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

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.

Academy today

Today the university has 1,500 students and 220 teachers.

Faculties

Faculty of Decorative and Applied Arts
- Faculty of Monumental Art
- Faculty of Design

Story

• Founded in 1876 by rescript of Alexander II with donations from banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School of Technical Drawing.
• In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
• In 1922 the workshops were transformed into School for architectural decoration of buildings under the city Executive Committee.
• In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts, in 1948 it became a university - Leningrad Higher Art and Industrial School.
• Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina.
• In 1994, LVHPU named after. V. I. Mukhina transformed into St. Petersburg State Academy of Arts and Industry.
• In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Art and Industry Academy named after A. L. Stieglitz(SPGHPA named after A.L. Stieglitz).

Famous graduates

• Bosco, Yuri Ivanovich - Soviet monumental artist, Honored Artist of Russia, People's Artist of Russia.
• Zarins, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of Latvian folk art, author of the first revolutionary stamps of Soviet Russia. Author of the coat of arms and banknotes of Latvia.
• Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
• Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
• Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
• Protopopov, Vladislav Vasilievich - Russian artist.
• Salnikov, Anatoly Aleksandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Award of the Autonomous Republic of Crimea, chief architect of the city of Kerch.

Links

• http://designcomdesign.ru/ - Department of Communication Design, SPGHPA named after. A.L. Stieglitz.
• http://artisk.ru/ - Department of Art History and Cultural Studies of the St. Petersburg State University of Art and Culture named after. A.L. Stieglitz.

Sources

Wikimedia Foundation. 2010.

See what "Mukhina Art School" is in other dictionaries:

In the USSR, the system of training masters of fine, decorative and industrial arts, architects, artists, art critics, artist teachers. In Rus' it originally existed in the form of individual training... ... Great Soviet Encyclopedia

- (named after the philanthropist Baron A.L. Stieglitz), founded in St. Petersburg in 1876, opened in 1879, in 1922 merged with the Petrograd Vkhutein. In 1945 it was recreated as the Leningrad (now St. Petersburg) Higher Artistic and Industrial... ... encyclopedic Dictionary

- (TSUTR) (Solyanoy Lane, 13 and 15), state art educational institution. Founded in 1876 (opened in 1879) together with an elementary school of drawing, drafting and modeling on the initiative and at the expense of the philanthropist Baron A. L. Stieglitz (the first ... ... St. Petersburg (encyclopedia)

Wikipedia has articles about other people with this surname, see Pavlov. Wikipedia has articles about other people named Pavlov, Alexander Borisovich. Alexander Borisovich Pavlov (born 1963, Donetsk) Russian artist. Born into a working-class family. Since 1971... ... Wikipedia

Oleg Georgievich Atroshenko (1940 1989) Soviet artist. Graduated from the Mukhina Higher Art School with a degree in Interior Designer. He is the author of numerous interior design projects for public institutions and... ... Wikipedia

Wikipedia has articles about other people with this surname, see Vax. Joseph Aleksandrovich Vaks Professor I. A. Vaks ... Wikipedia

Museum of Baron A.L. Stieglitz On the territory of the former Salt Town in 1885-1895. a museum building was erected. The building was built according to the design of the first director of the museum, architect. R.A. Messmacher. By the time the museum opened, it contained over 15,000 works of applied art. After the revolution, the collection was transferred to the Hermitage. CENTRAL SCHOOL OF TECHNICAL DRAWING of Baron A. L. Stieglitz (Solyanoy lane, 13-15) Art and Industry Academy named after. Stieglitz is one of the most famous art universities not only in Russia, but also in Europe and the world. The history of the academy begins in 1876, when, according to the rescript of Alexander II, with funds donated by the banker and industrialist Baron Alexander Ludvigovich Stieglitz (1814 - 1884), the central school of technical drawing was founded. The history of the school before the revolution is the history of the intensive development and formation of the school . Founded Jan. 1876 ​​(opened 11/12/1879) along with the primary one. school of drawing, drawing and modeling on the initiative and at the expense of Baron A. L. Stieglitz. The school existed on interest from the capital bequeathed to him in 1884 (approx. 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. The school became known as Central (TSUTR) after its creation in the 1890s. branches in Narva, Saratov, Yaroslavl. After October 1917, the school was transformed several times. In 1918, the school was reorganized into the Petrograd State Art and Industrial Workshops, which in 1922 were transformed into a school for architectural decoration of buildings under the city Executive Committee. Closed in 1924. In 1943-45, on the basis of TSUTR, the Art and Industry was created. school (now the Academy of Arts and Industry). Ch. The school building was built in 1878-81 (architects R. A. Gedicke and A. I. Krakau) and added a 5th floor (1886, architect Messmacher). The adjacent museum building was built in 1885-96 according to the design of Messmacher (since 1945 the Museum of Decorative and Applied Arts). In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative, applied and industrial art; in 1948 it became University - Leningrad Higher Art and Industrial School. Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina. In 1994, LVHPU named after. V.I. Mukhina was renamed the St. Petersburg State Academy of Arts and Industry. In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz (SPGHPA named after A.L. Stieglitz).

Saint Petersburg. Museum of Applied Arts of the St. Petersburg State Academy of Arts and Industry named after. A. L. Stieglitz

Museum of the Art and Industry Academy named after. A.L. Stieglitz has always been at the center of the cultural life of St. Petersburg. Its unique museum collection is distinguished by its great diversity and high artistic level of its exhibits. Today the museum's holdings number about thirty thousand objects of applied art from antiquity to the present day. This is an extensive collection of Western European porcelain and oriental ceramics, furniture of the 16th-19th centuries, a collection of Russian tiled stoves of the 18th century, artistic metal and fabrics, as well as the best student works of the last half century, reflecting all areas of Soviet decorative and applied art.

In fourteen halls located on the ground floor, you can see more than 1,300 works of decorative and applied art and artistic crafts from the 9th century BC. until the beginning of the twentieth century. The Italian gallery hosts an exhibition of Dutch and French cabinets from the 16th-19th centuries; Italian and Spanish majolica, French and English faience, German “steinguts” (products made from clay-stone masses) and J. Wedgwood’s “jasper masses”, Meissen and Berlin porcelain - all this can be seen in the museum today.

Ancient Russian stoves were collected throughout Russia especially for the museum.

Interiors of the Stieglitz Academy of Arts and Industry. Furniture carved from stone.

Academy Halls. The Great Exhibition Hall is a two-story hall reminiscent of the courtyard of an Italian palazzo, originally intended for student and faculty exhibitions. It was the largest not only in the museum, but in all of St. Petersburg. The perimeter of the hall is surrounded by a spectacular two-tier gallery, which creates the best conditions for viewing the exhibition. This arcade serves as a support for a double glass ceiling (originally the inner dome was stained glass, and a greenhouse was located in the space between the domes). By analogy with the facade of the building, the hall is decorated with a frieze with sculptural portraits of artists, architects and sculptors. The arcades of the second tier are divided by powerful pylons decorated with four columns. Half-arcs of a two-flight marble staircase lead to the second floor gallery. At the top of the stairs under Messmacher there is a marble statue of Baron A.L. Stieglitz sitting in an armchair by M.M. Antokolsky. During Soviet times, the monument was removed. But the sculpture was preserved, and in June 2011 it was returned to its historical place (photo source:). Since 2002, a plaster copy of the large frieze of the Pergamon Altar (180-160 BC), donated by the Hermitage, has been placed along the perimeter of the Great Hall.

Furniture set for the living room in the “third Rococo” style. FROM THE PALACE OF THE COUNTESS E.V. SHUVALOVA. France, Paris, 1890s. Birch, carving, French enamel, gesso, gilding, embroidery, metal, bone.

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. The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 and trained artists of decorative and applied arts for industry, as well as drawing and drafting teachers for secondary art and industrial schools. January 1898 - S. P. Diaghilev organizes an Exhibition of Russian and Finnish artists, in which Finnish artists V. Blomsted, A. Gallen-Kallela and others participate along with A. N. Benois and M. A. Vrubel. The school became known as the Central School after the creation of branches in Narva, Saratov, and Yaroslavl in the 1890s. The first director was from 1879 to 1896 - architect Maximilian Egorovich Messmacher. In 1892, 200 people studied at TSUTR; There were departments: general art, majolica, decorative painting and carving, embossing, woodcut and etching, porcelain painting, weaving and printing. Over the years, CUTR teachers were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov. After October 1917, the school was transformed several times. In 1918, the school was named the State Art and Industrial Workshops. In 1922, the school, with the attached museum and library, merged with the Petrograd VKHUTEIN, and in 1924, ceased to exist as an independent educational institution. In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts. In 1948 it became a higher educational institution - the Higher Art and Industrial School. In 1953, the Leningrad Higher Art and Industrial School, by decree of the Soviet government, was named after the People's Artist of the USSR, Full Member of the Academy of Arts of the USSR - Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative and applied art of the USSR. 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. The new name of the academy is St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz.

The Stieglitz Academy is the most popular university in Russia, attracting applicants and tourists from all over the world. The Mukhinsky School, as it was called during the councils, miraculously combines creative talents with their practical application - it is a real “forge” of modern artists and restorers, architects and designers, sculptors and fashion designers, designers of all directions. Baron Stieglitz Academy attracts creative youth not only with its specialties, but also with its excellent teaching staff, the opportunity for self-realization already in the learning process and its rich history.

The history of the emergence of the Stieglitz Academy in St. Petersburg

There is an opinion that when a person achieves everything - wealth, fame and power, he plunges into the depths of searching for the meaning of his own life. Baron Stieglitz, a wealthy entrepreneur and banker, a brilliant industrialist and international figure, also encountered this phenomenon. Admiring the talents of architects and artists, he was extremely sad about the poverty of most of them. Careful calculations by the financier showed that if creative thought is channeled into industry, then the income of the craftsmen will increase 7 times.

Guided by such good intentions, in 1876 he allocated a million rubles for the construction of the main building of the “technical drawing school”, another 5 million to attract the best teachers in the world and the same amount to purchase exhibits for the museum at the academy, clearly demonstrating to students the prospects for discovering their talents.

The design of the building, which later housed the A.L. Academy of Arts and Industry. Stieglitz, was entrusted to the German architect Maximilian Messmacher, who later became the first rector of the educational institution. The unique concept of combining all stylistic trends in architecture still distinguishes the Stieglitz mansion, the main building and the museum building. A glass dome, white marble staircases and an abundance of stucco - the grandeur of the building makes it stand out against the backdrop of the Elizabethan Baroque of St. Petersburg.

St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz- higher art educational institution located in St. Petersburg.

The main building of the academy is located in a building designed by the first director of this educational institution, architect M. E. Messmacher.

From 1953 to 1994 the institute was called Leningrad Higher Art and Industrial School named after V. I. Mukhina, which is why in the media it is often called “ Mukhinsky School", or simply " Fly».

Story

In 1873, the “Regulations on drawing schools and classes in the provinces” were approved. Many craft schools carried out production orders based on designs by famous artists, mainly in the “Russian style”.

In 1876, wanting to promote the training of specialists for the art industry in Russia, financier and textile manufacturer Alexander Ludvigovich Stieglitz (1814-1884) donated one million rubles to the creation of the Technical Drawing School in St. Petersburg. In 1878-1881. A special building was erected in Salt Town, designed by architects R. A. Gedicke and A. I. Krakau. On the second floor of the Central School of Technical Drawing of Baron Stieglitz, inaugurated on December 29, 1881, there was a small educational museum and library. Stieglitz was convinced to create a museum at the School by the outstanding philanthropist Alexander Alexandrovich Polovtsov (1832-1909). Member of the State Council, Secretary of State, initiator of the creation of the "Russian Historical Society" in Russia (1866), publisher of the famous "Russian Biographical Dictionary", Polovtsov, married to the adopted daughter of Baron Stieglitz, in 1891-1909. was the chairman of the School Council, purchased works of art, rare books, and engravings with his own funds. Works of art were donated to the museum by Prince S. S. Gagarin, collector M. P. Botkin, princes N. S. Trubetskoy, A. B. Lobanov-Rostovsky, Count A. V. Bobrinsky and many others. In 1879-1880 Heinrich Schliemann, closely associated with commercial activities with Russia, donated to the museum a collection of antique gold and ceramic items that he discovered during excavations of the Hissarlik hill in Asia Minor.

In 1885-1896. The new museum building was erected according to his own design by Maximilian Egorovich Messmacher (1842-1906). Previously, from 1874, Messmacher taught at the Drawing School of the Society for the Encouragement of the Arts. An architect, draftsman, watercolorist, Messmacher, according to the worldview of the Historic period, paid special attention to the study of the “history of styles,” which he taught at the Stieglitz School along with decorative drawing and watercolors. Since 1879 he was the director of the School. Taking as a basis the Venetian architecture of J. Sansovino and the Basilica in Vicenza by A. Palladio (see vol. 2, fig. 598), Messmacher created a huge exhibition hall with overhead light, and decorated the remaining halls in “historical styles”: Medici Hall, Henry Hall II, Hall of Henry IV, Flemish Hall, Hall of Louis XIII, Hall of Louis XIV, Hall of Tiepolo... For each hall, appropriate objects were selected for students to study. The principle of exhibition “by style” and architectural stylization of interiors were known in Europe at that time and were a visible embodiment of the ideology of Historicism. Messmacher, with his characteristic pedantry and attention to detail, brought this principle to the absolute.

In 1885-1886 Polovtsov traveled abroad to purchase new objects of art. As a result of this activity, the School Museum has a unique collection of tapestries, Italian majolica, Limoges enamels, Sevres, Chinese and Japanese porcelain, electroplated copies of precious metal products, and ornamental engravings. By the end of 1913, the collection consisted of about 21 thousand exhibits. In the halls of the museum, classes were held on the history of styles and ornaments; students copied exhibits in pen drawings, watercolor techniques, and ink washes.

The training program was based on the experience of the Stroganov School in Moscow and art and industrial schools in France, England, and Germany. The main subject was drawing, which was divided into “general” and “special”. After two classes of general art training, students moved on to special ones: a class of pen drawing and ink washing, “photography of artistic and industrial objects” (meaning graphic copying), “a class of drawing from fresh flowers.” The general drawing course also ended with special sections: drawing “multicolored ornaments with relief”, “composition of ornaments”, engraving and lithography.

The education system at the Stieglitz School was not progressive; moreover, in comparison with the advanced schools of Western Europe, the pedagogical system of G. Semper and H. Cole, and even the Drawing School of the Society for the Encouragement of the Arts, it was “yesterday,” a conservative educational institution “in German lad" (Germans predominated among the teachers, immigrants from the Baltic states and Finland dominated among the students). Nevertheless, the activities of the School, and above all M.E. Messmacher, were of great importance for the development of the “art industry” in Russia.

Technical Drawing School

School in the artistic culture of Latvia

From the first years of creation Central School of Technical Drawing, this educational institution has become very popular among young people in Latvia who want to get a degree.

IN TSUTR About 130 ethnic Latvian students were educated. Some of them subsequently became teachers of this school, among them: Gustav Shkilter - a specialist in the decorative finishing of buildings (1905-1918), Karl Brenzen - taught artistic processing of glass and stained glass (1907-1920), Jacob Belzen - teacher of drawing and painting (1905 -1917), Julius Jaunkalnins - in porcelain painting (1896-1918).

Masters of art, educated at the Central School of Technical Drawing, subsequently laid the foundation of the artistic culture of Latvia and became the creators of art education in the Latvian Soviet Socialist Republic:

State art and industrial workshops

LVHPU named after V.I. Mukhina

Academy of Arts and Industry

At LVHPU named after. V.I. Mukhina was transformed into the St. Petersburg State Academy of Arts and Industry.

The university has 1,500 students and 220 teachers.