Handicraft museum. How I went to the handicraft museum
Museum of Folk Arts
Opened in 1885 as the Trade and Industrial Museum of Handicrafts of the Moscow Provincial Zemstvo.
The museum has been operating in a building on Leontyevsky Lane (an architectural monument of the 20th century) since 1903. This house was purchased by S.T. Morozov at A.I. Mamontov and rebuilt for museum purposes according to the design of architect S.U. Solovyova. B 1911-1913 to the main building designed by architect V.N. Bashkirov, a two-story extension was made to accommodate the trade department.
Collection
Works of traditional peasant carving and painting on wood, stone, bone; artistic metal products; ceramics; papier-mâché painting; folk clothes; embroidery, lace, printed material; a collection of works of modern Russian artistic crafts. There is no permanent exhibition in the museum. Temporary thematic exhibitions are held in the exhibition hall. The nesting doll museum is also located here.
Address:
Leontyevsky lane, 7. Tel.: 291-87-18. Opening hours: daily from 1 to 17:30, Tuesday and Thursday from 12 to 19:30. Closed on Monday.
Directions: M. "Pushkinskaya", "Tverskaya", "Chekhovskaya".
One of them, an associate of Peter the Great, Avtonom Golovin, who served with the rank of steward, owned two-story chambers built of stone in Sheremetyevsky Lane (now Leontyevsky Lane, 7).
In 1871, the building became the property of Anatoly Mamontov, who was the brother of Savva Mamontov, an entrepreneur and philanthropist. Under the new owner, a publishing house and a printing house were opened on the property. For the latter, they even built a special room designed by architect V.A. Hartman (today - Leontyevsky Lane, building 5).
Mamontov's publishing house produced children's books, the pages of which were illustrated by such artists as Viktor Vasnetsov, Valentin Serov and Sergei Malyutin.
At the beginning of the 20th century, the property was divided into two parts, and the right plot with the current house No. 7 on Leontyevsky Lane became the property of the industrialist and collector S.T. Morozov.
Sergei Timofeevich was a passionate connoisseur of handicrafts. It was this passion that predetermined the history and fate of the ancient building.
First of all, Morozov ordered a house reconstruction project from the famous architect S.U. Solovyov. The ancient chambers were given the appearance of an ancient Russian tower. This appearance has survived unchanged to this day.
The next step of Sergei Timofeevich was the donation of the renovated building to the Handicraft Museum, which at that time was located on Bolshaya Nikitskaya Street and traced its history back to 1885. It is interesting to know that it was here, in 1898, that the beautiful matryoshka doll, painted by the artist Sergei Milyutin, was first presented to the general public.
New halls began to be filled with new masterpieces of folk art. Visitors could see carved spinning wheels and rockers, as well as sculptures of various birds and animals.
In 1911, the building at Leontyevsky Lane, building 7, was expanded with additional space, where a store was opened, offering visitors to the Handicraft Museum various products and crafts of Russian folk crafts.
A few words about the architecture of the extension.
It was erected on the initiative of S.T. himself. Morozov, and the project was executed by architects Adolf Erichson and Vasily Bashkirov. The entrance is designed in the form of a porch in the “Old Russian” style with its characteristic barrel columns. The roof of the building is crowned with a weather vane, decorated with a toy image. In the lobby, the ceramic fireplace, designed by the artist Mikhail Vrubel, is striking in its beauty.
The handicraft museum has made a huge contribution to the preservation and development of Russian artistic crafts. Since the 1910s, its employees not only participated in various exhibitions and fairs, but also were their organizers.
Nowadays, the building at 7 Leontyevsky Lane houses the Matryoshka Museum and the Museum of Folk Art. The latter’s collection includes about 50,000 exhibits, including wood carvings, paintings on metal, stone, wood and bone, lace folk clothing, and other products of folk craftsmen.
Among museums whose history is inextricably linked with the activities of patrons of the arts, the Handicraft Museum occupies a special place. Its legal successor is the All-Russian Museum of Decorative, Applied and Folk Art.
In the 60-70s of the 19th century, interest in everything related to the manifestation of the national in Russian culture awakened among the Russian intelligentsia. The study, collection and collecting of objects of peasant art begins. Public interest in folk culture prompted zemstvo organizations to pay attention to handicrafts and make an attempt to improve the state of handicrafts as a special area of traditional artistic culture.
In 1882, at the All-Russian Industrial and Art Exhibition, held in Moscow on Khodynka Field, the products of artisans from Moscow and other provinces of Central Russia were widely presented to the public for the first time. The famous critic V. Stasov wrote: “Of all the Russian exhibitions that we have had so far, this is the most magnificent exhibition.” The handicrafts section was a resounding success and attracted public attention to the problems of the handicraft industry.
A passionate lover of antiquities, an excellent connoisseur of art, a representative of a well-known family of entrepreneurs and philanthropists in Russia, Sergei Timofeevich Morozov acquired the entire exhibition collection of handicrafts, which formed the basis of the future Handicraft Museum.
The collection was placed on Znamenka Street in the house of V. Ya. Lepeshkina, where three years later the Trade and Industrial Museum of Handicrafts opened. Three years later, the museum moved to premises rented by S. T. Morozov on the corner of Nikitskaya Street and Nikitsky Boulevard, and in 1903 it found its permanent address - Leontyevsky Lane, 7.
The new house of the Handicraft Museum in the Russian-Byzantine style was built at the expense of S. T. Morozov according to the design of the architect S. U. Solovyov. Later, in 1911, the museum building was expanded with an extension for a store, designed by architects V. N. Bashkirov and A. E. Erichson.
The handicraft museum occupied a special position in the cultural life of the capital. Its influence extended far beyond Moscow, because the museum not only performed collecting and scientific and educational functions, but was also the engine of the handicraft industry.
The main activity of the museum was aimed at providing assistance and support to artisans as carriers of traditional folk culture. The museum was supposed to become a center for the popularization of handicrafts, help improve their artistic level, assist craftsmen in improving their work, promote the sale of handicraft products, and participate in the organization of schools, colleges and workshops.
In the 1900s, the structure of the Moscow Handicraft Museum took shape, radically different from that of other museums of that time. In the Handicraft Museum, three independent divisions were created that performed specific tasks: a bureau for the promotion of crafts, a trade department and the “Museum of Samples”, which was assigned a special role: it became a kind of artistic and experimental laboratory.
To create highly artistic samples of handicrafts on which craftsmen could work, famous artists were brought in - the Vasnetsov brothers, A. Ya. Golovin, V. D. Polenov and many others. The museum’s collection was constantly replenished with monuments of “Russian antiquity”, which served as models for the development of new works, the formation of the artistic taste of artisans, and the preservation and enhancement of cultural traditions.
In order to supply artisans with samples and drawings, S. T. Morozov replenished the museum’s collection with monuments of applied art of the 17th-19th centuries, and at his own expense.
The participation of the Handicraft Museum in major Russian and international exhibitions was of great importance for the popularization and development of folk art crafts in Russia.
A special place among them belongs to the World Exhibition in Paris in 1900. The handicrafts and handicrafts pavilion stood out among other exhibition pavilions with its national flavor. It was a string of small wooden buildings in the typical style of the Russian North of the 17th century with huts and a rural wooden church.
“Russian Village” - “Village Russe”, as the French dubbed this unusual structure, was built according to the design of the artist K. A. Korovin by the architect I. E. Bondarenko.
In the 1920s and 1930s, the Handicraft Museum did a lot to ensure that crafts adapted to new socio-economic conditions. In particular, he played a major role in the formation and development of lacquer miniatures in the ancient icon painting centers - Palekh, Mstera and Kholuy, and contributed to the revival of Gzhel ceramics.
In 1931, on the basis of the Handicraft Museum, a research institute was created, which since 1941 was called the Scientific Research Institute of the Art Industry (NIIHP). The museum became its structural unit as a department and was named the “Museum of Folk Art”.
In 1999, by order of the Government of the Russian Federation, the collection of the S. T. Morozov Museum of Folk Art was transferred to the All-Russian Museum of Decorative, Applied and Folk Arts (VMDPNI).
Previously, and it was thought that always, in this intricate house in the pseudo-Russian style there was a Museum of Handicrafts. And it so happened that this museum was the only one nearby that I had not been to. In those days, this street was called Stanislavsky Street. 20 years ago, in 1994, the street was returned to its previous name - Leontyevsky Lane. And only now I decided to look at the exhibition of this museum. I was in for a huge disappointment - only one sign remained from the museum. I couldn’t believe it and wandered around this building for a long time, looking for some secret entrance. Finally, a guard came out of the carved wooden doors and explained that the museum had not been here for a long time. The famous collection of the famous philanthropist Morozov was transferred to the All-Russian Museum of Decorative and Applied Arts, dispersed and mostly lost. This is such a sad story, but I read that in 1994, 50 years after Morozov’s death, a number of decisions were made by government agencies to recreate Morozov’s legacy in the form of the Museum of Folk Art and preserve it in a historical building in Leontyevsky Lane.
1. The history of the creation of this museum is as follows. In the 17th-18th centuries, the place between the current Tverskaya and Bolshaya Nikitskaya streets was an aristocratic area. The two-story chambers, built of stone in Sheremetyevsky Lane (now Leontievsky Lane, 7), were owned by Peter the Great's steward A. Golovin. In 1871, the building became the property of Anatoly Mamontov, who was the brother of the entrepreneur and philanthropist Savva Mamontov.
2. Under the new owner, a publishing house was opened on the property, as well as a printing house, for which a special room was built according to the design of the architect V.A. Hartman (today Leontyevsky Lane, building 5). Mamontov's publishing house produced children's books, the pages of which were illustrated by such artists as Viktor Vasnetsov, Valentin Serov and Sergei Malyutin.
3. At the beginning of the 20th century, the property was divided into two parts, and the right plot with the current house No. 7 became the property of the industrialist and collector S.T. Morozov. Sergei Timofeevich was a great connoisseur of folk crafts and decided to create a museum of folk crafts in this house. He commissioned a house reconstruction project from the famous architect S.U. Solovyov. The ancient chambers were given the appearance of an ancient Russian tower.
4. This appearance has survived to this day.
5. Morozov’s next step was to donate the building to the Handicraft Museum, which was previously located on Bolshaya Nikitskaya Street and dates back to 1885. The collection was based on exhibits from the handicraft department of the 1882 Trade and Industrial Exhibition in Moscow, and objects of artistic crafts from the late 19th - early 20th centuries. The new museum began to be replenished with masterpieces of folk art. In 1911, the building was expanded with an additional structure, where a store with various Russian folk crafts was opened.
4. The extension was erected on the initiative of S.T. himself. Morozov, and the project was prepared by architects Adolf Erichson and Vasily Bashkirov. The entrance was designed in the form of a porch with barrel columns.
6. A weather vane depicting the “Bogorodsk blacksmiths” was installed on the roof of the building. According to stories, in the lobby there is a ceramic fireplace made according to Vrubel’s sketch. It turned out to be impossible to get inside the room.
7. After the October Revolution, the handicraft museum was renamed the Museum of Folk Art. Under different names, the museum continued to work on the development of folk crafts. Sergei Timofeevich himself was left at the Museum as a consultant on handicrafts, but in 1925 he emigrated to France. S.T. Morozov died in 1944 and was buried in the Parisian cemetery of Saint-Genevieve-des-Bois.
8. The handicraft museum has made a huge contribution to the preservation and development of Russian artistic crafts. Since the 1910s, its employees not only participated in various exhibitions and fairs, but also were their organizers. This memorial plaque hangs at the entrance.
9. But the museum at Leontyevsky Lane, building No. 7 has not been there for 15 years.
10. The sign once again reminds that the object is protected by the state.
16. Passage to the estate courtyard.
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18. The backyard has this view. I have no words! Nearby, close to the historical building, there is some kind of construction going on.
19. Gallery connecting two buildings of house No. 7 - the former Museum of Handicrafts.
20. Some strange, obviously later, structures on the roof.
22. And now, for some reason, the “Beryozka” ensemble is located in the historical building of the Museum of Handicrafts. This is such a strange and very sad story.
23. In the two-volume book “Architectural Monuments of Moscow”, publishing house “Iskusstvo”, 1989, two photographs of this house are given. The first shows the facade of building XVIII. From the book - “At the beginning of the 19th century, the first floor contained canopies, storerooms and cellars, and only the second floor contained living quarters.”
24. "In 1900, the estate was purchased by S.T. Morozov with the aim of establishing a Handicraft Museum in the main house, rebuilt for this purpose in 1902-1903 by S.U. Solovyov. Part of the house from the courtyard side was built on, and the facade street was dismantled and built along a new line with decoration in neo-Russian style."
25. “In 1911, V.N. Bashkirov added a retail space to the museum building, which housed a store for selling handicrafts.” This can be seen on the ground floor plan. It looks like some kind of construction work is underway right at the site of the extension behind the green shelter!
Museum-workshop D.A. Nalbandyan was created by the Moscow government on the basis of a collection donated by the artist to the city at the end of 1992. Dmitry Nalbandyan moved to an apartment in building 8/2 on Gorky Street (Tverskaya) in 1956. The windows of the second building overlooked the Mossovet building and Sovetskaya (Tverskaya) Square with a monument to the city founder Yuri Dolgoruky, opened in 1954. Demyan Bedny, Ilya Erenburg, Mikhail Romm lived in this house; in 1958, bookstore No. 100 of the Moscow Book Trading House was opened here. They decided to give the last floors of the house to artists - the Kukryniks, Nikolai Zhukov, Fyodor Konstantinov, Vladimir Minaev, Dmitry Nalbandyan... Today in the collection of the museum-workshop, a structural unit of the Manege Museum and Exhibition Association, there are more than 1,500 works by the artist: paintings, sketches, drawings, photographs, personal items. Dmitry Nalbandyan was born in 1906 in Tiflis. After graduating from the Georgian Academy of Arts in the classes of Evgeny Lansere and Yeghishe Tatevosyan, in 1931 Nalbandyan came to Moscow: he worked as a caricaturist at Krokodil, an animator at Mosfilm and a poster artist at Izogiz. In 1934, an event occurred that largely determined the artist’s fate - in the Kremlin he met with Sergo Ordzhonikidze, a friend of his father Arkady Nalbandian, who was killed by the Mensheviks in Georgia. Ordzhonikidze introduces Nalbandyan to Sergei Kirov and introduces him to the circle of the party elite. Soon Nalbandyan painted his first large canvas, “Speech by S.M. Kirov at the XVII Congress of the All-Union Communist Party (Bolsheviks)" - the painting is exhibited at the State Museum of Fine Arts, published in the newspapers "Pravda" and "Izvestia", circulated in reproductions... Later, Nalbandyan will become a member of the Moscow Union of Soviet Artists and a member of the Academy of Arts, will receive the Stalin Prize for the portrait of Stalin and Leninskaya - for the images of Leninism. For the Soviet viewer, Nalbandian was the “first brush” of the Politburo, a classic of socialist realism, a portraitist-chronicler of the era, the author of invented and directed paintings: “Vladimir Mayakovsky in Georgia (Baghdadi) in 1927”, “V.I. Lenin and A.M. Gorky among fishermen on the island of Capri. 1908", "Vernatun (Mighty Handful). Group portrait of outstanding figures of Armenian culture”, familiar to many from reproductions in the magazine “Ogonyok”. Nalbandyan’s landscapes and still lifes are much less known, although they speak of him as an “impressionist of the Korovinsky type”, capable of conveying mood with a quick and light brush. Nalbandian the graphic artist is known even less. His drawings - and this is a gallery of the leading figures of politics and art: Lenin, Stalin, Khrushchev, Brezhnev, Chernenko... Saryan, Roerich, Van Cliburn, Kataev, Leonov... - with obvious exceptions, were made from life and today represent amazing documents of the time. In the early 1990s, Nalbandian bequeathed part of his collection of works to the city on the condition that they would not leave the walls of his studio. And today the Museum of D.A. Nalbandyan recreates the space of life and work of the artist of the Soviet era as it was then.
