State Pushkin Museum of Fine Arts. Museum of Fine Arts

A year and a half ago, all the impressionists and works of the 20th century were removed from the Pushkin Museum. Now they live in a separate building on the left (formerly the Museum of Personal Collections, now the Gallery of European and American Art of the 19th–20th centuries). As a result, a lot of space was freed up on the upper floors of the main building - they decided to update the exhibition. All the keepers had something to take out from under the covers - and, of course, everyone wanted it. Although only two collections could increase significantly - the Dutch one, due to the endless and infinitely prolific little Dutchmen (the great ones have been on display for a long time), and the Italian one, where there is something to add to each century (although names not previously presented are mostly familiar only to art historians, and Italianists at that) . As a result, both were added, but in different proportions. But first things first.

Of course, you can’t change the exposure overnight; the process is long. The halls were closed one by one, repaired and replaced, paintings were restored and taken out of storage. They carried the French upstairs and gathered Rembrandt and his school in one hall. To regular visitors of the museum this is unlikely to seem like an amazing metamorphosis - well, the walls were painted, the labels were changed, new shields were made. But if you remember how everything looked last year, it turns out that everything is the same, but not the same. On the ground floor, only the Greek and Italian courtyards remained unchanged (in the first there was a project for the reconstruction of the museum, and in the second there was a Christmas tree, but this is probably not forever). Everything else was mixed up. The left enfilade is now completely occupied by antiquities and antiquity, which have replaced Italian icons and Early Renaissance. True, the way there still lies through the Fayum portraits, and the “Treasures of Troy,” now included in permanent exhibition, have been in the museum for a long time under the guise of an exhibition. In the center is now the entrance to Italian halls, in the vestibule of which works of Byzantium are displayed. In the hall with Italian Renaissance Cranach and the early Germans are no longer shown. Then, passing the Italian courtyard and passing through the French portico, you find yourself in the northern school (the French used to be here): Cranach, brought from Italy, now has his own separate nook. Further along the enfilade follow separate Flemish and Dutch rooms with corners of Rubens and Rembrandt. Pieter de Hooch appeared in Holland, whose existence no one except the guardians had any idea about. Still on the second floor most The halls are occupied by copies and casts (they, unfortunately, were not touched). But Italians settled in the left wing - academicists, mannerists and the Venetian school. A new wonderful Tiepolo, Magnasco and several Veronese (with a school) appeared. The right wing, as mentioned above, was given to the French, who enriched themselves with Lebrun and Lorrain. Overall, the exposure has increased by a third, which is nice. Now Pushkinsky gives me the feeling, like after the Capodimonte Museum in Naples, - as if the history of art consists mainly of antiquity and the mass of Italians, and everything else was just that, little things.

The most amazing thing is that all this beauty will not last long: the museum will soon be closed altogether. By the centennial anniversary (that is, by 2012), Pushkinsky should be reconstructed. The reconstruction project is being carried out by Norman Foster; according to preliminary plans, a huge underground museum ny quarter. The ending of this story is unpredictable: for now the project will pass all approvals are in place, the underground museum can turn into a thirty-story one shopping mall- but we hope this will not happen with Pushkinsky. In the meantime, one unnoticeable reform has already been carried out in the museum’s halls. The fact is that in our museums the principle of inspection is compulsory - thanks to the enfilade system of halls. That is, the visitor cannot see only Rembrandt or only small Dutchmen - to get to them, willy-nilly he has to pass through many different styles, names and eras. Previously, to get into the halls of ancient Assyria, you had to go through the Italian icons, and the entrance to Italy of the 17th–18th centuries lay through the French hall. Now you can separately go to the halls of antiquity or early Italy, or Holland, or late France. Although, to be honest, the museum is so small that if you look at the entire exhibition in one sitting, even enlarged by a third, you will never get tired.

Museum fine arts named after A.S. Pushkin

State Museum of Fine Arts named after A.S. Pushkin(Moscow) - this is Russian Museum world art, originally founded (precisely as a museum) at Moscow University in 1898 (from the moment of its foundation, during construction). Now it is one of the largest Russian museum complexes (museum town) in the very center of Moscow. Collection of the Pushkin Museum named after. A. S. Pushkin consists of works Western art: from exhibits of ancient times and antiquity, to works of the 20th century. The museum presents interesting collection from plaster copies of world-famous ancient and Roman sculptures.

Collection Western painting compiled from the collections of the Moscow Public Museum, Rumyantsev Museum and the State Museum Fund (already under Soviet power at the end of the 20s). The most valuable and famous works of art(Boticelli, Poussin and David) were transferred from the State Hermitage Museum.

Currently, the total number of works of art (painting, graphics, sculpture, numismatics and archeology) is more than 560 thousand.

The museum complex includes:

• The main building of the Museum of Fine Arts. A.S. Pushkin (Volkhonka St., 12);
• Gallery of European and American art of the 19th–20th centuries (Volkhonka St., 14);
• Building of the Department of Personal Collections (Volkhonka St., 10);
• Center aesthetic education"Museion".

Official website of the Museum of Fine Arts named after A.S. Pushkin

1949 to 1953- the museum housed an exhibition of gifts from I.V. Stalin.

1985- the Department of Personal Collections is opened in a separate building.

1991- the museum is included in the State Code of Particularly Valuable Objects cultural heritage peoples of the Russian Federation.

The management of the construction was entrusted to the architect R.I. Klein, who developed the final design of the building. The Moscow State University board organized a long business trip for Klein European museums, Egypt and Greece. Klein was assisted in the construction by engineers Ivan Rerberg, the first deputy project manager, and Vladimir Shukhov, the author of the museum’s unique translucent ceilings. Dozens of young architects, engineers, and artists went through Klein's school during the construction of the museum.

The building was completed roughly in 1904. Exhibits ( plaster casts and other copies) were ordered from the 1890s from foreign workshops using forms taken directly from the originals; in some cases, copies were made for the first time. On May 31 (June 13), 1912, the museum was opened to the public as the Museum fine arts named after the emperor Alexandra III at the Imperial Moscow University.

In 1923, the Museum was removed from subordination to the university. In 1932 it was renamed the State Museum of Fine Arts. In 1937, the Museum was named after Alexander Sergeevich Pushkin. In 1991, the Museum was included in the State Code of Especially Valuable Objects of Cultural Heritage of the Peoples of the Russian Federation.

The founder and first director of the Museum in 1911-1913 was Ivan Vladimirovich Tsvetaev (1847-1913), a professor at Moscow University. Irina Aleksandrovna Antonova, academician Russian Academy Arts, Academician of the Russian Academy of Education, Honored Artist of the Russian Federation, was the director of the museum from 1961 to July 2013, when she was appointed President of the museum. Currently the director of the Pushkin Museum. A.S. Pushkin is Marina Devovna Loshak.

Collections State Museum Fine Arts named after A.S. Pushkin are presented in the museum complex of buildings.

The Museum operates the Center for Aesthetic Education of Children and Youth “Museion” (Kolymazhny Lane, 6).

Composition of the Museum's collections

Currently total number The monuments stored in the Pushkin Museum amount to about 670,000 items. These are works of painting, graphic works, sculptures, works applied arts, archaeological sites, numismatic monuments, photographs, memorial items, items of scientific and auxiliary fund.

In 2011, the Museum’s collection was replenished with significant works painting, graphics, numismatics, decorative and applied arts. Total receipts amount to 3471 items. Of these, 787 items were purchased, 550 items were accepted as donations, and 2,134 items were accepted by decision of the Expert Fund Purchasing Commission.

The Museum's painting collection was replenished with 8 works; sculptural - one; collection of decorative and applied arts - 28 works; graphic collection- 118 works; collection of the Museum of Personal Collections - 433 works, including paintings, graphics and photographs; the numismatic collection includes 1,790 items; a complex of archeological objects has also been added to the Museum’s collection total number 1093 items.

Foundation of the Pushkin Museum named after. A.S. Pushkin in 2011, a rare monument to the early Dutch painting(XVI century): double-sided altar door with scenes of “The Last Supper” and “Mass of St. Gregory"; The work stylistically gravitates towards the production of the workshop of the Brussels painter Colijn de Cauter.

Valentina Andrianovna Tsirnyuk donated a set of works to the Museum, among which the sculptural group “Artist and Model” should be highlighted. Italian master Emilio Fiaschi (1858-1941). This work typical for salon art half of the 19th century century.

The collection of decorative arts also included a decorative porcelain vase of Etruscan shape with an archery scene in the Green Dog Park near Brussels, created in France in the 1830s. In terms of quality of execution, form and painting, it is very rare for Russian museum and private collections. The vase was purchased by the Museum with funds from the Russian Federation Ministry of Culture.

Another work of decorative and applied art, which was included in the Museum’s collection in 2011, is a bone relief with portrait of a woman- the work of the Austrian sculptor and bone carver Norbert Michael Schrödl (1816-1890). He is known primarily as the author of portraits of members of the imperial family and prominent contemporaries, created using the technique of ivory carving. Based on a number of signs, it can be assumed that the image on this item is a portrait of the Empress of Austria and Queen Elizabeth of Hungary (1837-1898). 19th century art of carved bone museum collection is represented only by individual samples, and therefore this thing occupies an important place in it.

The Museum's graphic collection includes 25 works of German graphics, including works by Lucas Cranach, Urs Graf, Hans Beham, Hans Burgkmeyer and other masters of the era of Albrecht Dürer, which are of undoubted value for the Pushkin Museum's collection.

Of great value is the collection acquired by the Museum, consisting of 721 oriental coins, of which 33 are silver and 688 bronze. The collection was collected in Turkmenistan and includes coins that circulated in the Merv oasis from the 3rd century BC. before late XIX century. It is unique because it contains rare coins from antiquity and early Middle Ages, as well as samples of little-known issues of Merv coinage. The collection was accepted for temporary storage back in December 2000 and, after much careful work Russian specialists, finally entered the Museum’s collection.

State Museum of Fine Arts named after A.S. Pushkin - museum complex, which has one of the largest art collections in Russia foreign art, storing artifacts created by masters different eras- from Ancient Egypt And ancient Greece to the present day.

The date of foundation of the Museum of Fine Arts. A.S. Pushkin is considered August 17 (29), 1898. It was on this day in Moscow, in the former Kolymazhny yard, near the Cathedral of Christ the Savior on Volkhonka, that the foundation stone of a new Moscow museum, created with public funds, took place - the Museum of Fine Arts named after Emperor Alexander III. This event was preceded by years of hard work by its creator, Moscow University professor Ivan Vladimirovich Tsvetaev (1847-1913), as well as a group of Moscow and St. Petersburg scientists. New Museum was conceived primarily as a university The educational center, it was based on plaster reproductions (casts) of sculptural originals. Gypsum castings were produced by the largest companies of that time, many were made specifically for I.V. Tsvetaeva. 14 years later, in May 1912, the museum was opened to the sounds of a solemn cantata, specially written for this event. The collection of casts has been replenished with magnificent collections original works art. This is also a collection of ancient Egyptian monuments (about 6,000 items), which was collected during his travels in Egypt by the St. Petersburg orientalist V.S. Golenishchev, and works Italian artists XII-XIV centuries from the collection of M.S. Shchekina. The museum finally became a collection of originals in the second half of the 1920-1930s, when, as a result of the redistribution of the country's museum funds, an art gallery arose. She combined the works foreign artists from the former Rumyantsev Museum, collections of S.M. Tretyakov, Yusupov, Shuvalov, G.A. Brocard, D.I. Shchukin and other collectors. These were paintings by Dutch and German masters, Flemish and Spanish painters XVII century, Italian artists of the XIII-XVII centuries, French authors XIX century. However, crucial for the formation art gallery had income from State Hermitage. From there, works by major European painters “came” to Moscow - Botticelli, Rembrandt, van Dyck, Rubens, Poussin, Murillo, Canaletto.

In 1932, the Museum of Fine Arts was renamed the Museum of Fine Arts, and was given the same name in 1937. A.S. Pushkin. The appearance of the museum's art gallery was finally determined in 1948, when it was replenished with works of artists, mainly French, of the late 19th and early 20th centuries (286 items) from the collection former Museum new Western art in Moscow. These were paintings by E. Manet, C. Monet, Renoir, Degas, Pissarro, Sisley, Cezanne, Van Gogh, Gauguin, Matisse, Marquet, Rouault, Picasso and others, purchased at one time by Russian collectors S.I. Shchukin and I.A. Morozov. Within the framework of the art gallery, a significant collection of genuine Western European sculpture and applied art has also been formed.

Art

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Gallery of art from Europe and America of the 19th–20th centuries. – the second building of the State Museum of Fine Arts named after A.S. Pushkin. The building opened in 2006 and some of the exhibits from the main exhibition were moved into it. Let's try to navigate two centuries of diverse Western art.

The gallery building is located on Volkhonka, to the left of the main building of the museum (if you are facing it).

The gallery occupies three floors. The halls are located in a circle, the inspection begins to the left of the stairs. The hall numbers are written above or next to the entrance openings.

Francisco Goya's painting "Carnival", located in the second room, is not widely famous work the artist, however, fully reveals his author's style. The canvas also echoes the famous “Caprichos” etchings. The grotesque freaks taking part in “Carnival”, coupled with the overall gloomy tone of the picture, are depressing and fascinating.

Here, in the second room, there is a painting by Paul Delaroche “Children of King Edward IV”. The canvas depicts the main characters of one of the most mysterious legends of old England - Princes Edward V and Richard of York. At the end of the 15th century, the English Parliament adopted a decree recognizing the princes as illegitimate and, accordingly, having no rights to succession to the throne. The current king of England and the brothers' uncle Richard III imprisoned 13-year-old Edward and 10-year-old Richard in the Tower, further fate children are unknown. There are many versions of their death, but the main one is the quick murder of Richard III.

Several centuries later, two children’s skeletons were discovered in one of the towers of the Tower, however, the examination was unable to establish whether the remains belonged to the princes.

Hall No. 2

On the second floor, in the eighth hall, there is famous painting Edgar Degas "Blue Dancers". The artist was extremely fond of the theme of ballet, and specifically the behind-the-scenes part of it. This becomes obvious if you look at the works located in the neighborhood.

There is an opinion that, contrary to the title, the dancer in the picture is depicted alone, on different stages preparing to go on stage. The composition is also interesting: probably due to the artist’s passion for photography, the canvas deliberately resembles a frame that was unable to contain everything that was happening.

Hall No. 8

One of the most famous and discussed paintings by Claude Monet, “Boulevard des Capucines in Paris,” is located in the ninth room. It is curious that this painting, being presented at the first exhibition of the Impressionists, was attacked more than others by an already critical public. The new trend was not accepted and only caused ridicule. Today, the painting is often cited as one of the most representative and exemplary works performed in the direction of impressionism.

By the way, in fact, impressionism owes its name to Monet. The artist’s brush is the painting “Impression. Sunrise”, this name became the basis for a new movement in painting – impression, which translated from French means “impression”.

Hall No. 9

In the tenth room there is a painting by Camille Pissarro “Opera Passage in Paris”.

The fate of one of the most prominent representatives of impressionism was not easy: at the height of the Franco-Prussian War, the artist was forced to leave his apartment in the suburbs of Paris, leaving all his works there. Settled in the room Butcher shop, and they literally wiped their feet on Pissarro’s canvases, using them instead of rugs. Out of more than five hundred paintings by the master, only a few dozen remained intact.

But neither the ruined works, nor endless poverty and hunger, nor ridicule of the new direction in painting could break the artist’s will. The landscapes in which Pissarro depicted the streets of Paris eventually received well-deserved recognition from art critics and the love of the public.

Hall No. 10

Auguste Renoir is also a representative of impressionism. One of his paintings – “Swimming in the Seine” (also called “Splash Pool”) – is located here, in the tenth hall. The artist was recognized master a sentimental portrait, but besides this, the favorite theme of his works were ponds, embankments and the life that boiled on them.

At the end of his days, Renoir was seriously ill and was bedridden, but did not put down his pencil, because, in his words, “pain passes, but beauty remains.”

Hall No. 10

It's hard to believe, but the famous post-impressionist Vincent Van Gogh was not only a painter. The future master managed to work as a dealer in a large art company (thanks to which he began to understand art), a salesman in a bookstore, a teacher in a boarding school and a missionary, and only at the age of 30 did he take up painting seriously. The only painting that was sold during the master’s lifetime was “Red Vineyards in Arles,” now located in the eleventh hall of the Museum of Fine Arts. Pushkin.

Also noteworthy is the work “Prisoners' Walk,” created by Van Gogh during the exacerbation of his mental illness and voluntary “imprisonment” in a psychiatric hospital. The artist was forced to look at the world through the iron bars of the window bars, and the canvas frankly conveys the feelings of the master, who was actually deprived of freedom. No wonder central character the painting is endowed with extraordinary external resemblance with the author.

Van Gogh lived only 37 years and died tragic accident: while walking with painting materials, the artist accidentally shot himself from a revolver, which he had brought to scare away birds while working on a painting.

Hall No. 11

The works of another representative of post-impressionism, Paul Cézanne, are located in the fourteenth room. The artist created more than 800 paintings, but received real recognition only in last years life, at the age of 65 years.

One of his first works is “In the Rooms” (another name is “Scene in the Interior”), now located in the Museum of Fine Arts. Pushkin, was subjected to monstrous criticism.

One of the most mysterious paintings Cezanne is “Pierrot and Harlequin” (“Mardi Gras”, “Maslenitsa”), which the master wrote for about two years. His son Paul posed for the artist in the image of Harlequin. Art critics to this day are trying to find an explanation for why Cezanne, alien theatrical genre, chose this particular topic, and they attribute some hidden meaning to the picture.

Hall No. 14

One of the brightest representatives Post-Impressionism is Paul Gauguin.

WITH youth Gauguin was interested in and had a special love for tropical countries, and with the move to Tahiti, the “Polynesian” began - the most fruitful period his creativity. And although life on the island cannot be called cloudless (during his stay in Tahiti, the artist even tried to commit suicide by poisoning himself with arsenic), it was there, in the opinion of the master himself, that his best works were created. Canvases “Oh, are you jealous?” and “Her Name was Vairaumati” are in the fifteenth room of the museum. Gauguin described the subjects of his paintings in the book “Noah Noah”. Thus, the first canvas depicts two sisters stretched out in voluptuous poses on the shore after swimming and talking about love - past and future. On the second canvas is the heroine of the Polynesian myth Vairaumati, the earthly wife of the god Oro. According to legend, the couple became ancestors secret society free love that exists on the island.

Hall No. 15

One of the prominent members of the Nabi group of symbolist artists is Maurice Denis. His canvas “Polyphemus” is located in the sixteenth room. In the painting, the artist combined myth and reality: in the background, the ancient Polyphemus plays a melody of love to the nymph Galatea, and in the foreground, modern earthly inhabitants are frolicking. By the way, members of his family and friends posed for the master.

Hall No. 16

On the third floor, in room eighteen, there is a painting by Andre Derain “Drying the Sails”. The canvas was presented as part of a series of works created in close collaboration with Henri Matisse for the Paris Autumn Salon of 1905, and became the progenitor of a new movement - Fauvism (translated from French as “wildness”). The paintings were called “wild” for their riotous and expressive colors, dynamism and emotionality. True, the artists themselves never used this term in relation to their works.

Hall No. 18

The movement of artists, the founders of Fauvism, collapsed three years after the unification. However, this event in no way prevented Henri Matisse from continuing to adhere to the accepted course. The master's works are in the nineteenth and twentieth halls.