"Roma Aeterna. Masterpieces Pinakotek Vatican

Masterpieces of Raphael, Caravaggio and other great Italians moved to Moscow for three months

The Tretyakov Gallery opened the main exhibition of the year - "Roma Aeterna. Vatican Pinakoteki masterpieces. Bellini, Rafael, Caravaggio. The first commandment to visitors: to approach the papal treasures without an identity card will not allow.

Golden rain sheds on our heads. True, collecting precious grains of gold only on the retina of the eye - or, if you are lucky, in the camera lens. After all, jewels are paintings sent from the Vatican. The first in the history of the Moscow tour of the treasure of the papal Pinakotek opens in Tretyakov today. However, it is necessary to prepare for the visit. It is necessary to seriously and long. Electronic tickets are bought up to the end of December, and only 30 session tickets come to the cashier. Such sessions are calculated only half an hour, however, it is promised that in the halls we can stay longer. In fact, 30 minutes by 42 pictures - it is not enough: even if they are not all absolute masterpieces, each thing deserves attention.

For the General Director of the Tretyakov Gallery, the Tiphelova Exhibition - one of the main projects of the year. Vatican Museums, Photo Vatican Museums and Sergey Biryukova

We have long used to what the queue is more often in GMI them. Pushkin to foreign stars like Claude Monet and El Salvador gave either to masterpieces of especially famous Western museums. This tradition is still farewell to the Dresden Gallery and Triumph of the Moscow-Paris project. The Tretyakovka, as the Museum of National Art, seems to be to show His native. No, on this basis, it has long been closely. You can recall the luxurious selection of masterpieces from the cycle "Museums of Peace congratulated the Tretyakov Gallery" to the 150th anniversary of the GTG, the exhibition of the Whistler or the project "In Christ / In Christo" - the experience of the intermoze exchange of Russia and Italy. Then the works of Jotto and its circle were demonstrated in Moscow, and in Baptistery in Florence - the icons of Rublev and Dionysius. It is possible to go even further to the story, but it is the Moscow-Florentine exchange of "artistic and spiritual masterpieces", as they were positioned by both museum, the most interesting in the current context. True, in 2011, serious pilgrimage to Jotto was not observed, although the genius of the PRASTORESSAN was one of the most important figures of the whole art of Europe. But since then, in Russia, much has changed: religious and traditional art began to cause more interest, approaching the worship of the holy relics and other wonders. On the contrary, it was not only a mass, but also a state. Now in painting, closely related to the history of Christianity, albeit in Western harness, much higher than the chances of success. Especially if this is an exhibition from the Museums of the Vatican, and they are among the top ten of the main art treasures of the world. Despite the fact that Pinakotek (i.e., the painting collection) is relatively small, only about 500 paintings, it occupies a key place among the oldest museums. In Moscow, they brought almost a tenth of this truly the Great Assembly! And this is five centuries of the history of the painting of Italy and in parallel - the story about how the papal collection was folded. Choining the evolution of the art of the Christian world, she combined him with masterpieces of previous eras, placing them together in the heart of Rome - the Eternal City. As a result, Roma Aeterna was understood not only as the Citadel of the Holy See, but also as a bridge between civilizations, standing in an unlimited circle of history.

Russian curator of the exhibition Arkady Ippolitov talks about the largest exhibit - "position in the coffin" Caravaggio. Vatican Museums, Photo Vatican Museums and Sergey Biryukova

However, the Tretyakovka got hostage to her the most recently introduced fashion at the blockbuster exhibitions. Of course, the queues were there before - then to Vasnetsov, then to Levitan. However, such an excitement, which arose a year ago around the exhibition Serov, obviously did not expect the organizers themselves, despite the powerful PR campaign. Half a million people came to his work in spite of frosts. However, a record broke the Aivazovsky, the Serov per hundred thousand tickets. To break through to his marina has become a kind of sporting achievement. Spectators specially arrived from other cities and proudly reported in social networks. No doubt that such feats are possible only in the presence of strong interest in the artist. But I wonder if he is even stronger in relation to those three dozen not very "promoted" in Russia the authors who are collected on the Vatican Fest? Using this word, I do not mean the festival, but rather a holiday. The excellent consequence of the first meeting of the heads of two churches - the Roman Catholic and Russian Orthodox, when, actually, our charters and agreed on the exchange of expositions: in response to the Rome gesture to the Vatican, the collection of Russian masterpieces of the XIX century will be sent. In the discussion of the composition of the exposition in Moscow, Pope Francis personally participated - and to us as a landmark work brought the icon of his heavenly patron of Francis of Assisi. Perhaps this is the earliest image of the legendary Sacred: Margitone D'Oreszo wrote it shortly after the canonization of the Great Harvest of Assisi in 1228.

Open the exhibition of Pope Roman sent Cardinal Giuseppe Burterlo - in the scarlet hat and Black Sutan with Alay brushes, he also seemed a character of one of the paintings. Most of the works first left the Vatican, and security measures at the Surov exhibition - from muted light (Raphael's Griezaili at all sink in the severity) to protective steps and barriers that protect exhibits. Some things are very massive and complex on the configuration, as "mourning" Carlo Krvelli - a arcuate Luna, crowned a big altar, is not easy to transport transport. For her, a special niche is built, and the entire architecture of the exhibition is intimidated and associated with the famous buildings of the Vatican, including the oval courtyard of the Cathedral of St. Peter.

Donato Racky Series "Astronomical Observations" reflects the mood of the century of enlightenment. Vatican Museums, Photo Vatican Museums and Sergey Biryukova

The viewer is included in the strict, the space by the panels under the oak space, which gives mystics of the Middle Ages, in his center - the small hall - hesitates the only icon of the XII century, the rare and the oldest at the exhibition, with a darkened strict face of Christ the blessing. Romanesque Asstza retreats as the viewer moves to the early and then high Renaissance, bypassing such masterpieces as almost sculptural "mourning of Christ" Venice Giovanni Bellini and "Miracles of St. Vincenzo Ferrera "Ercole de Roberti - Frieza with a multitude of living scenes written with the subtlety miniaturist. Two silent icons, due to the fragility of prisoners in thermal-resistant capsules, allow you to trace how the iconography of one plot changed - "Christmas", as in different ways, but always with the warmth of real life Florentian Mariotto Di Nardi and Siena Giovanni di Paolo wrote out figures Mary and Baby, Sleeping Joseph and who heard the good news of the shepherds, who are not inferior in the reverence of the gosngelsk ox and donkey in the reverence of Nursery ... And with the joy of celestials look at the miracle of the Christmas Angels on the frescoes of Melozzo da Forli, who retained the holes for fastening gilded horbies. One of the angels became the "face" of the exhibition, coming to her poster.

The largest hall, where muted lighting creates a dramatic atmosphere of Baroque, is also populated by holy, but autonated with other wonders. Among the pictures of Veronese, Griefly, Guidelles, Kresses, Guido Reni reigns a giant "position in the coffin" Caravaggio, who opened the new, XVII century. Although this manifesto is already a sign of Moscow spectators (he was at the exhibition in GMI 5 years ago), it is impossible not to survive the tragedy of the scene with its participants (the Buntar artist frankly made a bet on "types from the people", outraging the adolescent Roman audience). He eats the same large, written for the Cathedral of St. Peter Polyssen Polyssen "Martyrdom of St. Erasmus ": the curator of the project Arkady Ippolites deliberately hung it opposite the masterpiece Caravaggio, emphasizing the differences in the manners of French Roman, the harbinger of classicism style.

So in our eyes the museum-spectacle turns into a museum-temple. Actually, in Russia to the repository of art, they always treated, as to the place of the saint, certainly "nasty". However, in the domestic history of the museums began as meetings in the advantage of secular, including the Tretyakov, which have increased icons already at the later stage of collecting activities Paul Tretyakov, at the expense of the family meeting. Today, it is not surprising by the expositions of Old Russian and Byzantine art - sacrality and origin it is closely related to what they were brought from Rome. Moreover, it would be interesting to recall the audience, who acquainted with the treasures of the Vatican, which is near, in the main building of the GTG - comparable to the value of the work of the Russian, Orthodox tradition.

The Deputy Director of the Museums of the Vatican Barbara Yatta conducts a tour of the wrong site. Vatican Museums, Photo Vatican Museums and Sergey Biryukova

Such a comparison will allow you to see the general features connecting European countries - the Earth of Christianity, and serious differences. Italian painting, which appeared at the exhibition in the logic of development from Gothic to Renaissance, Baroque and classicism, the gold backgrounds of Icons of Byzantium, and the statue of the antique sculpture. By the way, it was from the collection of anticans found in Tuscany, the current Vatican museums began with their grand assembly of Greco-Roman plastics. Apollo Belvedere is obliged by world famous name Villa Belvedere, which kept this statue of Pope Julius II - one of the founders of the Vatican museums ...

First Rome Messengers will be located in Rome Third until February 19. Asking to pay them an honor, be alert: we walk in sinful land, and the Tretyakov tagged speculators that arose in the conformable "queue-on-gray". In order to protect yourself, the gallery introduces the sale of registered tickets on the Internet and asks visitors not to forget the passport at home: it will have to make it together with the ticket.

"Christ is blessing", the XII century.
Vatican museums.

The exhibition opens the icon of the XII century, written by an unknown Roman master. "Christ is a blessing" - a unique reminder of the unity of the Christian Church, which will help trace the parallel between European and old-Russian art. Italian Jesus XII century is very like a popular image of Russian icons - Almighty Savior.

Main masterpiece exhibition

Michelangelo Merisi, nicknamed Caravaggio. "Position in the coffin." About 1602-1602. Canvas, oil. Vatican museums.

At the beginning of the XVII century, this canvas produced a small revolution. Non-standard, tragic, and at the same time a simple composition destroyed stereotypes that have developed by the time in painting (as well as at the beginning of the twentieth century, "Black Square" broke them). The efforts of reformers Catholicism experienced no better times - many have seen the salvation of the church in returning to the ancient Christian simplicity and vitality. Caravaggio was one of them.

The poetic cloth

Paolo Cagliari, nicknamed Paolo Veronese. Vision of Saint Helena. About 1575-1580. Canvas, oil. Vatican museums.

Past of a large-scale picture of the famous Veronese is unlikely to pass anyone. Before us is the Holy Elena, the mother of the first Roman emperor-Christian Konstantin. The heroine came an angel and called on to go to Jerusalem in search of that very cross. Usually, the holy depicted with the already found cross in her hand, but Veronese decided to write her sleeping - directly during the vision. But this is not the only canon disturbed by the Italian. According to legend, Elena saw an angel already in old age, and on the canvase we see a young beauty-Venetian. Veronese briefly thought about those who would take in the model, and stopped the choice on his own spouse. Sleeping holy in the portrait repeats the appearance of the artist's wife, which, by the lucky coincidence, was also called Elena.

Exhibit with an unusual history

Donato Kreti. "Astronomical observations". 1711. Canvas, oil. Vatican museums.

The work under which the whole hall was distinguished, interesting both the plot and its history. Before us - a kind of space comic of the XVIII century: the artist Donato Kreti wrote a series of "astronomical observations", depicting all the planets of the solar system at that time. In the Epoch of Enlightenment, scientific plots begin to compete fullly compete with biblical. But the most interesting thing is that "Astronomical observations" were written on request of the Count Luigi Ferdinando Martili and were intended to be a gift to Clement XI. So Aristocrat hoped to convince the Pope to give money to the construction of the Observatory in Bologna. It's good that dads took bribes art - now we have something to see.

Masterpiece that will not all notice

Gentile da Fabryano. "Saint Nikolai doubts a storm and saves the ship", about 1425. Tree, tempera. Vatican museums.

Gentile da Fabriano is slightly lost in the shadow of famous neighbors like Rafael and Caravaggio. Meanwhile, his small canvas with the heavy title "Saint Nicholas pacifies a storm and saves the ship" It is very interesting: it found a place and the biblical saint, which, like a superman, arrive and saves unlucky sailors, and pagan mermaid. Where is the female fish? In the medieval symbolism, mermaids personify demonic strength - so she caused a storm, which "doubt" the Saint Nicholas.

Exhibition "Roma Aeterna. Masterpieces Pinakotheki Vatican. "
, Lavrushinsky Lane, 12, until February 19, 2017.

"Roma Aeterna" or "Eternal Rome" is forty-two works of the first row, most which part of which were extremely rarely leaving Pinakotek (and some work ever went at all), which connected the seven centuries of the Vatican history - from the XII to XVIII. The curator of the project Arkady Ippolitov - art historian, the keeper of the Hermitage engraving department and the author, rethinking in his books images of Italy ("Especially Lombardy. Images of Italy XXI", "Only Venice. Images of Italy XXI"),

- Disposable masterpieces selected for the exhibition in Moscow: there really do not really have a single walking work, we have dusty in stock.

Wikimedia Commons Caravaggio. Position in the coffin. OK. 1602-1603

Opens the Exhibition "Christ blessing" - Roman Icon of the XII century, as well as one of the earliest images of the Francis of Assisi performed by Margitone D "Arezzo. In both, traces of both the Byzantine aesthetics and an emerging gothic are traced. Completes - a series of works of DONATO KTITI" Astronomical Observations "XVIII century, which made up eight small pictures with images of the planets of the solar system. The series ordered the artist Count Luigi Martili, who presented her as a gift to Pope Clerte XI in order to convince him to reconcile the opening of the first astronomical laboratory in Bologna.

Wikimedia Commons Nicola Pussen. Muticia of St. Erasma. 1628.

The work of the Papal Assembly Color is located between them: the Khovanni Bellini "mourning" of Giovanni Bellini, "Saint Saint Elena" Veronese and "Coffin" Caravaggio, Small Griezaili Rafael - "Vera" and "Mercy", a huge cloth of Nicola Poussna "torment Saint Erasma "from the Cathedral of St. Peter, as well as the Mulozzo-Fortoul's Musicious Angels, who decorate all the" papal "souvenirs - from entrance tickets to the Vatican museums to souvenir cases for iPhone.

Wikimedia Commons Melozzo da Feoul. Angel with Lutnoe

In addition to the obvious meaningful attractiveness, the exhibition also became a diplomatic gesture of a grand scale, which is now presented as

the abolished result of the centuries-old "spiritual relationship of Moscow and Rome".

The main masterpieces of the Vatican arrived at the chief Russian museum, they spoke first three years ago - after the meeting of Russian President Vladimir Putin and Pope Francis.

Wikimedia Commons Paolo Veronese. "Sleep Saint Helena." 1580.

In 2017, a response exhibition of Russian religious painting from the Tretyakov Gallery Meeting will go to the Vatican.

Unlike the past blockbusters, Roma Aeterna blockbusters will work in the engineering corps of the gallery in Lavrushinsky Lane, and not on the Crimean shaft. The choice of less spacious exhibition premises is due to the need to maintain the desired moisture content mode and the climate necessary for the content of exhibits, in the historic building they are better than in modern. The Tretyakovka does not put a goal to beat the rope of Aivazovsky, said the head of the GTG Zelfira Togulov "Vedomosti". However, to avoid queues, the Tretyakovka organizes half-hour sessions at the exhibition. To put in the halls will be 90 people. It will last until February 19, 2017. Now e-tickets to the exhibition, which appeared a month before its discovery, have already ended until the end of the year, the renewal of sales is expected from day to day.

Torch! The sale began two days ago, and tickets for all weekends in December are already bought.

Exhibition "Roma Aeterna. Masterpieces of Pinakotheki Vatican, Bellini, Rafael, Caravaggio will be held thanks to the Vatican Museums, from the funds of which dozens of works delivered to Moscow. She will last until the end of February.

This is a unique situation when the Vatican museums provide 40 (!) Works to the exhibition in the Tretyakov Gallery, "TSAS quotes the director of the Museum of the Museum of the Tigel. - Never before they did not give out the work of this level and in such quantities.

Giovanni Bellini, Griefly, Pietro Perugino, Raphael Santi, Guido Reni, Caravaggio ... The future exposition will have to become one of the largest events in the museum world not only Russia, but also in Europe.

Ticket sales scheme - the same as to the exhibition Ivan Aivazovsky. The countercourse can be bought on the site of the gallery, and at the box office only on a specific date and on a certain session.

This system was tested by us for the first time during the Aivazovsky exhibition, "KP told" KP "in the press service of the Tretyakov. "And she completely justified himself, as people could plan their visit in advance." It is convenient and eliminates the museum from long queues. And if someone wants to get to the exhibition "Vatican's masterpieces", then they need to take care of this now.

How to buy a ticket?

For this you need:

1. Go to the site of the Tretyakov Gallery

2. Press the "ticket online" button, select the exhibition "Roma Aeterna. Masterpieces of Pinakoteki Vatican, Bellini, Rafael, Caravaggio.

3. Select a month, date and time. As well as the number of tickets. Maximum in one order - 6 pieces.

4. Enter your e-mail to which the code will come. It must be entered to confirm the order. And also to specify the name of the visitor, on which the electronic order is drawn up, and the mobile number.

5. Payment of the ticket for two hours. Unpaid electronic order will be canceled.

6. After payment, an e-mail address will receive an email with an order number and an electronic ticket with the status "paid." The ticket can be printed at home or save in the smartphone to present when entering the gallery.

7. Electronic ticket will not need to be changed on paper in the terminal. For a ticket bought on the Internet, a separate queue will be organized - an employee with the validator quickly considers the barcode and misses inside.

IMPORTANT!

Visitors will be able to go to the exhibition strictly according to the time-specified time - within 30 minutes. You will miss only if you can prove that the reason for the delay is valid.

How much is the entrance?

500 rubles - for citizens of Russia and foreigners.

150 rubles - for students, pensioners, the heroes of the Soviet Union, the heroes of Russia, full cavaliers of the "Order of Glory", students of secondary and secondary special educational institutions.

For free - for veterans and disabled WWI, participants in hostilities (citizens of Russia and CIS countries), for children under 18 years and other preferential categories. But the acquisition of such a ticket is possible only to recover with a paid ticket. Visitors to control should present documents confirming the benefit.

In this exhibition a lot of unprecedented. It is 42 exhibits from the permanent exhibition (it was said at the opening that the State Tretyakov Gallery came hardly not 10% of the Vatican Pinakothek), rarely leaving relatives and almost literally nasty walls. This is the political component that patronizing the current artistic tour at the highest state level (Tretyakovka and managed to bring the work to Moscow almost all the work ordered in the Vatican, because of which the Credit of religious plots turns into a practically continuous history of styles in Italian art from the XII to the XVIII century) . This is a special scenographic solution of the exhibition area - with a huge, from the inside with a highlighted logo and falsely, changing the familiar geometry of the halls on the third floor of the Engineering Corps of the Tretyakov Gallery (Registration "Roma Aeterna" and Agnia Sterligovoy). One of them, like the architectural plan of the temple of St. Peter, has an octagonal form, and the other, like the area in front of the main Vatican Basilica, is rounded.

Set of rules

There are also no analogues of the strictest accreditation and photographing rules at the exhibition. At the press show of journalists were repeatedly prevented (and even forced to sign a special receipt for the undisting claims exposed by the leadership of the Vatican museums) that the paintings could not be removed entirely or even more so in parts. You can only in the interior, on the background of the wall, and even better, in order to get a few cloths at once. Television drivers were forbidden to drive on the works by televisers and take painting close-ups. This, however, in itself, is quite problematic due to the specific exposition design of the two main halls, the top covered with wooden panels. In order to protect the paintings from visitors, the designers made smooth, but high plinths, moving the exhibits at a distance of a little more elongated hand. Because of what they all acquire an additional aura ("Dal Close" if you remember the definition Walter Benjamina), I finally turn into sacred objects of religious worship.

Light and color

As a result, the masterpieces will not close - with the exception of the tiny griezales Raphaelexhibited in a separate showcase and the Bologna astronomical cycle Donato Kouti. Its eight paintings are shown in the additional, quite illuminated by the third hall. Less lucky picture of the baroque times who took the largest hall, where the twilight reigns.

Exposure lighting that museum workers constantly play bridge projects, creates additional difficulties of perception. Of course, it is extremely impressive when light rays aimed at paintings turn them into the windows of the world world. However, this approach has many shortcomings associated with invincible glare and sprawling inside the frames of blind spots. (ceases to work with the exhibits of small sizes, telling some particularly scene stories with a lot of miniature details.) At the current exhibition, in addition to the progenial and renaissance paintings Pietro Lorenzetti, Alesso di Andrea, Mariotto di Nardo, Giovanni di Paolo.This is particularly related to the horizontally elongated two-meter composition of the Miracles of St. Vincenzo Ferrer. Bologna Masters Ercole de Robertiwho took a separate sweeping.

In the first hall, where the lighting is normal, the oldest are located - and even ancient - exhibits. It is here that two works are shown Perugino, big compositions Giovanni Bellini (Pinakl "Mailing Christ with Joseph Arimate, Nicodemus and Maria Magdalina") and Lupente Carlo Krvellias well as even earlier Fra Beato Angeliko, Gentile da Fabriano and Margitone d'Arresz, whose "Saint Francis of the Assisian" XIII century is not the earliest work at the exhibition (the epigraph of it is posted a very viszanthydrous "Christ blessing" Roman school of the XII century). However, the most notable decoration of the first hall is three fragments of frescoes Melozzo da Forli With angels playing musical instruments (in the Vatican Pinakotek such separate episodes, once a single painting "Ascension of Christ", 14 pieces are stored). This is precisely their elegant emblematic faces on posters, billboards, banners and catalog cover.

Explanation at the bottom and registered tickets

Now, when the press shows also passed the chairs of the Treasters fill the usual visitors, it will be interesting to see how the inscriptions and explications will work, located on the plinths: will they be visible in the dense speech stream? Finally, a completely new situation arose with the sale of tickets, allowing you to pass on the third floor of the engineering building in Lavrushinsky Lane. There are simply no online ticket sales for the Vatican Exhibition, this is written on the site of the museum. Conventional, paper, tickets are bought up to December 31 of this year. From December 15, the Tretyakov Gallery Cass will begin to sell tickets for 2017 sessions (the exhibition will last until February 19). And these tickets will be nominated, since, during the previous, accompanied by large queues, the museum workers faced numerous dealers who offered tickets at prices overstated several times.