimensional products - this is what the wood products were characterized. The land was necessary after this general review to help the woods in their work, to give a new direction of their activities and for greater economic sustainability to unite the handicraft enterprises of the province.

The center of this new business was a newly sorganized handbound museum, where collections from the exhibition were received; The loan was then opened, warehouses were opened in counties and attempts to sell products and their technical and artistic improvements were made.

The main merit in this business belongs to the Moscow provincial land, but also many county leaves, for their part, worked in the same direction, and individuals often came to the rescue and their own means and their personal participation. Here, with special appreciation, the outstanding activities of Sergei Timofeevich Morozova should be noted.

Currently, the business of the Moscow History Museum is supplied so widely, which deserves much attention and is a curious page in the history of Russian culture.

In achieving the main goals - delivering a cheap loan to the treasures and the most profitable sales of their products - the museum spread a whole network of its institutions on the streets of the province. We are sorganized from the beauties a number of artels (toy, grazers, lace, etc.), warehouses (baskets , agricultural tools), workshops (brush, lace) and, finally, the artistic and carved workshop of the School in Sergiev Posad, the original and the only place in Russia, the fabric production of toys. Having arranged workshops, the zemstvo, of course, does not release the objects and objectives of the educational: it seeks to develop the taste of a handicraft on artwork samples of certain products and at the same time familiarize themselves with advanced techniques and best materials. But the ultimate goal of the zemstvo is to work out masters that can behave independently and correctly behave further.

Therefore, Zemstvo, with the museum, through the museum in every way the emergence of cooperative organizations in each handicraft industry and, by their emergence and acquiring economic sustainability, transfers their workshops, warehouses, etc.

So, at present, cooperative institutions have already arisen and very successfully work: a consumer society in p. Large Vyazemes (near Art. Golitsyno Alexander [Ovsky] Zh.d., Zvenigorod [Skogo] County), consumer society in the village of Kohnkin (brushes), Martinian forge-cleaner artel, Nazarevskaya Artel (Vareysky U.) Counters (billing of accounts ) and many others.

The largest organization of this kind is the "mutual assistance society" in the Troitsk Posad (since 1906), having its library, workshop, shop and bank; All these institutions are placed in their own big stone house.

Being the center of Handical Organizations of the province, the museum performs a very important, responsible and multiplaysticking work: on the one hand, everything is going through it, which worked with trees, and on the other, he is the role of the head that guides the entire business of handicraft production. The museum ensures that the handicrafts are constantly progressing in the sense of technical and artistic.

The museum performs his first appointment through a permanent store, which takes their products from the handles, and warehouses; It takes care of the sale of these products, both in retail and wholesale, to Russia and abroad, and supplies the beauties with the best material for their production.

The store has a strongly all that shredari is produced, and for the needs of wholesalers there is a permanent exhibition of samples in it, according to which you can make orders in the museum.

The museum's case is already so firmly that his success among the Russian buyers is highly. Every year its turns grow, reaching an impressive figure - half a million.

But an artistic improvement of handicrafts is also in hand with material success. This side of the museum is hardly the most brilliant page in the history of Russian applied art and folk artistic creativity. This page was found to enter this page by group of artists who rated the beauty of ancient Russian products.

In the 80s of the last century around Savva I. and ate. C. Mammoth in their estates Abramtsev (Dmitrov [c. who] County) An artistic circle originated, which included Repin, V.D. Polenov, E.D. Polenova, V.M. Vasnetsov and many others. This circle and you need to consider the attitude of the revival of the Russian art industry in general and handicraft in particular.

E.D. Polenova and E.G. Mammont, passionate about the beauty and deep artisticity of Russian folk carved products, who still survived in some places in our north, with love and perseverance began to collect and bring them into Abramtsevo.

This collection of carved arcs, ancient rocker, graduation, and also embroidery, backerels, etc. From the northern and second Russian provinces gave a mighty push creativity E.D. Polenova, and at the same time, E.G. Mammoth appeared to arrange a handicraft workshop in the recreatation of these artistic samples in new handicrafts. The workshop was open in Abramtsev, and her artistic supervisor came E.D. Polenova, one time was completely passed into this work. Abramtsevskaya handling workshop, acting and understood, released a long row of wooden articles, from which itifies genuine, unplaced beauty.

At the same time, another workshop arises in the wooded area of \u200b\u200bSmolensk province, in the village of Talashkin (the estate of the KN. Tenisheva), the head of which is the artist S.V. Malyutin, equally enthusized with the beauty of ancient Russian art. In Talashkin, not only the workshop products, but also the most workshop and other buildings reproduce the spirit of the ancient Russian fabulous motifs. Theater, house, workshops on the background of pine forests make up a charming fairy tale group.

The appearance of these two deeply original artistic foci of Russian applied arts, the passion of their leaders in the Russian ornament and attempts to restore the disappearing charm of carved wooden products are fascinated by other artists, outstanding the path inevitably. Live handicraft production should go. And, indeed, after them, there are already a number of other similar workshops in various corners of Russia.

This is an artistic course, of course, captured and the Moscow Kustar Museum, who invited one of the pioneers of this movement, ND. Bartrama, in art leaders.

The news of the interesting products of Russian trees penetrates the exhibitions more and more abroad and, finally, at the 1900 exhibition in Paris, these works that had a huge success finally strengthen their reputation. This success of the joint creativity of the Russian artist and the Russian Flustary is so strong that even fakes for Russian handicrafts appeared abroad, and the samples sent to the famous Light Leipzig (fair), samples were promoted by lively intercourse with the largest overseas markets.

Now the museum has trading ties not only with France, England, Holland and Belgium, but even with America.

Such success of the activities of the Moscow Museum attracts the attention of other land and puts the basis for unification around the museum of many navy in the development of handicrafts; Already, now he is a center not only for Moscow Zemstvo, but also for a number of other (Poltava, Tver, Novotorzhsky, Vyatsky, Vologda, etc.).

The same principles are based on the same principles as the Moscow Kustar Museum, i.e. The originality and artisticity of products.

The art side of these products has a serious meaning for their future. Only aesthetic appearance, along with technical perfection, will create a future to them and, at the same time, bringing up a wilderness, again fill the artistic beauty of our village in this regard.

Therefore, the Kustar Museum takes care of attracting a number of artists to their work, orders them projects of products and in general trying to promote the right development of the artistic side of the handicraft.

But the main engine in this matter the museum still considers the contact of the wilderness with the genuine old works of Russian masters who did not even have the concepts of vulgar factory products.

The museum has been engaged in collecting old work for several years: threads, embroidery, sets, drawings, toys, etc. All this, wielded by original beauty, is given as a motive for new handicrafts.

A visit to the shrub, in addition to familiarizing with the curious side of the activities of the Moscow Land in the population, has historical and artistic interest.

Entering the museum, we will rise along the terman staircase into the second floor, in the extensive hall - the museum of the samples - and bypass it right to left.

The whole right side of the entrance is occupied by a carving of a tree in various kinds. Here and the caskets, and a number of female stacks, rules, rolling and even a whole platband from the window of the peasant hut. All this is very old work -XVII Jerlest HalvesXVIII Art. - from which it is difficult to tear off. And platband windows with work shuttersXVII c., The next wall, leads directly into the admiration of the ornament, thread and especially bas-relief under the window, where the Hamaun is depicted, the bird is meaning.

Turn to the right, in a small room, and we will fall into some kind of fabulous tales: the table, chairs, walls, buckets, ears, candlesticks - all this is covered with charming carvings. But this is not a fabulous terme, it is the rest of the former folk beauty, once spilled around our north and partly in the middle lane of Russia. Now all this has disappeared everywhere, excluding some remote deaf corners.

The middle of the big hall is engaged in samples of toys, both modern and vintage. Here the collection of sets and embroidery is the other already disappearing industry of folk creativity, and a collection of already disappeared handicraft work - genuine vintage loudspeakers with a hero of Etrantland and Sirins and alkonostas, these thorny birds of joy and sorrow.

Under the impression of the beauty of folk creativity, we descend to the hallway. On weekdays, we will see Armenians and Strongs here, - it came bushes for one or another advice for one way or another. And in this communication village with a cultural land establishment - the key to its best future and its artistic revival.

Publication and links prepared by L.V. Badya:This is printed by: in Moscow: walks in Moscow and its artistic and educational institutions / edited by N.A. Gaine, N.S. Elagina, E.A. Efimova, I.I. Schitz. - M.: Edition M. and S. Sabashnikov, 1917. - C.434-440.

At this exhibition, the bushes of the Russian provinces were for the first time as independent industrialists, and their products were widely presented to the specific part of the traditional artistic culture.

In 1885, the Moscow Gubernskaya Zemstvo was opened a trade and industrial museum of handicrafts, which was originally located on the sign in the house of Lephankina. Tudabili was transferred to the Expochnoskovskaya province from the All-Russian art and industrial exhibition of 1882. The tasks of the Zemsky Museum were formulated as follows: Familiarization of the public with handicrafts, promoting sales, improving the technique of fishing and improving product samples. The museum functioned a warehouse that took products from the handles for the purpose of commission.

Morozov Sergey Timofeevich (1860-1944) - a representative of the famous family of Morozov, graduate of Moscow University, most of his life devoted assistance to the woods. In 1888, Zemstvo, considering the issue of the activities of the museum, found that his work was mainly reduced to trade operations. Under the provincial Zemstvo administration created a handicraft commission in which S.T.I entered Frost. In 1890, he became the head of the museum, translated it to a large Nikitskaya st. According to his project, the museum to "reroach the workshop of the handles in accordance with changing public and economic conditions," began teaching the shores in demonstration workshops, including through the network of its institutions in counties. In 1903, he built a new building on the project of architect S.U. Solovyov in Leontyevsky Lane, 7. In 1911, a room for the store was attached to a three-story building. Morozov headed the museum until 1897. After that, he was elected an honorary trustee of the museum, he continued to lead them and methodically improve his activities until 1925.

Bartram Nikolai Dmitrievich(1873-1931) - artist , he managed the "Museum of Designs" - a special artistic and experimental laboratory of the Kustar Museum. The department was engaged in collecting exhibits, promotion of crafts, contacts with wraths, exhibition devices, development of products for fishery.He taught in the training workshops of the handicraft of the Moscow provincial land in 1907-1916. The organizer and the first director of the first in Russia of the Museum of Toys, which grew up from the Division of the Kustar Museum (now - the Art-Pedagogical Museum of Toys RAO, Sergiev Posad).