Tretyakov Gallery in what year. Tretyakov Gallery: halls and their description

The Tretyakov Gallery's collection is dedicated exclusively to national Russian art, to those artists who contributed to the history of Russian art or who were closely associated with it. This is how the gallery was conceived by its founder, Moscow merchant and industrialist Pavel Mikhailovich Tretyakov (1832-1898), and this is how it has remained to this day.

The founding date of the Tretyakov Gallery is considered to be 1856, when the young Tretyakov acquired the first works by contemporary Russian artists, setting out to create a collection that in the future could develop into a museum national art. "For me, truly and ardently who loves painting, there can be no better desire than to start a public repository accessible to everyone fine arts, which will bring benefit to many and pleasure to all,” the collector wrote in 1860, adding: “... I would like to leave national gallery, that is, consisting of paintings by Russian artists."

Years will pass, and the good intentions of the young collector will be brilliantly fulfilled. In 1892, Moscow, and with it the whole of Russia, received a large gift from Tretyakov (about 2 thousand paintings, drawings and sculptures) and already famous gallery true masterpieces of national art. And grateful Russia, in the person of its leading artists, will declare to the donor: “...The news of your donation has long spread around Russia and in everyone who cares about the interests of Russian enlightenment, it has aroused the liveliest joy and surprise at the significance of the efforts and sacrifices you have made in its favor.”

Along with the collection of Pavel Mikhailovich, the collection of his brother Sergei Mikhailovich, who died shortly before, was also donated to Moscow, who was the Moscow mayor in the 1880s, also a collector, but mainly of works by Western European artists of the middle and second half of the 19th century century. These works are now in collections State Museum Fine Arts named after A.S. Pushkin and the State Hermitage.

Who was Pavel Mikhailovich Tretyakov and what guided him in his actions and undertakings? Throughout his life Tretyakov remained large business person, both in glory and in obscurity, he was a worthy successor to the trading business of his grandfather - a Moscow merchant of the 3rd guild, the lowest in the merchant “table of ranks”. Tretyakov died a distinguished, honorary citizen of the city of Moscow, having greatly increased the capital of his ancestors.

But “...my idea,” he will say at the end of the journey, “was from the very youth to make money so that what is acquired from society would also be returned to society (the people) in some useful institutions; this thought did not leave me all my life...” As we see, the idea of ​​public service, typical of his era, understood and interpreted by him in his own way, inspired him.

retyakov - the collector was in famous family phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. “I must admit,” wrote the artist I.N. Kramskoy in 1873, “that this is a man with some kind of devilish instinct.” Having not studied anywhere specifically (the Tretyakov brothers received home education, mostly of a practical nature), he nevertheless possessed broad knowledge, especially in the fields of literature, painting, theater and music. “Tretyakov was a scientist by nature and knowledge,” the artist and critic A.N. Benois said in 1902 in his “History of Russian Art.”

T Retyakov never worked with “prompters”. Being closely acquainted with a huge number of artists, writers, musicians and very friendly with many, Tretyakov willingly listened to their advice and comments, but he always acted in his own way and, as a rule, did not change his decisions. He did not tolerate interference in his affairs. Kramskoy, who undeniably enjoyed Tretyakov’s greatest favor and respect, was forced to note: “I have known him for a long time and have long been convinced that no one has influence on Tretyakov, both in the choice of paintings and in his personal opinions... If there were artists, those who believed that it was possible to influence him, they had to then abandon their delusion." With time high taste, the severity of selection and, of course, the nobility of intentions brought Tretyakov a well-deserved and undeniable authority and gave him “privileges” that no other collector had: Tretyakov received the right to be the first to view new works of artists either directly in their workshops or at exhibitions, but , as a rule, before their public opening.

Pavel Mikhailovich’s visit to the artists was always an exciting event, and not without trepidation, all of them, venerable and beginners, waited from Tretyakov for his quiet: “I ask you to consider the painting for me.” What was the same for everyone public recognition. “I confess to you frankly,” I.E. Repin wrote to P.M. Tretyakov in 1877, “that if we sell it (we were talking about Repin’s painting “Protodeacon” - L.I.), then only into your hands, I don’t mind going to your gallery, because I say without flattery, I consider it a great honor for me to see my things there.” Artists often made concessions to Tretyakov, but Tretyakov never bought without haggling, and lowered their prices for him, thereby providing all possible support for his endeavor. But the support here was mutual.

artists and art historians have long noted that “if P.M. Tretyakov had not appeared in his time, if he had not given himself entirely to a big idea, if he had not begun to piece together Russian Art, his fate would have been different: perhaps we would not have known "Boyaryna Morozova", not the "Procession...", not all those large and small paintings that now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: "... Without his help, Russian painting never came out would be on an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art" (A. Benois).

The scope of collecting activity and the breadth of P.M. Tretyakov’s horizons were truly amazing. Every year, starting in 1856, dozens or even hundreds of works were received at his gallery. Tretyakov, despite his prudence, did not stop even at very large expenses if the interests of his business required it.

He bought paintings that interested him, despite the noise of criticism and discontent from censorship, as was the case, for example, with “Rural Procession at Easter” by V.G. Perov or with “Ivan the Terrible...” by I.E. Repin. He bought it even if not everything in the painting corresponded to his own views, but corresponded to the spirit of the time, as was the case with the painting by the same Repin " Procession V Kursk province", the social acuity of which did not quite appeal to the collector. I bought it if very strong and respected authorities like Leo Tolstoy, who did not recognize religious painting V.M. Vasnetsova. Tretyakov clearly understood that the museum he created should not so much correspond to his personal (or someone else’s) tastes and sympathies, but rather reflect an objective picture of development Russian art. Perhaps this is why Tretyakov the collector, more than other private collectors, was devoid of narrowness of taste and limitations. Each new decade brought new names and new trends to his collection. The tastes of the museum's founder developed and evolved along with the art itself.

Giving, willingly or unwillingly, preference contemporary art, Tretyakov, however, from the first to the last steps of his collecting activity, persistently monitored and generously acquired all the best that was on the art market of that time from the works of past Russian artists XVIII eras- the first half of the 19th century and even ancient Russian art. After all, he created, in essence, the first museum in Russia, reflecting the entire progressive development of Russian art. Which does not mean that Tretyakov had no miscalculations and mistakes at all. Thus, pinning his hopes for the great future of the Russian school on the work of the Peredvizhniki, Tretyakov almost did not acquire works by academic artists of the 19th century, and their art is still poorly represented in the museum. Tretyakov also showed insufficient attention to the famous Aivazovsky. At the end of his life, the collector clearly looked at new things with caution. artistic trends Russian art of the 1890s. Passionately loving painting, Tretyakov created primarily an art gallery, less often acquiring sculpture and graphics. A significant addition to these sections in the Tretyakov Gallery occurred after the death of its creator. And to this day, almost everything that was acquired by P.M. Tretyakov constitutes a genuine gold fund not only of the Tretyakov Gallery, but of all Russian art.

At first, everything that Pavel Mikhailovich Tretyakov acquired was housed in the rooms of his residential building on Lavrushinsky Lane, purchased by the Tretyakov family in the early 1850s. But by the end of the 1860s there were so many paintings that there was no way to place them all in the rooms.

With the purchase of a large Turkestan series paintings and sketches by V.V. Vereshchagin, the question of constructing a special building art gallery was decided by itself. In 1872, construction began, and in the spring of 1874, the paintings were moved into the two-story first room of the Tretyakov Gallery, consisting of two large halls (now halls No. 8, 46, 47, 48). It was erected according to the design of Tretyakov’s son-in-law (sister’s husband), architect A.S. Kaminsky, in the garden of the Tretyakovs’ Zamoskvoretsk estate and connected to their residential building, but had a separate entrance for visitors. However fast growth The collection soon led to the fact that by the end of the 1880s the number of gallery rooms had increased to 14. The two-story gallery building surrounded the residential building on three sides from the garden all the way to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in its affiliation, public in nature, a museum free of charge and open almost all days of the week to any visitor without distinction of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.

On the decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its lifelong trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own own funds, transferring such acquisitions as a gift to the Moscow City art gallery Pavel and Sergei Mikhailovich Tretyakov" (this was the full name of the Tretyakov Gallery at that time). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898.

After the death of P.M. Tretyakov, the Board of Trustees, elected by the Duma, began to manage the affairs of the gallery.

It included different years prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I.N. Grabar. For almost 15 years (1899 - early 1913), the daughter of Pavel Mikhailovich, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.

In 1899-1900, the Tretyakovs' empty residential building was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and the 1st floor lobbies). In 1902-1904, the entire complex of buildings was united along Lavrushinsky Lane by a common facade, built according to the design of V.M. Vasnetsov and giving the building of the Tretyakov Gallery a great architectural originality, which still sets it apart from other Moscow attractions.

Early 20th century Tretyakov Gallery becomes one of largest museums not only Russia, but also Europe. It is actively replenished with works of both new and old Russian art. In 1913-1918, on the initiative of the artist and art historian I.N. Grabar, who was a trustee of the Tretyakov Gallery in those years, its exhibition was reformed. If previously new acquisitions were exhibited separately and not mixed with the main collection of P.M. Tretyakov, now the hanging of all works is subject to the general historical, chronological and monographic principle, which is observed to this day.

Type of halls

A new period in the history of the Tretyakov Gallery began after the nationalization of the gallery in 1918, which transformed it from municipal property into state property, securing its national significance.

In connection with the nationalization of private collections and the centralization process museum collections the number of exhibits in the Tretyakov Gallery increased more than fivefold by the early 1930s. A number of small Moscow museums joined the gallery, such as the Tsvetkovskaya Gallery, the I.S. Ostroukhov Museum of Iconography and Painting, and partially the Rumyantsev Museum. At the same time, the collection of works was removed from the gallery and transferred to other museums Western European art, formed from the collections of S.M. Tretyakov, M.A. Morozov and other donors.

Over the past half century, the Tretyakov Gallery has turned not only into a huge world-famous museum, but also into a large science Center, engaged in the storage and restoration, study and promotion of museum values. The gallery's scientific staff actively participate in the development of issues of history and theory of Russian art, arrange numerous exhibitions both in our country and abroad, they give lectures, conduct excursions, carry out extensive restoration and expert work, and introduce new forms of museum computer informatics. The Tretyakov Gallery has one of the richest specialized libraries in Russia, numbering more than 200 thousand volumes of books on art; a one-of-a-kind photo and slide library; equipped modern technology restoration workshops.

The rapid growth of the Tretyakov Gallery's collection already in the 1930s raised the question of expanding its premises. Where possible, new halls were added, residential buildings and other buildings adjacent to its territory were rebuilt and included in the gallery complex. By the end of the 1930s, the exhibition and service areas were almost doubled, but this was not enough for the rapidly growing and developing museum. Projects for the reconstruction of the Tretyakov Gallery began to be developed, which included either the demolition of all buildings adjacent to the gallery and its expansion up to the Obvodny Canal embankment (project by architects A.V. Shchusev and L.V. Rudnev, 1930s), or the construction of a new building in a new location and transferring the entire collection of the Tretyakov Gallery to it (building on Krymsky Val, architect N.P. Sukoyan and others, 1950-1960s). As a result of many discussions, it was decided to preserve the historical premises in Lavrushinsky Lane behind the Tretyakov Gallery. In the early 1980s, its reconstruction and expansion began with the active support of the director of the Tretyakov Gallery O.K. Korolev (1929-1992). In 1985, the first building, the depository, came into operation, housing spacious storage facilities for works various types art and restoration workshops; in 1989 - the second, the so-called Engineering building, with premises for temporary exhibitions, lecture and conference rooms, a children's studio, information and computer and various types of engineering services. Reconstruction of the main building, which began in 1986, was completed in 1994 and the gallery finally opened to the public on April 5, 1995.

Over the years of reconstruction, a new concept of the Tretyakov Gallery has emerged as single museum in two areas: in Lavrushinsky Lane, where exhibitions and repositories of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exhibition areas of which are devoted to the art of the 20th century. Exhibitions of both old and new art are held in both territories. In the process of rebuilding the gallery building on Lavrushinsky Lane new life found many who are in close proximity to the gallery are historical and architectural monuments now included in its composition. Thus, the Church of St. Nicholas in Tolmachi (XVI-XIX centuries), restored after the destruction of the 1930s and restored, was given the status of a “house church” at the museum, that is, a church and a museum at the same time; in ancient city buildings of the 18th and 19th centuries along Lavrushinsky Lane (houses No. 4 and 6) additional museum exhibitions Russian graphics and ancient Russian art. Projects are being developed to build a new exhibition hall on the corner of Lavrushinsky Lane and Kadashevskaya Embankment.

The current collection of the Tretyakov Gallery numbers more than 100 thousand works and is divided into several sections: ancient Russian art of the 12th-18th centuries - icons, sculpture, small plastic, applied art (approx. 5 thousand exhibits); painting XVIII- the first half of the 19th century, the second half of the 19th century and turn of the XIX century and 20th centuries (approx. 7 thousand works); Russian graphics of the 18th - early 20th centuries (over 30 thousand works); Russian sculpture of the 18th - early 20th centuries (approx. 1000 exhibits); collection of old antique frames, furniture, applied arts and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in premises on Krymsky Val.

Class hour structure.

1. Introduction.
2. History of the Tretyakov family.
3. Collecting activity of P.M. Tretyakov.
4. Sightseeing tour around the gallery.
5. Conclusion.

Equipment: multimedia projector, computer, exhibition of reproductions of famous artists.

1. Introduction (Presentation 1, slide 1)

The State Tretyakov Gallery is one of the largest museums in the world. The gallery's collection is dedicated exclusively to national Russian art, to those artists who contributed to the history of Russian art or who were closely associated with it. This is how the gallery was conceived by its founder, Moscow merchant and industrialist Pavel Mikhailovich Tretyakov (1832-1898), and this is how it has remained to this day.

2. History of the Tretyakov family. (Slide 2)

The Tretyakov merchant family traces its history back to county town Maloyaroslavets, Kaluga province, from where P.M. Tretyakov’s great-grandfather Elisey Martynovich (1704–1783) with his wife and sons arrived in Moscow in 1774. The following generations of Tretyakovs successfully expanded trade and increased capital. Things were going especially well for Mikhail Zakharovich Tretyakov (1801–1850), which was facilitated by his successful marriage to the daughter of a large merchant exporting lard to England, Alexandra Danilovna Borisova (1812–1899). On December 29, 1832, their first child was born, the future founder of the famous art gallery Pavel Mikhailovich Tretyakov. In 1848, the family suffered grief: four children died of scarlet fever, and in 1850 Mikhail Zakharovich Tretyakov himself died. After his death, all movable and immovable property went to his two sons, Pavel and Sergei, who successfully continued their father’s trading business. In 1852, a house was purchased in Moscow, in the area of ​​modern Tolmachevsky Lanes, where the Tretyakov family moved.

The eldest of the brothers, Pavel, did not marry for a long time. Only in August 1865 did his wedding take place with Vera Nikolaevna Mamontova (1844–1899), cousin famous philanthropist Savva Ivanovich Mamontov (1841–1918). It was the beginning of a long happy family life. Everyone in the family loved each other. The Tretyakovs loved to travel, with and without children, according to home country and abroad. Both Pavel Mikhailovich and Vera Nikolaevna were people with a keen sense of nature, art, and music. Their children grew up the same way. Pavel Mikhailovich worked hard. Most of the time was taken up by managing the Kostroma flax spinning factory and shops, and all the remaining time was devoted to his favorite brainchild - the gallery. There were also charitable activities. P.M. Tretyakov devoted a lot of effort to the Arnold School for the Deaf and Mutes, of which he was a trustee. He also took part in the activities of the Orthodox Missionary Society, was involved in the care of the poor, was a member of the Commercial Court, and of course was a member of various societies - artistic, charitable, commercial. Pavel Mikhailovich did a lot of good things during his life. According to his will, large sums of money were allocated for the maintenance of the gallery, the Arnold School, and various scholarships. P.M. Tretyakov died on December 4, 1898, 3 months later his wife Vera Nikolaevna died.

3. Gathering activity of P.M. Tretyakov. (Slide 3)

The year of foundation of the Tretyakov Gallery is considered to be 1856. It was then that Pavel Mikhailovich acquired the first two paintings by Russian artists, “Temptation” by Nikolai Gustovich Schilder and “Clash with Finnish Smugglers” by Vasily Grigorievich Khudyakov.

The topic of the powerless position of women in Russian society was very relevant in the second half of the 19th century. This phenomenon formed the basis of the painting "Temptation".

... Gloomy basement room. Here he lives in poverty beautiful girl and her old mother. Mother's days are numbered. Seriously ill, she no longer gets out of bed behind a dark curtain. The girl earns money by embroidering, but with the pennies she earns through honest labor it is impossible to feed herself and her sick mother.

And now the hoop is abandoned, the poor thing faces the problem of choice further path. The old woman, the pimp, is already right there. She hands the young heroine an expensive bracelet. In the depths of the picture, the bearded face of the tempter looms in the door window. If the girl agrees, he will give her this bracelet. You can eat your fill and call your mother for a doctor. There is fear and despair on the girl’s face, in her movements... The conflict is intensified by the allegory: in the foreground of the canvas there is a cat that is preparing to grab a mouse blithely strolling under the chest of drawers. This scene seems to indicate that the girl’s choice is predetermined.

The next painting by Vasily Grigorievich Khudyakov is “Skirmish with Finnish smugglers.” The painting depicts a real-life scene of a clash between a detachment of customs guards and a group of smugglers.

From that time on, P.M. Tretyakov firmly decided to collect the works of his contemporaries.

4. Sightseeing tour of the gallery. (Slide 4)

Already at the beginning of his activity as a collector, Tretyakov clearly formulated his goal - to create a national public art museum in Moscow. Tretyakov expressed this idea when only a select few were allowed into the St. Petersburg Hermitage, and the titles of the paintings hanging in the halls were written in French. Tretyakov planned to create a museum where the national Russian school of painting would be presented. Pavel Mikhailovich had to assemble his gallery from scratch, but he could rely entirely on his own taste. At the end of the 1850s, paintings by I.I. appeared in his collection. Sokolova, A. Savrasova, M.P. Klodt.

In 1864, the first painting based on the plot of Russian history appeared in the collection - “Princess Tarakanova” by K. D. Flavitsky. (Slide 5)

P.M. Tretyakov loved nature and subtly understood it, so the acquisition of landscapes was always not accidental. (Slide 6)

The portrait gallery occupied a special place in Tretyakov’s collection. By the end of the 1860s, P.M. Tretyakov decided to create a portrait gallery of outstanding figures of Russian culture - composers, writers, artists, actors, scientists. He began not only to buy already created works, but also to order portraits . (Slide 7)

Pavel Mikhailovich placed the purchased paintings in his house on Lavrushinsky Lane. There wasn't enough space. In 1872, construction began on the first two museum halls proper; they were ready in 1874. (Slide 8)

In 1882, 6 new halls were added. In the 1880s, the Tretyakov collection expanded significantly. (Slide 9)

In 1885, 7 more halls were added to the house in Lavrushinsky. 1892 was a significant year for the gallery; this year Pavel Mikhailovich Tretyakov donated it to the city of Moscow. Initially, the collection included 1287 paintings, 518 drawings and 9 sculptures. Today you can get acquainted with the unique collection of the Tretyakov Gallery, numbering more than 100 thousand works, which is divided into several sections. (Slide 10, 11, 12)

5. Sections of the Tretyakov Gallery.

The first section includes ancient Russian art of the 12th-18th centuries. Here during the excursion you will see unique icons, sculptures, small sculptures, and applied art (about 5 thousand exhibits). (Slide 13)

The second section includes painting from the 18th - first half of the 19th centuries. (Slide 14)

The third section includes painting of the second half of the 19th century and the turn of the 19th and 20th centuries (about 7 thousand works). (Slide 15)

During the excursion you will be able to appreciate the uniqueness of Russian graphics of the 18th - early 20th centuries (over 30 thousand works), Russian sculpture of the 18th - early 20th centuries (about 1000 exhibits). (Slide 16)

An interesting collection of old antique frames, furniture, applied art and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in premises on Krymsky Val. (Slide 17)

6. Acquaintance with the work of individual artists.

6.1 Painting by Viktor Vasilyevich Vasnetsov “Alyonushka”. (Slide 18)

The artist began work on the painting in 1880. At first he painted landscape sketches on the banks of the Vori in Abramtsevo, near the pond in Akhtyrka. Many sketches from this time have survived. The work was completed in the winter of 1881 in Moscow, after which Vasnetsov sent it to the Traveling Exhibition.

6.2 Painting by Alexander Ivanov “The Appearance of Christ to the People.” (Slide 19)

In 1834, the artist painted “The Appearance of the Risen Christ to Mary Magdalene.” Three years later, the artist began creating “The Appearance of Christ to the People.” It took 20 years to paint this picture (1837-1857), after which it was presented to the public in a separate hall of the Academy of Arts.

6.3 The work of Pavel Andreevich Fedotov. (Slide 20)

“Fresh Cavalier” is the first painting in which the artist achieved full reality in the depiction of all furnishings. The whole picture is executed like a miniature: it is painted in extremely detail with unflagging attention to every piece of space and to every object. The action takes place in a cramped and dark room. Among the ugly chaos, the figure of the “Fresh Cavalier” rises, wearing an order cross on his robe. Everything here is built on comic contradictions. Fedotov's satire, like Gogol's, goes much further than the young braggart and his pretty cook. “Fresh Cavalier” is the apogee of swagger and vulgarity.”

IN "Aristocrat's Breakfast" color unity is built on the basis of the dominant green color of the interior. In contrast to this green are the blue color of the robe and the crimson-red of the “aristocrat” silk shalwar. Each color is unusually intense and full-bodied, which does not interfere with the integrity of the overall color scheme.

In 1848, Fedotov created his most significant painting - "Major's Matchmaking" For her, the artist was awarded the title of academician of painting. At the academic exhibition of 1848, crowds of spectators crowded around the painting. It was a new word in art, fresh and bold in its sincerity, truthfulness, depth of thought, and serious critical direction. The name of Fedotov thundered throughout St. Petersburg. Every little thing in “Major's Matchmaking” has its own meaning, is justified and has a specific purpose for characterizing the characters, or for explaining the situation. There is nothing random about it. The essence of the picture is not limited to the vividness of the scene. Both psychologically and socially it is deep and meaningful. This is not just a scene taken from the thick of life. The theme of the painting is arranged marriage. A marriage turned into a commercial enterprise, a marriage desecrated by greed, cynical prose, not covered with any poetic flair, only revealing the baseness and heartlessness of people. There is not a single positive character in the film. This is real" dark kingdom" This is no longer a reproach. This is a harsh accusation, a cruel criticism.

6.4 Painting by Vasily Vladimirovich Pukirev “ Unequal marriage”. (Slide 21)

The artist based his work on the painting on a real event. In 1861, that is, a year before the creation of the picture, the betrothal of a wealthy manufacturer, already quite elderly, took place, and young girl from a poor family, a certain S.N. Rybnikova. Pukirev knew about this engagement from his friend and student S. M. Varentsov. According to the latter’s story, he and S.N. Rybnikova loved each other, but for reasons unknown to us now, the girl married not her beloved man, but a rich manufacturer, and her lover had the role of best man at this wedding.

6.5 The work of Vasily Grigorievich Perov. (Slide 22)

They said about the paintings of Vasily Grigorievich Perov that they “bite painfully.” Perov saw how the people were suffering, sympathized with them, suffered with them.

Winter twilight. Snowstorm. Two boys and a girl are harnessed to a sleigh and are hardly pulling a huge icy barrel of water along a city street. The children were exhausted. A sharp wind blows through their tattered clothes. Some kind person helps them pull the sled up the hill. Perov called the painting “Troika”. How much bitterness and pain there is in this name! We are used to songs about a dashing troika, about a frisky troika, but here is a troika of exhausted children.

To the title of the painting - “Troika” - Perov added: “Apprentice artisans carrying water,” because at that time thousands of children worked in factories, workshops, shops and stores. They were called students.

6.6 Painting by Ilya Efimovich Repin “Ivan the Terrible and his son Ivan November 16, 1581.” (Slide 23)

The plot for the film was a true historical fact - the murder of Tsar Ivan IV of his eldest son Ivan. This is also evidenced by the exact date in the title of the painting. The reason for the Terrible Tsar’s murder of his son remained unclear for a long time. Some contemporaries considered the cause of the royal anger to be a purely family scene; others believed that a dispute arose between the tsar and the prince over the issue of assistance to Pskov, besieged by the Poles. It is possible that the provocation of the boyars, who wanted to quarrel between Ivan the Terrible and his son, also played a big role.

6.7 The work of Vasily Ivanovich Surikov. (Slide 24)

The painting “Morning of the Streltsy Execution” was painted in 1881. We see Red Square filled with a crowded crowd. On the right, riding a horse, is Emperor Peter Alekseevich with a small group of associates. Peter and his comrades are shown against the backdrop of the Kremlin wall with strict, clearly defined towers. The personality of a person who stands in the way of change inevitably grinds the wheel of history, and Surikov, with his gift as a monumentalist and historical painter, realized this.

After the painting “The Morning of the Streltsy Execution,” Surikov plunged into the tragedy of Peter the Great’s favorite A.D. Menshikov. After the death of Peter I, as a result of court intrigues, the “semi-sovereign ruler” found himself overthrown from the heights of power. Surrounded by children, in a cramped hut covered with Siberian snow, Menshikov whiles away his days. Power, wealth and fame are a thing of the past. But willpower, unbroken character, readiness to actively live and act did not change Menshikov. The artist recreates not just the circumstances of one moment, but the tragedy of human life in the painting “Menshikov in Berezovo,” painted in 1883.

Painting by V.I. Surikov's "Boyaryna Morozova" tells about the schism in the Russian Orthodox Church in the middle XVII century. The church reforms of Patriarch Nikon, begun in 1655, were opposed by the opposition led by Archpriest Avvakum Petrov, whose spiritual daughter and associate was the noblewoman Feodosia Prokopievna Morozova. This rich and noble woman acted as a devout supporter of ancient piety and an active opponent of innovation. In 1673, Morozova was exiled to the Borovsky Monastery, where she died in 1675.

6.8 Painting by Arkhip Ivanovich Kuindzhi “Birch Grove”. (Slide 25)

Painting " Birch Grove"was painted in 1879 and shown at the seventh exhibition of the Association of Traveling Art Exhibitions. The reaction of artists and spectators was unanimous, Kuindzhi surprised everyone with the extraordinary nature of the picture. They didn’t remember anything like it. A.I. Kuindzhi’s nature is both real and conventional. The artist admires Russian nature .

7. Transfer of the Gallery to Moscow. (Slide 26)

In the summer of 1892, Sergei Mikhailovich Tretyakov, the younger brother of Pavel Mikhailovich, died. According to his will, his collection of works by foreign and Russian artists became part of the collection of P.M. Tretyakov. In August 1892, Pavel Mikhailovich donated his collection along with his brother’s collection to the city of Moscow. The gallery became the property of the city, and P.M. Tretyakov was approved as her lifelong trustee. Dar P.M. Tretyakov had a wide public response. Tretyakov was recognized as an honorary citizen of Moscow in December 1896.

In 2006, the State Tretyakov Gallery celebrated its 150th anniversary. The anniversary was marked by a number of major exhibition projects. One of the main exhibitions of the anniversary year is “Brothers Pavel and Sergei Tretyakov. Life and Activities” – presented a comprehensive presentation of the Tretyakov brothers’ lifestyle, their characters, and the history of the creation of their collections.

8. Conclusion. (Slide 27)

Today we met a prominent figure of Russian culture, Moscow collector - Pavel Mikhailovich Tretyakov. Tretyakov the collector was something of a phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. Having not studied anywhere specifically (the Tretyakov brothers received a home education, mostly of a practical nature), he had extensive knowledge in the field of literature, painting, theater and music. The scope of collecting activity and the breadth of P.M. Tretyakov’s horizons were truly amazing. He created the first museum in Russia, reflecting the entire progressive development of Russian art.

Used Books:

1. V.M. Volodarsky “State Tretyakov Gallery”, Aurora Publishing House, Leningrad, 1989.
2. V. Porudominsky “First Tretyakov Gallery”, M., “Children’s Literature”, 1979.
3. N.N. Vatolina “Walk through the Tretyakov Gallery”, M., “Soviet Artist”, 1983.

The Tretyakov Gallery is the most visited museum in the country. The gallery was founded in late XIX century by famous merchants and philanthropists - Pavel and Sergei Tretyakov, who donated their collections to the city. The gallery is located in the former estate of the Tretyakov brothers on Lavrushinsky Lane. The museum's fund has expanded significantly since October revolution 1917 meetings of wealthy nobles and merchant families. The spacious halls of the Tretyakov Gallery present Old Russian icons and paintings of the Russian school of painting. Moving through the chronologically arranged halls of the museum, you can study Russian in detail art from the 17th century to the beginning of the 20th century.

The Tretyakov brothers lost their father when the eldest, Pavel, was seventeen years old, and the youngest, Sergei, was fifteen. They turned out to be entrepreneurs from God. Very soon the brothers expanded the business from ordinary trade in shops to their own large store of linen, paper and woolen goods on the famous merchant street Ilyinka. They organize trading house"P. and S. Tretyakov brothers.” In the mid-1860s, they acquired the Novo-Kostroma linen manufactory, which they later made one of the best in Russia. Historian of the Moscow merchants P.A. Buryshkin named the Tretyakovs among the five richest merchant families in Moscow

The Tretyakovs were famous donors and philanthropists. Pavel Mikhailovich was a trustee of the Arnold School for the Deaf and Mutes, provided financial assistance to research expeditions, and donated money for the construction of churches. Sometimes Tretyakov's donations exceeded the cost of purchasing paintings. Sergei Mikhailovich actively participated in public life Moscow. He was a member of the Moscow City Duma and the mayor. In this position, he did a lot for Moscow. Thanks to Tretyakov, Sokolnicheskaya Grove became the Sokolniki city park: he bought it with his own money.

In 1851, the Tretyakovs purchased an estate in Lavrushinsky Lane from the merchants Shestovs with a two-story mansion decorated with a classic attic and an extensive garden. Alexandra Danilovna was the full-fledged mistress of the house, and the Tretyakov brothers focused on trade. It was rare in merchant environment an ideal family and business union. At the same time, the Tretyakovs had different characters. Pavel was reserved, he liked to work and read in solitude, and could spend hours looking at and studying paintings and engravings. Sergei, more sociable and cheerful, was always visible and loved to show off.

One day, Pavel Mikhailovich Tretyakov came to St. Petersburg on company business and ended up in the Hermitage. He was so amazed by the richness of the art collection that he certainly wanted to start collecting. He soon acquired nine paintings by little-known Western artists. “The first two or three mistakes in such a difficult matter as determining the authenticity of old paintings turned him away forever from collecting paintings by old masters,” wrote I.S. Ostroukhov after the death of the collector. “The most authentic painting for me is the one that I personally bought from the artist,” Tretyakov liked to say.” Soon Tretyakov becomes acquainted with the collection of F.I. Pryanishnikov and decides to collect paintings by Russian artists.

In the Tretyakov Gallery, the founding year of the museum is considered to be 1856, when Pavel Mikhailovich Tretyakov acquired the first two paintings “Temptation” by N.G. Schilder and “Clash with Finnish Smugglers” by V.G. Khudyakova. Today they hang side by side in the same room. The condition by which Pavel Mikhailovich selected paintings for his gallery can be found in his words addressed to the artists: “I don’t need rich nature, magnificent composition, spectacular lighting, no miracles, give me at least a dirty puddle, but so that It really was poetry, and there can be poetry in everything, it’s the work of the artist.”

But this does not mean that Tretyakov simply bought all the paintings he liked. He was a bold critic who did not recognize other people's authorities, often made comments to artists, and sometimes sought corrections. Usually Pavel Mikhailovich bought a canvas before the opening of exhibitions, right in the studio, when neither critics, nor spectators, nor journalists had yet seen the painting. Tretyakov had an excellent understanding of art, but this was not enough to choose the best. Pavel Mikhailovich possessed a unique gift of a seer. No authorities could influence his decision. The case described by S.N. is indicative. Durylin in the book “Nesterov in life and work”:

“At the preliminary, closed, vernissage of the XVIII Traveling Exhibition, where a few selected friends of the Wanderers were allowed, Myasoedov led V.V. to “Bartholomew.” Stasova, tribune-apologist of Itinerant Movement, D.V. Grigorovich, secretary of the Society for the Encouragement of Arts, and A.S. Suvorin, editor of the newspaper “Novoye Vremya”. All four judged the picture the last judgment; All four of them agreed that it was harmful... Evil must be uprooted. We went to look for the Moscow silent artist at the exhibition and found him somewhere in the far corner, in front of some painting. Stasov was the first to speak: this painting ended up in the exhibition due to a misunderstanding, it had no place at the Association’s exhibition.

The objectives of the Partnership are known, but Nesterov’s picture does not answer them: harmful mysticism, the absence of the real, this ridiculous circle around the old man’s head... Mistakes are always possible, but they should be corrected. And they, his old friends, decided to ask him to abandon the picture... A lot of smart, convincing things were said. Everyone found a word to brand poor “Bartholomew.” Pavel Mikhailovich listened silently, and then, when the words ran out, he modestly asked them if they had finished; when he learned that they had exhausted all the evidence, he replied: “Thank you for what you said. I bought the painting in Moscow, and if I hadn’t bought it there, I would have bought it here now, after listening to all your accusations.”

Sergei Mikhailovich Tretyakov began collecting his collection fifteen years later than his brother and managed to acquire only about a hundred works. However, his collection was one of a kind, because he was interested in modern Western painting– J.-B. C. Corot, C.-F. Daubigny, F. Miele and others. Pavel Mikhailovich, unlike his brother, who collected paintings for himself, sought to create a publicly accessible museum of national art. Back in 1860 (and he was then only twenty-eight years old), he drew up a will, according to which he bequeathed one hundred and fifty thousand rubles for the establishment of an “art museum” in Moscow. Pavel Mikhailovich persuaded his brother to do the same.

In 1865, Pavel Mikhailovich’s wedding took place with Vera Nikolaevna Mamontova - cousin famous philanthropist Savva Ivanovich Mamontov. The Tretyakovs had six children - four daughters and two sons. Everyone in the family loved each other. Pavel Mikhailovich wrote to his wife: “I sincerely thank God and you from the bottom of my heart that I had the opportunity to make you happy, however, the children have a lot of blame here: without them there would be no complete happiness!” Sergei Mikhailovich married much earlier than his brother, in 1856, but his wife died soon after the birth of their son. Only ten years later, Sergei Mikhailovich entered into a second marriage.

Pavel Mikhailovich adhered to traditional merchant views on raising children. He gave the children wonderful things home education. Of course, artists, musicians and writers, who visited Tretyakov almost every day, played a significant role in the formation of children. In 1887, Pavel Mikhailovich’s son Vanya, everyone’s favorite and his father’s hope, died of scarlet fever complicated by meningitis. Tretyakov painfully endured this bereavement. The second son Mikhail suffered from dementia and could not become a full-fledged heir and continuer of the family business. Daughter Alexandra recalled: “From that time on, my father’s character changed a lot. He became gloomy and silent. Only his grandchildren made the former affection appear in his eyes.”

For a long time, Tretyakov was the only collector of Russian art, at least on such a scale. But in the 1880s he had a more than worthy rival - Emperor Alexander III. There are many legends associated with the confrontation between Tretyakov and the Tsar. Pavel Mikhailovich literally stole paintings from under Alexander’s nose several times by artists who, with all due respect to the august person, preferred Tretyakov. Alexander III, who was called the “peasant king,” became furious if he visited traveling exhibitions, saw on best paintings marks “property of P.M. Tretyakov".

But there were cases when representatives of the emperor simply outbid Tretyakov. For example, after the death Alexandra III his son Nicholas II offered an incredible sum for those times for the painting “The Conquest of Siberia by Ermak” by V.I. Surikov - forty thousand rubles. The newly-minted emperor did not want to skimp in memory of his father, who dreamed of purchasing this painting. Surikov already had an agreement with Pavel Mikhailovich, but he could not refuse such good deal. Tretyakov simply could not offer more. As a consolation, the artist gave the collector a sketch for the painting, completely free of charge, which still hangs in the museum.

In 1892, Sergei Mikhailovich died. Long before his death, the Tretyakov brothers decide to donate their collections to Moscow. In his will, Sergei Mikhailovich donated to the city half of the house on Lavrushinsky Lane, all the paintings and the amount of one hundred thousand rubles. Pavel Mikhailovich gave his huge collection(more than three thousand works) Moscow during his lifetime, together with his brother’s collection. In 1893, the Moscow Gallery of Pavel and Sergei Tretyakov was opened, and the collection Western art hung next to paintings by Russian artists. On December 4, 1898, Tretyakov died. His last words were: “Take care of the gallery and be healthy.”

After Tretyakov's death during 1899-1906 main house was converted to exhibition halls. The façade, designed according to a drawing by V.M. Vasnetsov, became the emblem of the Tretyakov Gallery for many years. The central part of the facade was highlighted by a chic kokoshnik with a relief image of St. George the Victorious - the ancient coat of arms of Moscow. At that time, artists showed interest in the forms of ancient Russian art. Luxuriously decorated portals, lush window frames, bright patterns and other decorations - all this speaks of Vasnetsov’s desire to turn the Tretyakov Gallery into an ancient Russian fairy-tale tower.

In 1913, the artist I.E. became a trustee of the Tretyakov Gallery. Grabar. The reworking of the exposition began according to a scientific principle, as in best museums peace. The works of one artist began to hang in a separate room, and the arrangement of paintings became strictly chronological. In 1918, the Tretyakov Gallery was nationalized and transferred to the People's Commissariat of Education. It was at this time that the museum was significantly replenished with huge collections of P.I. and V.A. Kharitonenko, E.V. Borisova-Musatova, A.P. Botkina, V.O. Girshman, M.P. Ryabushinsky and collections from estates near Moscow.

In the 1980s, a grandiose reconstruction of the gallery took place. The project involved “the creation of a large museum complex, including storage facilities, an extensive exhibition space, a conference room due to the development of courtyards and the refurbishment of an old building while preserving its historical appearance" Unfortunately, the new building, built at the intersection of Lavrushinsky and Bolshoy Tolmachevsky lanes, turned out to be alien architectural ensemble old buildings of the Tretyakov Gallery. The reconstruction resulted in the actual destruction of the monument. The new corner building was out traditional connections with the environment.

As a result of reconstruction, the exhibition area of ​​the Tretyakov Gallery increased by one and a half times. In 1998, the first permanent exhibition art of the twentieth century, built on historical, chronological and monographic principles. The museum's collection now numbers about one hundred and fifty thousand works. Pavel Mikhailovich's collection has increased more than fifty times. The Tretyakov Gallery is a huge educational and Cultural Center, engaged in scientific, restoration, educational, publishing, popularization and other types of activities.

In one of the letters to the artist Vasily Vasilyevich Vereshchagin P.M. Tretyakov wrote: “Your indignation against Moscow is understandable; I myself would be indignant and would have long ago given up my goal of collecting works of art, if I meant only our generation, but believe me, Moscow is no worse than St. Petersburg: Moscow is only simpler and seemingly more ignorant. Why is St. Petersburg better than Moscow? In the future, Moscow will be of great, enormous importance (of course, we will not live to see that).” A true patriot and the noblest man was Pavel Mikhailovich Tretkov. And then he turned out to be a real seer.

Every time we come to the gallery, we remember its great creator, not only because there is a monument to Tretyakov in front of the entrance (a wonderful monument, by the way). Pavel Mikhailovich is not just a collector, the founder of the museum, he, along with artists, created Russian fine art, and Tretyakov’s role here is objectively greater than the role of any of them. I.E. Repin (and he knew a lot about this) once said: “Tretyakov brought his work to grandiose, unprecedented proportions and carried on his shoulders the question of the existence of an entire Russian school of painting.”

The history of the creation of the Tretyakov Gallery began a long time ago. In 1832, the founder of the famous art museum, Pavel Mikhailovich Tretyakov. He received an excellent education due to the fact that his family was a merchant, and his parents owned a factory, the income of which grew every year. Pavel Mikhailovich was always interested in art, although he worked with his father, over time he began to think about creating a pavilion that would house paintings by all Russian artists. It was their creativity that most inspired the patron of the arts.

At first, the paintings hung in Tretyakov’s house; in the process of collecting the collection, extensions began to be made to the house, which in 1870 became available to the general public. When the philanthropist realized that all the canvases simply would not fit in the extensions, he ordered the construction of a special building - the Tretyakov Gallery, which opened its doors in 1875 and is located to this day in the oldest quarter of Moscow in Zamoskvorechye. From this moment the history of the creation of the Tretyakov Gallery began.

In 1892, the collection was donated to Moscow; even then it consisted of more than 1,300 paintings by Russian authors, most of whom not only sold their creations to Tretyakov, but were proud that the patron had chosen them, and were grateful for the help he provided to all those in need. After the death of Pavel Mikhailovich, the Tretyakov Gallery was not abandoned; on the contrary, it began to be replenished with new works, and by 1917 it contained more than canvases, as well as a collection of icons, maps and other Russian creations.

Paintings from the Tretyakov Gallery: Ivan Shishkin – “Morning in pine forest» V.V. Vereshchagin – “Apotheosis of War” I.N. Kramskoy – “Unknown” I.E. Repin – “Ivan the Terrible and His Son Ivan” Valentin Serov – “Girl with Peaches” V.V. Pukirev – “Unequal” marriage" R.F. Pavlovich - "Again deuce" B.K. Pavlovich - "Horsewoman"