Museum of the Art and Industry Academy named after. A.L. Stieglitz

Named after A. L. Stieglitz was founded in 1876. Now it is one of the most famous educational institutions in Russia. The university is located in the historical part of St. Petersburg, the second largest city in the country and the main cultural center.

Start

The creation of the Stieglitz Academy in St. Petersburg was associated with the rapid growth of industrial production that swept European countries in the middle of the 19th century. Semi-handicraft manufactories were replaced by factories where it became possible to produce goods in large quantities. However, it soon became clear that consumers were not just interested in utilitarian things, but in beautiful products with a memorable design.

In 1851, the famous art and industrial exhibition was held in England, at which different countries presented their best goods and products. In addition to traditional embroidery, ceramics, weaving, and jewelry, the companies presented amazing factory products made of wood, cast iron, and steel. The apotheosis of industrial achievements was the Crystal Palace: the pavilion where the exhibition took place was as if woven from a metal web and “sheathed” with large glass panels.

Birth of an art academy

Russian industrialists who visited the fair were greatly impressed. The idea of ​​creating a national school for training artists specializing in applied arts was born. In 1860, a school of technical drawing was formed on the basis of the Moscow one. However, her capabilities were clearly not enough.

According to popular opinion, the initiative to organize a specialized art and industrial educational institution in St. Petersburg was made by Senator Alexander Polovtsov, the son-in-law of the richest (according to contemporaries) banker in Russia - Baron Stieglitz. The banker liked the idea, and he established a special fund in the amount of 7 million rubles (huge money at that time), on the interest from which the Central School of Technical Drawing, created in 1876, existed. It trained decorative artists in applied disciplines and teachers of technical drawing for other schools that began to appear throughout the country. Thus, TSUTR became the progenitor of the Academy. Stieglitz.

Development

The Soviet government took a different view of the role of art in industry. Any decorations were considered unnecessary, a manifestation of philistinism. In 1922, TSUTR was closed and later reformatted into a general education institution.

The rebirth of the Academy. Stieglitz occurred on 02/05/1945. On this day, courses for training restorers began. After the war, many historical buildings and works of art needed restoration.

In 1953, the Leningrad Higher Art and Industrial School (LVHPU) named after V.I. Mukhina was founded. People called it the Mukhinsky School. We must pay tribute, an amazing team was formed within its walls, which was able to restore, bit by bit, the centuries-old traditions of its predecessors and at the same time introduce a lot of new things into the science of industrial design, artistic crafts, and preservation of historical heritage. In 2007, the university was reorganized into the St. Petersburg Academy of Arts and Industry named after A. L. Stieglitz.

Today's day

Currently, the university has about 1,500 students and 500 employees. Applicants can receive higher education in the field of monumental and decorative art, design, art history and restoration.

The faculties of the Stieglitz Academy in St. Petersburg actively cooperate with structural organizations and industrial enterprises. For example, the Department of Industrial Design works side by side with well-known Russian companies, including car manufacturers KamAZ and AvtoVAZ, shipbuilders Almaz and Aurora, NPO LOMO, and the Svetlana factory. The fashion design department hosts numerous competitions and festivals.

SPGHPA. them. A.L. Stieglitz has a long history of successful international relations. Teachers and students cooperate with higher educational institutions and creative organizations in Germany, Finland, China, France, Japan and other countries.

Faculty of Monumental and Decorative Arts

Artists of all kinds are trained here. The variety of specialties is determined by the innovative directions of the 21st century, as well as traditions drawn from the past. Art Academy applicants can choose one of many specializations:

• History of art and civilization.
• Artistic processing of metals.
• Graphic art, book illustration.
• Ceramics, glass.
• Painting, restoration.
• Wood painting.
• Sculpture.
• Textile design.
• Interior and equipment.
• Monumental and decorative painting and sculpture.

Faculty of Design

First of all, this is a school of artistic and design creativity, which is faced with the task of determining the optimal ways to integrate design, pedagogy, science and industrial production. The curriculum is built on creating a kind of launching pad for creativity. The following specialties are taught here:

• Costume design.
• Environment design.
• Graphic design.
• Furniture design.
• Industrial design.

Achievements

The famous university has trained a galaxy of talented and successful artists and designers for the manufacturing industry. In search of aesthetic values, graduates actively form new trends for architecture, design, monumental, decorative and applied arts.

Today, former students successfully work in industrial enterprises, participate in projects of research institutions, as well as in construction bureaus, art schools and creative organizations. In addition, students of the Academy named after. Stieglitz made a significant contribution to the development of the country's material culture. For their high achievements, the team was awarded the honorary Order of the Red Banner of Labor.

Social and cultural life

The Academy has a developed material and technical base. There is a museum with more than 35,000 objects of applied art and a collection of student works. The library has more than 140,000 publications and a rare book depository for 10,000 items. Catering provided.

There are excellent facilities for sports and there is also a gym. There is a student dormitory located on Kuznetsova Avenue 30/9, St. Petersburg. By the way, during entrance exams and training courses, applicants can be accommodated in a dormitory.

Museum

At the Academy. Stieglitz has a wonderful museum (founded in 1878). It presents both the works of teachers and students of the academy from different years, as well as other works of art.

The same Alexander Polovtsov contributed to the creation of an art museum at the educational institution. Together with the architect Maximilian Messmacher, he convinced Baron Stieglitz of the need to have a collection of works of applied art - both as a teaching aid and to develop the artistic imagination of students. The baron allocated an additional 5 million rubles for the implementation of this idea, which made it possible to purchase art books for the school library, new exhibits for the museum, printed graphics, original paintings and drawings by Western European artists, products of master jewelers, and works of decorative artists in various industries.

Large amounts of money were spent on purchasing specialized exhibits and works of art at Parisian auctions; the best and unique lots were often purchased. Thanks to these acquisitions, the school museum became the owner of:

• Samples of ceramics from archaic times.
• Jewelry.
• Archaeological objects of the ancient Phoenicians.
• Antique furniture.
• Antique fireplaces.
• Products from ceramic centers in Italy, France, Germany.
• Collections of French tapestries.
• Original paintings by Tiepolo.
• Original drawings by artists and decorators, including Giovanni Castiglione, Franceso Guardi, Perino del Vaga, Tiepolo, Polidori da Caravaggio, Annibale Carracci, Gilles Marie Oppenor and others.

After the death of Stieglitz, Alexander Polovtsov had to bring the improvement of the new art school to its logical conclusion. He gave considerable sums to charity and the development of the material and technical base.

Was in the museum and Medici Hall, dedicated to the masters of decorative and applied arts who glorified Florence and their patrons. The ceiling of the hall is decorated with four medallions with portraits of representatives of the Medici dynasty and other figures. Under Messmacher, the hall contained display cases with Italian and German plaques from the 15th-17th centuries, mainly on ancient mythological and Christian subjects. Medici Hall in 1896 (photo source:):

The second floor, which, except through the Great Hall, could be reached along a wide Roman stairs, was dedicated to the halls of English, Italian, Flemish and French art of the 16th-18th centuries. Thus, the exhibition of Italian art occupied five halls, including a spacious Tiepolo Hall, dedicated to the art of the 18th century Venetian Republic and sometimes called Venetian hall(photo source: ).

The decoration of this room with a picturesque ceiling and stucco molding was reminiscent of the decoration of the library in the Venetian Doge's Palace. Unique Venetian art glass vessels, Delft faience, French baroque chests of drawers, fabrics, lace, fans and, most importantly, five magnificent paintings were exhibited here. Tiepolo(c. 1725), acquired by Messmacher specifically for his museum (now they are in the Hermitage). Venetian Hall in 1896 (photo source:):

The decoration of the Venetian Hall has not survived to this day.

M.E. Messmacher. Design project for the ceiling of the Venetian Hall (Tiepolo Hall) (source:):

The exposition of the Italian Renaissance was also located in Farnese Hall, the design of which was inspired by the luxurious decoration of Cardinal Farnese's palace in Piacenza, built in the mid-16th century. Contemporaries considered the ceiling of this hall, decorated with deep oak gilded coffers, to be Messmacher's true masterpiece. The hall exhibited marble Renaissance reliefs by the Venetian sculptor Lombardi, rock crystal vessels, boxes, miniature portraits, etc. View of the Farnese Hall in 1896 and in our time (now the hall does not belong to the museum, but belongs to the School) (photo sources: and ):

The display of the history of the development of Italian decorative and applied arts was completed by copies Raphael's Loggias (Papal Galleries). These galleries, decorated with grotesque ornaments, displayed Italian furniture and fabrics of the 16th-17th centuries, as well as Flemish and French tapestries (now in the Hermitage). Fragment of the wall painting of the Papal Galleries, photo from 1896 (source:):

M.E. Messmacher. Design project for the Papal Gallery (source:):

The French enfilade of the museum was conceived by Messmacher with the aim of showing the development of the residential interior of France during the Renaissance. For this purpose, the halls of Henry II, Louis XIII, Louis XIV, etc. were created. Each elegantly decorated hall contained first-class works of art, specially selected by the architect.

So, Henry's hallII It was decorated with carved panels, dark blue velvet with royal coats of arms and tapestries, and works of art of the French Renaissance were displayed there, including faience from the first half of the 16th century. Samples of Italian majolica were also collected here. A noticeable decoration of the hall was the Italian fireplace of the 16th century (photo source:).

All this later ended up in the Hermitage. And of the entire decor of the hall, only the rich decoration of the ceiling with deep oak coffers decorated with the royal coat of arms of France has survived to this day (photo source:).

General view of Henry II's hall in our time (photo source:):

Intimate, but very elegant Louis HallXIII was decorated with painted beams, and the walls were covered with wooden panels and painted with arabesque patterns. The hall provided an overview of the decorative and applied arts of France in the first half of the 17th century.

The current view of the Louis XIII Hall (photo source:):

Dedicated to French art of the second half of the 17th century Louis HallXIV, decorated with a series of tapestries “The Months, or Royal Residences” based on the sketches of Charles Lebrun (now tapestries in the Hermitage). The display cases were filled with Sevres and Meissen porcelain. Also on display was a collection of antique French watches plus artistic furniture by the royal master Andre Boulle (now, again, in the Hermitage). The Louis XIV Hall looked like this at that time (photo source:):

M.E. Messmacher. Design project for the Louis XIV Hall (

Even many native St. Petersburg residents do not know the full name of this educational institution, although its unofficial nickname is well known to every city resident. “St. Petersburg State Academy of Arts and Industry?” Does this phrase mean anything to anyone? What about the Mukhinsky School or just “Mukha”?

The emergence of this renowned educational institution is associated with the activities of the famous entrepreneur and philanthropist, Baron Alexander Stieglitz. Although at Stieglitz’s enterprises the working conditions were close to slave-like, Alexander Lyudvigovich himself often felt the desire to “pay back his debt to society” by allocating funds for various social projects.

In 1876, Alexander Lyudvigovich allocated 5 million rubles in gold (a fabulous sum at that time) for the creation of the School of Technical Drawing. This educational institution was supposed to train applied artists: blacksmiths, designers, glassblowers, furniture makers, fashion designers. For the construction of the school building, a place was chosen near the Fontanka, where salt “shops” - warehouses were once located. These warehouse buildings gave the name to the nearby lane - Solyany.

The German architect Maximilian Egorovich Messmacher was invited to build the school, who then became the first director of the new educational institution. Stieglitz and Messmacher believed that students should learn from the best examples of world art, so the interiors of the building were decorated with royal luxury in the style of the Italian Renaissance. Stieglitz also donated a collection of paintings, glass and carpets to his educational institution. The salaries of professors and the current expenses of the school were financed by interest on a capital of one million rubles.

Since Stieglitz himself was a native of Livonia, it should not be surprising that in the first decades of the existence of the School of Technical Drawing, a significant part of its students came from the Baltic states, especially from what is now Latvia. For example, Richards Zarins, the creator of the coat of arms and banknotes of Latvia, studied there; the author of the national flag of Latvia and its first postage stamp Ansis Cirulis, the founders of professional Latvian sculpture - Teodors Zalkaln, Gustav Škilter, Burkard Dzenis and others.

After 1917, the school was transformed and became the State Art and Industrial Workshops. In 1922, together with the museum and library, they merged into the Petrograd VKHUTEIN, and two years later the State Art and Industrial Workshops ceased to exist as an independent educational institution. The museum became a branch of the State Hermitage.

Only in 1945, on its basis, the Leningrad Art and Industrial School named after V.I. Mukhina was opened, which soon became one of the most famous educational institutions in the city. Among the graduates of the Mukhinsky School were M. Shemyakin, spouses Olga and Alexander Florensky, and Dmitry Shagin.

Many myths and legends are associated with the Mukhinsky School. So, before exams, students bring flowers to the angels who decorate the lanterns before entering the building. According to legend, this is the local representative of the city's guardian angel, whose headquarters are located at the Peter and Paul Cathedral. Another legend is associated with the front staircase of “Mukha”. First-year students are only allowed to walk on its left side, since the Muse walks on the right side of the stairs, reacting nervously to those who nudge her heels. For mysterious and mysterious reasons, this rule no longer applies to senior students.

Another highlight is the school's glass dome, which allows students to sketch the building's interior during class. In Soviet times, students protesting against totalitarianism often climbed to this dome while drunk and lay naked on it, shocking the painters below. Legend has it that the glass of the dome sometimes could not withstand the weight of naked bodies and the matter was not without victims...

Alexey Rybnikov.

I continue my story about visiting St. Petersburg, the previous part was dedicated to

Today there will be a story about a visit to the building of the former Stieglitz School, now the St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz.
I immediately apologize for the quality of the photo, it’s dark in the museum, you can only take pictures without a flash, and my weak point-and-shoot camera can hardly handle it in such situations.

The building was designed by the first director of this educational institution - architect M. E. Messmacher.

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (1814-1884).

In front of the entrance to the museum there are two bronze floor lamps; they are decorated with figures of the path engaged in creativity.

The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as drawing and drawing teachers for secondary art and industrial schools.

A prominent statesman, son-in-law of Baron Stieglitz, Alexander Alexandrovich Polovtsov (1832 - 1909), played a major role in the formation of this educational institution.

In 1885, according to the project of M.E. Messmacher begins the construction of a special museum building. At international auctions, from famous foreign and Russian antique dealers and collectors with the active participation of A.A. Polovtsov acquired collections of applied art objects. A unique museum collection is gradually taking shape, distinguished by the diversity and high artistic level of its monuments from Antiquity, the Middle Ages, and the Renaissance, and including works of Western European, Eastern and Russian applied art of the 17th and 18th centuries.

Since its opening, the museum has found itself at the center of the cultural life of St. Petersburg. Its Great Hall hosted brilliant exhibitions of the association “World of Art” (1898), “Historical Exhibition of Objects of Art” (1904), “Exhibition of Church Antiquities” (1915) and many others. The museum becomes one of the most important elements of the aesthetic education of future artists. In 1892, 200 people studied at the school; There were departments: general art, majolica, decorative painting and carving, embossing, woodcut and etching, porcelain painting, weaving and printing.

Students of the Stieglitz School worked fruitfully in various areas of the art industry: at the Imperial porcelain and glass factories, in the jewelry company of Carl Faberge, and in the workshops of the Imperial theaters. Their skill and inspired work created true masterpieces that brought glory to Russian applied art of the Silver Age.

Antechamber.

The quiet creative activity of the School and its museum was interrupted in 1915: the World War made severe adjustments to the life of Russia and its capital, completely subordinating it to wartime laws. In August 1915, the School Council decided to temporarily provide museum premises to the Russian Red Cross Society for the establishment of workshops for the production of gas masks for the active army and dressings for 900 women workers, as well as storage facilities.

Events at the fronts were not going well, and it was decided to prepare the museum’s collection for evacuation to Vyatka. 257 boxes with the museum collection and 55 boxes with the School’s library (the rarest publications, manuscripts, engravings) were prepared for transportation. They were temporarily placed on the ground floor of the building, in the Gothic and Russian halls, where they stood until the early 1920s.

The political and economic instability that struck Russian society, the premonition of revolutionary events among representatives of the wealthy segments of the population, forced them to part with their family valuables, family heirlooms and art collections. In Petrograd at this time, both the official and illegal antique market flourished, so a huge number of various works of art found new owners during this period. But not only the large supply of the antique market explains the purchasing activity of the School’s museum, but also the obvious pointlessness of saving the school’s funds in a situation of catastrophic inflation. All this, undoubtedly, contributed to the fact that it was in the Museum of the School that a significant number of artistic values ​​were accumulated.

Until 1919, the School’s management acquired both individual exhibits and entire rather expensive collections for the museum. For example, at the end of 1915, a collection of bronze items with cloisonné enamel, created in the Caucasus in the 13th century, was purchased from Count A.A. Bobrinsky for 18,000 rubles; in 1916, a number of artistic objects from the collection of the famous Russian historical painter K. E. Makovsky, in October 1918, a collection of items with enamel from the 18th century was purchased from the head of the School’s library, a well-known collector of Russian antiquities in the capital, architect I.A. Galnbek, for 18,890 rubles; a collection of Russian glass, consisting of 160 items.

In addition, the first post-revolutionary years were marked by the addition of gifts to the museum’s collection: in July 1918, the famous researcher of Russian architecture V.V. Suslov donated a collection of Russian applied art of the 16th–19th centuries to the museum, and in September of the same year A.A. Polovtsov Jr. donated a collection of Persian miniatures to the museum.

After the revolution, the Stieglitz School, like other educational institutions of that time, was going through a period of reform. Not only does its name change (the educational institution becomes the Higher School of Decorative Arts) and the main directions of its activities are adjusted, but finally, in 1918, together with the Academy of Arts, it is reorganized into the State Labor Training Workshops of Decorative Arts.

Despite the political and economic difficulties of the first post-war years, and the uncertainty of the legal status of the School Museum, it remained one of the main museum centers in Petrograd. It was to this museum that the largest private collections of the city were transferred for storage, which undoubtedly saved them from destruction and looting. Thus, in August 1917, Princess E.G. of Saxe-Altenburg, apparently, before leaving for emigration, transferred her personal collection of artistic treasures, consisting of 1,791 items (porcelain, crystal, bronze, enamels, furniture, tapestries), to the museum for storage.

In December of the same 1917, from the palace of Grand Duke Nikolai Nikolaevich, according to the mandate issued to A.A. Polovtsov Jr. by the People's Commissar of Education A.V. Lunacharsky, a collection of applied art - porcelain, crystal, carved bone and stone, which included 2801 items. In 1918, A.A. Polovtsov donated part of his personal art collection and property from his dacha on Kamenny Island to the museum; in 1919 and somewhat later, the collections of princes Gorchakov, Shakhovsky, Musin-Pushkin and others were transferred to the museum for storage.

Hall "Teremok".

As a result, by the beginning of the 1920s, the School’s museum had collected up to forty thousand unique works of applied art, for which it was necessary to create appropriate storage conditions. During the years of post-war devastation, the museum building was in a catastrophic state and required urgent major repairs. In March 1923, the Council for Museum Affairs of the Petrograd Administration of Scientific and Artistic Institutions (PUNU) decided to transfer the School's museum from the jurisdiction of the Academy of Arts to the subordination of PUNU.

In the autumn of 1923, an act of transferring the museum “with all the collections listed in the inventory books” to the State Hermitage was signed. This forced action was a salvation for the museum, since only the Hermitage at that difficult time could guarantee the preservation of collections for national culture. Thus, a new museum appeared in Petrograd - the First Branch of the State Hermitage (formerly the museum of the Stieglitz School), which existed as an independent institution until the early 1930s.

New challenges befell the museum during the Great Patriotic War. At the very beginning of the war, the glass dome of the Great Exhibition Hall crumbled from the blast wave, and significant damage was caused to the building from direct hits from two shells and an aerial bomb. In the spring of 1942, Hermitage employees began transporting and carrying thousands of objects of applied art by hand to the main building of the Hermitage on Palace Embankment in order to save them from destruction.

Immediately after breaking the blockade, in the winter of 1943, the city authorities decided to open, on the basis of the former Stieglitz School, a school for architectural decoration of buildings to train master restorers: marble makers, sculptors, mosaicists, cabinet makers, painters.

A new stage in the life of the museum began on February 5, 1945, when the Council of People's Commissars of the USSR adopted a resolution on the re-establishment of an art and industrial school in Leningrad. In 1949 it became a higher educational institution, and in 1953 it was named after the People's Artist of the USSR, sculptor V.I. Mukhina.

The museum, recreated at the same time as the school, was given back part of its collection from the Hermitage, the Russian Museum, where the exhibits ended up in the 1930s, and objects of applied art were also transferred from other museum organizations: the Museum of the History of Religion and Atheism, the State Scientific Research Museum architecture named after A.V. Shchusev, Museum of the Moscow Institute of Applied and Decorative Arts.

In 1994, LVHPU named after. V.I. Mukhina was transformed into the St. Petersburg State Academy of Arts and Industry. On December 27, 2006, the academy was named after A. L. Stieglitz.

Today, the museum's exposition is located on the ground floor of the building. The museum's collection includes examples of Russian and Western European decorative and applied art of the 16th and early 20th centuries, Soviet applied art, and industrial design. In the museum you can see rare collections of Russian tiled stoves from the 18th century, Soviet textiles from the 1920s-1940s, artistic furniture, porcelain, metal, ceramics, fabrics, glass, and costume from the 16th to early 20th centuries.

M.E. Mesmacher. Decorations of the southern wall of the Roman steps with the image of St. Peter's Basilica in Rome. end of 1885

Raphael (Papal Gallery).

If you go up the stairs, you can get to the sculpture workshop.

View from the stairs.

The huge main hall is an “atrium” covered with a double iron-glass dome. It is designed in the form of a majestic two-tier arcade, reminiscent of the courtyards of Italian Renaissance palazzos. A striking contrast to this traditional theme is the floating floor structure, modeled after the lattice trusses of the French engineer C. Polonceau. This is one of the most daring and perfect examples of new “iron and glass” architecture in St. Petersburg construction at the end of the 19th century.

The metal base of the double glass ceiling of the Great Hall of the museum was made at the factories of F.C. San Galli. The painted glass covering this dome was made by the famous Munich company Zettler.

View of the Great Exhibition Hall of the School and the Italian Steps from the gallery.

The Large Exhibition Hall, two floors high, dominates the volumetric-spatial design of the building and is the compositional center of the entire building. In the architectural design of the hall, Messmacher used the traditional layout of the courtyard of an Italian palazzo with a two-tier arcade, made in forms characteristic of Italian Renaissance architecture. The space of the hall is covered with a huge glass dome.

We climb the luxurious marble staircase, on the top platform of which stands a sculpture by A.L. Stieglitz by M.M. Antokolsky,

Even on the approaches to the school from the Fontanka, a huge glass dome can be seen from afar, covering the space of the Great Exhibition Hall. This is not visible from the outside, but in fact there are two domes - external and internal.

In the very first “Mesmacher edition” the inner dome was entirely stained glass, and in the space between the domes there was a greenhouse. The climate there is the most suitable for this! But during the war, a bomb hit the hall and the dome was destroyed. Restored at the end of the forties of the twentieth century, in more than half a century it again fell into deplorable condition. But for the 125th anniversary of the school, the structures and glazing of the dome were restored again.

It turned out, as always, chaotic and probably too much information.

I really regret that I wandered around the school building by myself and there was no one to show and tell me everything, it’s a pity that I didn’t see most of the beauties of this wonderful building.
But then, I have a reason to come to St. Petersburg again.

Previous parts of the report.

St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz trains artists, restorers, masters of decorative and applied arts, and designers.

St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz - former LVHPU named after. IN AND. Mukhina is one of the most famous universities in Russia.

"""Central School of Technical Drawing""" was founded in 1876 on the initiative of Baron Alexander Ludwigovich Stieglitz. A passionate fan of art, financier and industrialist, he not only donated a significant amount for the creation of an educational institution, but opened a whole milestone in Russian art education.

TSUTR Baron Stieglitz became one of the first Russian Schools that trained artists for industry. In addition to traditional creative training, students were trained in specialized disciplines that made it possible to produce specialists with a wide range of profiles.

Today the Stieglitz Academy is one of the most authoritative Russian universities in the field of art and design. About 1,500 undergraduate and graduate students study at the Academy, there are 2 faculties and 14 graduating departments of various profiles - from artistic metal processing to industrial design.