The Tretyakov Gallery opened an exhibition "Masterpieces of Byzantium. Icons in the Tretyakov Gallery - Ragioniere saved a non-manual Simone Ushakov

13 Mar 2013 | From: Site

The beginning of the collection of ancient Russian painting in the Tretyakov Gallery was put on P.M.Tretyakov: In 1890, they were acquired by icons from the meeting I.L.Silin, exposed to the halls of the Historical Museum during the VIII archaeological congress in Moscow. In the future, other acquisitions from other private collections were made, including from the assembly N.M. Posnikov, S.A. Georova, Antiquary P.M.Ivanov. It contains the icons of Novgorod, Moscow schools; Icons of Strogonovsky letters (i.e. created in the workshops belonging to the richest people Stroganov). Among these acquisitions were such masterpieces such as the icons "King Tsar" ("Present Queen") of the XV century; "Good fruits of the exercise" of the beginning of the XVII century, written by Nikifor Savin; "Alexey Metropolitan" of the XVII century.

In the testament P.M.Trevyakov dated September 6, 1896, it is said: "A collection of ancient Russian painting ... to convey the Moscow city artistic name of the brothers Tretyakov Gallery." The assembly numbered 62 icons by this time. In 1904, it was first exhibited in the gallery on the second floor in the room, located near the halls of the artists of the XVIII - the first half of the XIX century. In drawings, V.M.vasnetsov in the Abramtsevskaya workshop for icons were made special display cases. To classify the collection Ilya Semenovich Ostrukhov (1858-1929), painter, collector, creator of the Museum of Icon Painting and Painting in Moscow, Member of the Tretyakov Gallery Council (1899-1903), Her Trustees (1905-1913) invited N.P.Likhachev and N. P. Kondakova. The work ended with the publishing "Brief description of the Icon of the Assembly P.M.Tretyakov" in 1905 (see ed. Antonova V.I. [ENTR. Art.] // Catalog of the Old Russian painting. T.1: M., 1963, p. 7-8). I.E. Grabar, producing in 1913-1916 a complete restructuring of the museum's exposure, left unchanged only the department of icon painting.

Until 1917, the replenishment of the Collection of Old Russian Painting did not occur, only in 1917 the Gallery Council acquires a large icon of the Pskov School of the XV century "Favorites", which is now in a permanent exhibition. (See ed. Rozanova N.V. [will enter. Art.] // Old Russian Art of the X-XV century. M., 1995, p. 10).

After the revolution of 1917, the Tretyakov Gallery from the Moscow City Art Gallery turned into a state, becoming with the time of the treasury of Russian art. Decree of October 5, 1918 creates a national (later state) Museum Fund (1919-1927), where nationalized meetings and individual works of painting, applied art, archaeological and numismatic collections flow, then distributed by museums. Through the National Museum Fund from the Moscow Kremlin in the gallery in 1919, the icon of the "Church of Militia" came.

After the revolution, the Department of Old Russian art (this is called part of the exposition), it safely existed before the reorganization of the gallery in 1923. At this time, by decision of the General Directorate of Scientific, Scientific and Artistic and Museum Institutions (Slavnayuk), which existed as part of the People's Commissariat for Enlightenment (NarcarPros) of the RSFSR (1922-1933), a scientific council was established, which at its meeting on May 3, 1923 approved List of 11 departments of the Tretyakov Gallery, deciding to rename the department of Old Russian art in the Department of Old Russian Painting. By this time, the gallery icon painting collection consisted of 70 icons and one parswas (7 icons were acquired on the Museum itself). Since the volume of the ancient Russian collection was small, then it was part of the part of the XVIII century painting department. Department of Painting XVIII - the first half of the 19th centuries was headed by Alexander Mitrofanovich Skvortsov (1884-1948), which combined this position with the post of deputy director of the gallery.

In 1924, by the decision of the drug addict, the Tretyakov Gallery becomes a museum of painting of the XVIII-XIX centuries, and the objects of ancient Russian sewing, plastics, the iconist from the mid-1920s are transferred to the State Historical Museum in the Department of Religious Life. In the historical museum there were icons of the Assembly of P. Ishukin, brought as a gift to this museum in 1905; Works of the ancient Russian painting from the collection of Count A.S.Uvarova, received in 1917-1923 in the will. In 1924-1927, the famous collections of Icons S.P. Ryabushinsky, A.P. Bakhrushina, Bobrinsky, A.A. Bakhrushina, Bobrinsky, A.A. Bakhrushina, Bobrinsky, Gora, Sologuba, Kharitonenko, and P.P. Shibowan, Shirinsky-Shikhmatova, O.I. And L.L. Dube, E.E. Egorova, N.M. Postnikov, S.K. and G.K. Rakhmanov, A.V. Morozova, as well as a part of the collection of Christian antiquities from the collection of the Rumyantsev Museum and monuments belonging to the Museum of the Strogonovsky School. In the future, in the 1930s, most of these works will be transferred to the Tretyakov Gallery.

In 1926, due to significant revenues, it was necessary to close the arranged by I.Sostrohov, in 1904 the exposition of the ancient Russian painting. A new collection of the collection of Old Russian art was part of the collection of the museum of icon painting and painting I.Sostrojova, who after the revolution was attached to the Tretyakov Gallery as a branch. After the death of I.Stroostrookov in 1929, his museum was closed, and the collections were moved to the Tretyakov Gallery.

Receipt of the collection of I.S. Oostrojova and a number of other events (reorganization of the historical and artistic antirefall museum in the Trinity-Sergius Lavra in local lore; restructuring of the department of religious life in the historical museum; clusters of a significant number of works in the Central State Restoration Workshop Fund; Icon arrival from closed churches In the Foundation of the Moscow Division of National Education in the Drug Address; admission to the ethnographic department of the Rumyantsev Museum of the E.E. Georova collection) predetermined the creation of the Old Russian Division of the Tretyakov Gallery on new foundations. In addition, the construction of new gallery buildings began in the late 1920s made it hoped that the necessary premises will soon appear and for the department of Old Russian art.

At the end of 1929, a special commission was created in the Slavkock, a special commission. A.M.Skvortsov, and his deputy - Alexey Nikolayevich Svirin (1886-1976), who came to work in the gallery in the same 1929 from the Museum of Trinity-Sergiye Lavra, where he had worked as a researcher since 1920, and in Further head. In the department of the ancient Russian art gallery at that time worked by the trainee A.P. Zhurov. A.N. Svirin was sent to Leningrad to familiarize themselves with the exposition of Old Russian art in the State Russian Museum and an anti-Religious exhibition in the State Hermitage. The lists of unique monuments were drawn up and letters in the largest museums of Russia in order to organize the exhibition of Old Russian art in the halls of the Tretyakov Gallery. On April 16, 1930, the Methodological Commission of the Slavsuki Narkompros determined the date of opening of the department of Old Russian art - May 15, 1930, and also approved the transfer of monuments from other institutions and organizations, approved the work plan of the department and the expedition plan of surveys of provincial temples, churches and monasteries to search for the works of Old Russian art .

Yaroslav Petrovich Gamza (1897-1938), his deputy I.O.Sosfen, Valentina Ivanovna Antonova (1907-1993) was appointed to the head of the ancient Russian art. In October 1930, at a meeting of the Expanded Commission, the drug addicts were summed up. The results were unsatisfactory. The question arose about the correctly formed and equipped storage of the icons, about the need to strengthen the staff of the department, the restoration and publication of a separate directory. A.M.Stvortsov was removed from the department of department.

In the early 1930s, Soviet art and recognition seized the passion for the straightforward-sociological concepts expressed in extremely FMFric form, and visually represented in the "experienced complex Marxist Exposition" in their time, deployed in the Halls of the Tretyakov Gallery in 1931. She was carried out under the leadership of Alexey Alexandrovich Fedorov-Davydova (1900-1968). In connection with these events, restructuring occurred in the structure of the departments and their renaming. Instead of departments, sections of feudalism, capitalism, socialism appeared. The Old Russian Division, as before, entered the part of the feudalism department. In 1932, the Section of Feudalism was headed by Natalia Nikolaevna Kovalenskaya (1892-1969). For the organization of a new exposition, "his class essence in art" gallery was forced to attract materials from other museums that would allow the consistent historical development of the initial period of Russian art in the halls. These exposition experiences prompted to some extent to the systematic replenishment of the Old Russian department.

In 1932, the Tretyakov Gallery, together with central state restoration workshops (TSGM), organized seven expeditions on the examination of churches, monasteries and villages of the Moscow region, Volga region, the Arkhangelsk region, Novgorod and Pskov. In the first half of the 1930s, the icons were taken to the gallery - "Assumption" from the tithe Monastery in Novgorod, Dmitry Solunsky from Dmitrov, Kostroma and Belozerskie monuments of the XIV-XV centuries, including "Assumption" of 1497 from Kirillo Belozersky The monastery, part of the deesus rank of the Faratovsky monastery, written by Dionysia with sons, a group of small icons of the XV-XV centuries from Zagorsk (Trinity-Sergiev Posad) and a masterpiece - "Trinity" Andrei Rublev. In 1931, the gallery received a meeting of Alexander Ivanovich Anisimov (1877-1939) with early Novgorod icons.

A systematic nature acquired the transfer of newly disclosed monuments from the TSGM. To replenish the monuments of earlier periods, first-class works from antiques were made. So, in 1931, works were included in the gallery - "Wives of the Mironine Sale" of the XVI century, in 1933 - Novgorod Icon "Fatherland" of the beginning of the XV century from the St. Petersburg meeting of M.P. Kotkin, and in 1938 - the fold of the XV century from the meeting e .I.Silin. Thus, the active pickup enriched the gallery in the 1930-1940s by many monuments. Among them should be mentioned in 1935-1938 of the collection of A.I. and I.I.Novikov from the Church of Assumption on Apukhintikka, as well as several works from Kolomna and a large group of icons from the Rostov of the Great and its surroundings (selected and taken out these icons of N.A. Demin), and in 1938 - Dmitry Solunsky mosaic Kiev. The decensses of the XII century and the image of Boris and Gleb on the horses of the XIV century, transmitted together with some works of the XVI-XVII centuries from the State Armory of the Moscow Kremlin in 1936-1940, were the most worthwhile replenishments of the icon assembly of the gallery. In 1935, in the distribution of funds of the anti-Religious museum of arts in the gallery, a number of significant works of Moscow masters of the XVI-XVII centuries, which are, mainly from Moscow temples and monasteries - Novodevichiy, Donskoy, Zlatouustovsky, from the churches of Grigoria Neokezarovsky on Big Polyanka and Alexey Metropolitan "In clauses." In the same year, the collection of G.O. Chirikov is purchased through antiques. These revenues, as well as the arrival in 1945, Metropolitan Icons Alexy with a life written by Dionisia are associated with the participation of N.E.Mneva in the restoration work produced in the Kremlin Councils.

A collection of ancient Russian art of the Tretyakov Gallery disliked some units for drawing up a full picture of the diversity of painting XVII century, with her abundance of masters. These links were replenished by the transfer of the E.E. Georovo collection from the State Library named after V.I. Lenin, who was in library storage facilities. The most valuable signatory icons of Russian artists of the XVII century were acquired for the Gallery of the State Procurement Commission (GZK). In 1938, a small icon "Archangel Mikhail, Pouring Diazole" was acquired, performed by Simon Ushakov in 1676, and in 1940, the icon "Our Lady Vertograd concluded", written around 1670 by Nikita Pavlovts, and "Deesus Ottoman" Andrei Vladykina, created In 1673. So in 1940, through the GZK in the gallery, the rarest image of Saint Varvara, belonging to the Novgorod painting of the XIV century, was received.

The first half - the mid-1930s is noted not only by acquisitions. Galleries' funds did not avoid withdrawal, wave of riding in all museum and library collections of the country. Dozens of icons by order of government were issued to antiques for sale abroad.

Among the many expositions of the department, which changed over the 1930s, deserves attention, which exhibited an Icon exhibited in 1936 in the seven halls of the lower floor of the gallery. In the second half of the 1930s, the costs of methodological attitudes of vulgar sociology were overcome. In 1934, A.A. Fedorov-Davydov left the gallery. N.N. Kovalenskaya followed him. In November 1936, the Department was prepared by the re-exposure layout, which included proposals expressed in 1935 by the director of the Gallery P.M.Schekotov.

After the war in the second half of the 1940s, the processing of monuments of the meeting of the Old Russian painting, which consisted of about 4,000 works continued. This work was started back in the 1930s by drawing up lists, cards and primary descriptions.

In the 1950s and 1960s, the scale of research and restoration works conducted in the largest museums and restoration centers of Moscow and Leningrad were expanded. In 1958, an album was published dedicated to the meeting of the Old Russian painting of the Tretyakov Gallery, compiled by A.N. Svirin. At the same time, after a long break, the gallery renews the practice of the device of exhibitions of the Old Russian painting.

The systematic expeditionary work of the Department of Old Russian art began at the turn of the 1950s and 1960s. Expedition routes were not random, they were compiled so as to cover the previously not studied areas and centers, the ancient art of which was not fully studied, or not at all presented in the gallery meeting. This is Ryazan, Nizhny Novgorod region, a number of districts of the Vladimir region, the northern possessions of the ancient principalities of Northeast Russia. The result of the expeditions was the replenishment of the collection of the ancient Russian department with such masterpieces, as the Icons "Nicola Mozhaisky" began the XVI century from the village of Warinovo and Simeon Stattail of the XVI century from the Great Ustyug; Characteristic works of Nizhny Novgorod, Kostroma, Yaroslavl, Vyatsky iconographic painters of the XVIII century; Bright, distinguished by rare iconography and a peculiar flavor of the old-supplied icons of the XIX century from the Chernihiv and Bryansk regions; The peasant icons, the so-called "rubella" and "Chernushki", the study of which the oldest employee of the gallery E.F. Kamenskaya was engaged in (1902-1993).

The collection of the ancient Russian painting gallery was replenished over the past decades, including thanks to the generous dimens. Among the gifts was the most significant was the gift of P.D.Kurina, obtained by the will in 1967. In 1966, V.I. Yantonova issued a detailed scientific description of the Assembly of P.Korin, and in 1971 the House-Museum P. Kikinina received the status of a branch of the gallery. In 1965, a number of wonderful works came from the writer Yu.A.arbat, among them the unique icon "saved on the throne with the upcoming Joachim and Anna" of the late XVI century from Shenkursk Arkhangelsk region. In 1970, after the death of the conductor of the Bolshoi Theater N.S. Holovanov, his assembly of icons came to the gallery. The collection of icons collected by V.A. Alexandrov and brought to the gift of his wife N.N. Sushkin, exhibited at a specially arranged exhibition in March-April 1976.

According to the materials of the GTG and the site

Who can be seen in one of the main museums of Moscow, having at its disposal just an hour? A brief guidebook on the chairs of the Tretyakov Gallery in Lavrushinsky Lane.

In the Tretyakov Gallery, the painting of Alexander Ivanov "The Phenomenon of Christ People". Natalia Volkova / Photobank "Lori"

Proper location

To begin with, definitely decide on the address: Tretyakov Gallery is a major museum that has many buildings and branches. The main building, where the collection of Russian art is located until the beginning of the 20th century, is located at Loverushinsky Lane, 10; In a nearby house - engineering building - temporary exhibitions are held, lectures read. To see the art of the XX-XXI centuries, you have to go to a completely different area of \u200b\u200bMoscow, on the Crimean shaft, 10. Do not confuse! Many other branches, including the House Vasnetsov and the Blueberry Workshop, scattered throughout the capital.

Ground floor

Second floor

Right time

Opening hours and weekends, of course, can be clarified on the site. But also do not forget to check whether the school holidays are not going (autumn or spring, it is difficult to forget about the winter). On the days of the holidays of the halls of the museum can be full of noisy school excursions. What is good - in the main building of the Tretyakov in Lavrushinsky Lane, the rustic exhibitions are extremely rare (there is no place for them), so you can not be afraid of the queue in the style of "Serov".

Get the card

Since you are limited in time, then strike the pleasure from the aimless walk through the Avfilands of the halls. It is necessary to clearly outline the goal and pave the route to it. In addition to paper guides, you can take advantage of the halls on the museum site or use the virtual museum technology.

In the Tretyakov Gallery. Before the picture of Vasily Surikov, "Boar Morozova". Natalia Volkova / Photobank "Lori"

Stock Photo Masterpieces

Decide, the art of which period you are more interesting to all: in this building there is almost the whole story, from the baptism of Russia to the revolution. You can spend a whole hour on Serov, or on the headings, or on the silver age.

If you want to quickly look at the main masterpieces, then the approximate list of mandatory. The list is short because the masterpieces are scattered along two floors and different chairs, for transitions for which an hour will take place, because you will probably be distracted on the way for all sorts of beauty.

First floor: "Trinity" Rublev (hall number 59)

One of the main Russian icons is at the end of Antfiladers of the halls of icon painting, in the hall of Andrei Rublev. By the way, the other shrine is the Vladimir icon of the Mother of God - is also located in Loverushinsky Lane, but in another building, in the current Church of St. Nicholas in Tolmachas, which adjoins the engineering corpus from the end.

First floor: "Girl with peaches" (hall number 40)

The famous portrait of Serov's brush is exhibited in the halls dedicated to the art of the Silver Age on the same first floor where the icon is. Even on this floor - the halls of Levitan, Polenov and Nesterov, so that it is difficult to understand the logic of the exposure location. Serov in the gallery is assigned as many as two halls.

Second floor: "The phenomenon of Christ to the people" (hall number 10)

Alexander Ivanov's masterpiece hangs in his own hall among numerous sketches devoted to him. Guides warn: Caution, this is one of those pictures that in this museum are particularly often fainted.

Second floor: "Morning in a pine forest" (hall number 25)

Landscape with bearings can be found in the hall dedicated to the work of Shishkin. Do not miss - the canvas is not so large. By the way, only in the museum you can estimate the real scale of the works that we used to see on the screens and in the books.

Second floor: "Ivan the Terrible and Son of His Ivan on November 16, 1581" (Hall No. 31)

The painting of Repin is in the hall dedicated to the work of this artist. This is another picture that has a strong influence on the psyche. Therefore, to come yourself, be sure to look at the museum store on the zero floor, next to the cash desks. In the Tretyakov Gallery, it is good: reproductions, postcards, notepads, magnets and, of course, catalogs.

What they brought: 18 works of art, including 12 icons.

Despite the rather small number of works (the exhibition occupied only one hall), the project fully justifies its name "Masterpieces of Byzantium". Almost every exhibit here is really a masterpiece. First, their antiquity is impressive - we can see here items from the end of the beginning of the XVI century. Secondly, they are all very beautiful and, as they say, excellent in their art level. After the fall of Constantinople in 1453 and the collapse of the Byzantine Empire, carefully stored during the Ottoman rule over Greece and neighboring Orthodox lands - now they are not only the objects of the cult or the works of painting, but also testimonies of the tragedies of history.

A characteristic example is the "Crucifix" icon of the XIV century (with "Odigitria" on the turnover) - one of the beautiful samples of the Byzantine art of the paleologists' era. An elegant subtle letter, pleasing the eye of the harmony of gold and azure - and at the same time the faces of the saints of the barbaria destroyed.

Location: Athens Byzantine and Christian Museum shared their exhibits with Moscow.

He, alas, is known only to connoisseurs, and tourists arriving in Athens for antique art often forget about him. However, this is one of the most curious museums of the city. Founded in 1914, he was originally located in a small villa, once belonging to a secular lioness, the wife of the Napoleonic officer, the Duchess of Piacenza. By the end of the twentieth century, a mansion, who was in the middle of a luxurious park, clearly ceased to accommodate all the huge collections of the Byzantine Museum. To the 2004 Olympics, the museum opened after reconstruction - under the laws and flower beds of the park, in the thickness of the earth, there are three underground floors, while the mansion stayed on the surface intact. The colossal underground space is straightforwards the sacred art of the Byzantine and post-Byzantine period. And his visitors will surely not notice that some things flew into Moscow.

However, the absence in the permanent exposition of the famous "St. George" of the XIII century is clearly born to the eyes of the Athenian Museum. This unusual icon is made in relief technique. Orthodox artists usually did not do that, but this work was created during the times of crusades, under the influence of Western European masters. But the framing is familiar, canonical - from the stamp.

Another important exhibit exhibition, by the way, placed by curators on the most spectacular location in the hall - a large-scale icon "Our Lady Cardiotissa". This epithet is translated from Greek as "cardiac" and is an option for the iconography of "Glycoophilus" ("Sweet Lobzia"). When looking at the masterpiece you understand that such gentle nicknames this canon image was not in vain: the baby is so affectionately pulls the handles to the mother, so cute presses her with a cheek, which almost forget that in front of us - the object of the cult, and not sketching from life . The name of the icon painter has been preserved (for Russia it is not very familiar, but the Greek masters often signed their work). Angelos Akantatos lived and worked in Crete, in that era of the extent under the rule of the Venice Republic. It is considered one of the most important Greek artists of the XV century.

Probably, from Constantinople's workshops of the end of the XV-beginning of the XV century, an icon occurs, which will be curious to all owners of the Marina popular in Russia. The fact is that the Holy Marina Antioch in traditional Orthodox art is rarely depicted. Late Paloolevskaya Icon, on which the Holy appears in Bright Red Maforia and with a crucifixion (symbol of martyrdom) in hand, comes from the Church of St. Gerasim in Argostolion on the island of Kefalonia and is one of the oldest preserved images of the Great Martyr.

Other meetings:in addition to this museum, Greek private collectors took part in the exhibition in Moscow. You understand yourself, see things from such assemblies are a unique chance.

From the collection E. Veliazis - H. Margaritis takes place a small, but very exquisite icon "John Forerunner of the Angel of the Desert" of the XVI century. This plot is accustomed for Russian iconopus, John the Baptist is depicted with wings, his own head has his own severed head on the dish, and on the other hand, an ax is stuck between the trees. However, the subtlety and harmony of the letters will be prompted that this beauty is from those lands where the icon-painted tradition laid in Byzantine icon-painted workshops did not disappear.

From the Athenian Museum of Benaki, founded in 1930 by a millionaire Emmanuil Benakis, the oldest exhibit of the exhibition was arrived - a silver processing cross, created at the end of the twentieth century. On this bilateral jewelry product, you can see the fine engraving figures of Christ and Saints. In addition to John Zlatoust, Vasily of the Great and other popular saints, on the cross depicted a rare holy - Sisin. From the inscription on the handle, it is known that he was a holy patron of the customer of this cross.

A PLACE: The exhibition is located in the main building of the Tretyakov Gallery in Hall No. 38 (usually hangs there Malyavin and Union of Russian artists). The exhibition curators are especially emphasized that in neighboring halls - a permanent exposition of ancient Russian art. And, enjoying the Athenian exhibition, it is worth making two steps and see what they worked at the same time in the northern corner of Orthodox lands.

Tickets:do not buy in advance. The exhibition takes place in the hall located among the permanent exposure and to get to it - it is enough to buy a regular entrance ticket to the museum. Good news for those who are tired of cafing the site with online sales at the shop of masterpieces from the Vatican in the neighboring engineering building (which was renewed the other day before March 1).

From the very beginning of his collective activities, the founder of the Museum P.M.Tretyakov plots the creation of a "publicly available (popular) art museum", whose collection would reflect the "translational movement of Russian art", according to Pavel Mikhailovich himself. The implementation of this dream he devoted his whole life.

The first icons Pavel Mikhailovich acquires in 1890. His meeting has numbered only sixty-two monuments, but according to the Russian scientist, the historian Nikolai Petrovich Likhacheva (1862-1936), the collection of P.M.Trevyakov was considered "precious and instructive."

At the time in Moscow and in St. Petersburg, private collectors were known in St. Petersburg, collectors Icons - I.L. Silin, N.M. Svetnikov, E.E. Egorov, S.A.Gorov and others. Some of them are trains of icons. According to a fair remark of the famous artist and art historian, director of the Tretyakovskaya Gallery of Igor Emmanuilovich Grabar (1871-1960), the Tretyakov was different from other collectors in that he was not the first among the gatherers to the icons not on the plots, but by their artistic meaning and the first one openly recognized Their authentic and great arts, having joined their icon assembly to the gallery. "

Savior in power

The testament was performed in 1904 - the icons acquired by P.M. Tretyakov, first included in the exposure of the gallery. She was organized by Ilya Semenovich Ostrukhov (1858-1929) - an artist, a member of the Gallery Council, as well as the famous collector of icons and paintings (after his death, in 1929, the collection entered the gallery meeting). For the device of the new Icon Hall, he invited Nicodemia Pavlovich Kondakov (1844-1925) and Nikolai Petrovich Likhachev, who developed the concept, were able to scientifically systematize and group monuments, publish a catalog.

Unknown icon painter, end of the XIV century. Discussion Chin ("Vysotsky")
1387-1395
Tree, temperature
148 x 93.

The famous Russian artist Viktor Mikhailovich Vasnetsov became the designer of this exposition (1848-1926). According to his sketches in Abramtsevsky workshops, there were shop windows, imitating kyots - in them, and all collected by the Tretyakov Icons were presented. The icons did not exist then in any Russian Art Museum. (It should be noted that some icons were exhibited back in 1862 in the Moscow Rumyantsev Museum and in 1890 a goal in the historical museum, but the icons were exhibited while the objects of church antiquity, and not as works of art. They were not restored, were dark, polluted, with Losses of the colorful layer).

Andrei Rublev
Savior in power
1408

It is noteworthy that the opening of the Hall of Old Russian Icon Pouring in the gallery occurred in the early years of the XX century - the period of the origin of the restoration case in Russia, when a professional scientific study began ancient Russian art.

In 1918, despite the tragic post-revolutionary events, the "Commission on the Conservation and Disclosure of Ancient Painting Monuments in Russia" was organized. This commission was headed by the then director of the Tretyakov Gallery I.E. Grabar. The Commission took up the systematic identification of ancient monuments, expedition and exhibition activities.
In 1929-30, after restoration exhibitions, the decision of the then government was decided to turn the Tretyakov Gallery as the largest museum of Russian art, to the Center for the Study of the Cultural Heritage of the Ancient period of our history. In those years, our museum received many monuments of Old Russian art from a variety of sources, including from reformed museums and private assembly. These revenues are mainly and formed the current collection of Old Russian art in the gallery.

In the mid-1930s, the Gallery created the Scientific Department of the Old Russian Art and Restoration Workshop. A new exposition was opened, in which the principles of the historical and art show of the monuments were observed, the main centers, stages and directions in the Iconopy of the XII - XVII centuries were presented.
A number of valuable icons, sometimes very ancients, entered the gallery as a result of expeditions across the Russian North and the central regions held by the gallery employees in the 1960s and 1970s.

Now the collection is already over six thousand storage units. These are icons, fragments of frescoes and mosaics, sculpture, small plastic, applied art items, copies of frescoes.

In Doparerovskaya Rus, almost all painting was exclusively religious. And we can call all painting with full right icon painting. All the desire for the beautiful, thrust for beauty, glowing and aspiration in return, in the Spirit area to God, found their permission in church icons. In the skill of creating these sacred images, the talented representatives of the gifted Russian people reached the genuine peaks of world sound.

Unknown icon painter, middle of the XVI century
"The military of the heavenly king ..." (the church is militant)
Mid XVI century
tree, temperature
143.5 x 395.5

The flourishing of Russian icon painting as such is to the Dopurerovsk era. Tested in the process
there are several bright and amazing development in the form and the workshop of the incarnation of the religious-theological tasks of the takeoffs who stood in front of them, the Russian icon painted after the Petrovsky era comes in decline, continuously degrades, turning, finally, in the handicraft works of the handles. At the beginning of the 20th century, talented artists of Nesterov, Vasnetsov, and others, tried to bring Russian icon painted from that congestive position in which it was, but a number of objective and subjective reasons did not allow the opportunity to come to the true revival of this holy art and did not create anything that could stand in one A row with the immortal creations of the spiritual painting of Doparyrovskaya Rus.

According to its own tasks, according to its own purpose, the icon is fundamentally different from close, it would seem, and similar to her worldly portrait painting. If a portrait necessarily implies the existence of some kind of nature, the artist accurately reproduces, trying not to shy away from portrait similarity, then the icon painter, in whose tasks is to reproduce the sacred image or some definite theological thought, clothed in the most intelligent embodiment, maybe in their talent and Razumion, to a certain extent shy away from the "iconographic originals" approved by the church practice and give their solution to the task in front of him.

Unknown icon painter, beginning of the XIII century. Delius: Savior, Virgin, John the Forerunner
The first third of the XIII century. Derevo, tempera 61 x 146

From here it becomes clear that the importance of the old church rules of the personality itself and the behavior of the artist-icon painter during work on the icon. Thus, in the famous collection of the resolutions of the Cathedral of the Cathedral of 1551, known under the name "Stoglav", the requirement is given that the icon painter is "Smiren, meek, benwich; He lived in a post and prayer, keeping with every fear of physical and physical clean. " In the same "Stallow" we will find a certain requirement of an indispensable consequence of antique "icon-painted origins" so that the sacred images created by again, did not bring up with the traditions established since the tradition and were immediately familiar and they are understandable to everyone with a prayer.

The main principle that is laid in the work of the icon painter is sincere religious inspiration; The artist knows that in front of him there is a challenge for the mass of believers image, an icon intended for prayer.

Its defined and firmly discharged Russian icon painting produces in the XIV century. It will be the so-called Novgorod school. Researchers see here direct compliance with the artistic dawn of Byzantium of the era of Paleologists, whose masters worked in Russia; One of them is the famous Faofan Greek, signed between 1378 and 1405. Some Novgorod and Moscow cathedrals were a teacher of the ingenious Russian master of the XIV-XV centuries. Andrei Rublev.

Andrei Rublev.

Rublev and his followers belong to the Moscow School. His creativity is the next step compared to Feofan Greek, whose works are typical for the Novgorod school and its varieties, more archaic Pskov.

The Novgorod school is characterized by major massive sainch figures, with a large size of the icons themselves. They were intended for extensive and majestic temples, generously erected, rich and piously "Mr. Veliky Novgorod". Tone icons reddish, dark, bluish. The landscape is the stepped mountains and architecture of buildings - portico and columns - largely close to genuine nature of the territory of Alexandria and related areas where events from the life of the saints depicted on the icons and martyrs occurred.

Unknown icon painter, Novgorod school
Fatherland with selected saints.
Beginning of the XV century
tree, temperature
113 x 88.

Unknown icon painter, XIV - beginning of the XV century
Nikola with Life.
End of XIV - early XV century
Tree, temperature
151 x 106.

The type of the Faces of Saints and Our Lady is also not Russian: oblong, "Byzantized". This characteristic detail in the future, in Moscow: School, more and more accepts the Slavic shade, turning, finally, in the works of the ingenious "tsaristimi" XVII century Simon Ushakov and his schools in typical Russian round faces.

Magnificent brilliant Byzantium, the capital of which Tsargrad, according to the testimony of all historians and memoirs, was the richest city in the world, and her emperors considered themselves as if earthly representatives of the Almighty God, demanding for themselves almost divine worship. Naturally, with the help of icons, they sought to strengthen their credibility and strength. The Saints of the Byzantine School, in most, in the same way, as we passed on the walls of the Novgorod Councils and the monasteries of their reflection - harshs, punish-strict, majestic. In this sense, the amazing frescoes of Feofan Greek will be characteristic, who (leaving aside all the differences between eras and receptions) involuntarily resemble the harsh-fried figures of the Roman frescoes of Michelangelo.

In the middle of the XVII century, the famous "Tsarsky Isograph" Simon Ushakov became famous in Russia, personified a new Moscow school, which reflected the magnificent and wealth of the Moscow Tsarian Dwaria and Boyarskoye, who had stabilized after the troubled time and foreign intervention.

The works of this master are characterized by special softness and roundness of lines. The Master is striving for expression not so much and not only inner spiritual beauty, how much external beauty and, we would even say, "the beautiful" of their images.

Researchers are not without reason see Western influence in the work of this school and first of all "the Netherlands Italian Masters of the Second Half of the XVI century."

Tsarist Gate
Mid XV century

If the works of Ushakov and his comrades were mainly intended for temples, the need for wealthy people in a beautiful "measured" Icon for homemade was satisfied by the Stroganov school, the most famous masters of which: Family Borozdin, Eastom Savin, First, Prokoki Chirin, fully presented in the gallery, According to its artistic credo, the Ushakov school is pretty. No wonder most of them worked with great success in Moscow.

Unknown icon painter of the XII century. Complex is unspecified. (Right)
The second half of the XII century. Derevo, temperatures 77 x 71

Daerahler. I had a lot of one photo. So it looks like. Suitable impressive!
We must see!

Art

110959

The State Tretyakov Gallery is one of the largest artistic museums of Russian visual arts. To date, the "Tretyakov" collection has about one hundred thousand items.

With such a number of exhibits, wander on exposure can be several days, so Localway has prepared a route along the Tretyakov gallery passing through the most important halls of the museum. Do not get lost!

Inspection starts from the main entrance, if you face the box office, on the left there is a staircase leading to the second floor. Room rooms are written at the entrance, above the doorway.

Hall 10 is almost entirely devoted to the picture of Alexander Andreevich Ivanova "The Messiah" (the more famous name - the "phenomenon of Christ to the people"). The canvas itself occupies a whole wall, the remaining space fill the sketches and etudes, which for twenty years of work on the picture has accumulated a great set. The artist wrote the "phenomenon of the Messiah" in Italy, then not without adventures sent the canvas to Russia, and after criticism and non-recognition of the picture in his homeland, died suddenly. Interestingly, Nikolai Vasilyevich Gogol and Ivanov himself depict on the canvas among others.

In the hall 16, on the right in the course of the movement, there is a touching picture of Vasily Vladimirovich Pukirev "unequal marriage". It is rumored that this is a canvas autobiographical: the failed bride of Pukireva was married for a rich prince. The artist perpetuated in the picture and himself - in the background, a young man with arms crossed on his chest. True, these versions do not have actual confirmations.

Hall number 16.

On the left in the same hall - the canvas Konstantin Dmitrievich Flavitsky "Princess Tarakanova". The picture shows the legendary impostor, trying to give himself for the daughter of Empress Elizabeth Petrovna. Princess versions Princess Tarakanova (real name is unknown) There are many officials - death from CHAKHETOP. However, "in the people" (including, thanks to the work of Flavitsky), another left: the adventuretical died during a flood in St. Petersburg, in the prison chamber of the Petropavlovsk fortress.

Hall number 16.

In the 17th Hall there is a picture of Vasily Grigorievich Perova "Prival Hunters". The canvase presents a whole storyline: older character (left) tells some kind of fictional story, which the young hunter sincerely believes. A middle-aged man (centered) is skeptical about the story and only laughing.

Experts often spend the parallel between the Pern's picture and the "Hunter's Notes" Turgenev.

Hall number 17.

In the hall 18 there is the most famous web of Alexei Kondratyevich Savrasov "Gracchi flew", written in the Kostroma region. The Resurrection Church, depicted in the picture, exists to this day - now there is the Savrasov Museum there.

Unfortunately, despite many wonderful works, the artist remained in the memory of the people "author of one picture" and died in poverty. However, it was "Graci" it was the starting point for a new landscape school genre in Russia - lyrical landscape. Subsequently, Savrasov was written several replicas paintings.

Hall number 17.

In the 19th Hall there is a picture of Ivan Konstantinovich Aivazovsky "Raduga". Surprisingly, the artist who, for his life, about six thousand canvases for his life, always remained faithful to her genre - maroon. The presented picture in the plot is no different from most Aivazovsky works: shipwreck is depicted on the canvas. The difference is in paints. Usually using bright shades, the artist chose a softer tone for "rainbow".

Hall №19.

In the hall 20 there is a famous canvas Ivan Nikolayevich Kramsky "Unknown" (it is often mistakenly called "Stranger"). The picture shows a royal, a gorgeous lady passing in the crew. Interestingly, the person's personality remained a mystery to the artist's contemporaries, and for art historians.

Kramskaya was one of the founders of the "Mobile" society - the associations of artists who opposed themselves to the representatives of Academicism in painting and organizing mobile exhibitions of their works.

Hall number 20.

On the right, in the course of the movement, in the hall 25 there is a picture of Ivan Ivanovich Shishkin "Morning in a pine forest" (sometimes the cloth is mistakenly called "Morning in Pine Bor"). Despite the fact that now the authorship is owned by one artist, they worked on the picture Two: the landscape of Shishkin and the genre painter Savitsky. Konstantin Apolloovich Savitsky wrote a bearish, in addition, he sometimes attributes to himself and the idea of \u200b\u200bcreating a picture. The versions of how the Savitsky signature disappeared from the canvas, there are several. According to one of them, Konstantin Apollonovich removed his name from the finished work, thereby refusing the authorship, on the other - the signature of the artist erased the collector Pavel Tretyakov after buying a picture.

Hall №25

In the hall 26, three fabulous paintings by Viktor Mikhailovich Vasnetsova are hanging at once: "Alenushka", "Ivan-Tsarevich on a gray wolf" and "Bogatyry". Three heroes - Dobrynya Nikitich, Ilya Muromets and Alesha Popovich (from left to right in the picture) - hardly the most famous heroes of Russian epic. On the canvas Vasnetsov brave well done, ready to take battle at any moment, look out for, is there no enemy on the horizon.

Interestingly, Vasnetsov was not only an artist, but also an architect. For example, the extension of the main entrance hall of the Tretyakov Gallery of the Bala was designed by them.

Hall number 26.

In the 27th hall there is a canvas Vasily Vasilyevich Vereshchagin "Apotheosis of War", belonging to the series of paintings "Varvara", written by the artist under the impression of hostilities in Turkestan. There are many versions on what such pyramids were laid out for the sake of the sake of the sake of the sake of the sake of the sake of sake. According to one of the legends, Tamerlan heard a story from women Baghdad about their wrong husbands and ordered each of his soldiers to bring along the chopped head of trains. As a result, several mountains of skulls were formed.

Hall number 22.

In the hall 28 there is one of the most famous and important paintings by the Tretyakovskaya Gallery - "Boya Morozova" Vasily Ivanovich Surikova. Feodosia Morozova - Avvakum Protopopa Supporter, a commitment of old-believe, for which she paid for life. On the canvas, haruning as a result of the conflict with the king - Morozov refused to take a new faith - carrying one of the Moscow space to the place of detention. Theodora rushed down two fingers as a sign that her faith was not broken.

After a year and a half, Morozova died of hunger in an earthy prison of the monastery.

Hall №28.

Here, in the 28th hall, there is another epic fabric of Surikova - "Morning Streletzka execution." The shooting shelves were sentenced to execution as a result of a failed rebound caused by military service. The picture is deliberately depicted not by the execution itself, but only people in her waiting. However, there is a legend that initially on the sketches of the canvas were written and already executed through the hanging of Sagittarius, but once, going into the workshop to the artist and seeing the sketch, the maid fell into fainting. Surikov, who wanted not to shock the public, but to convey the mental state of sentenced in the last minutes of their lives, images hanged from the paintings removed.