Brief summary of the message about the Hermitage. Hermitage brief information
Vadim Rudnev
Phenomenology - (from the ancient Greek phainomenon - being) - one of the areas of philosophy of the twentieth century, associated primarily with the names of Edmund Husserl and Martin Heidegger.
The specifics of phenomenology as philosophical teaching consists in rejecting any idealization as a starting point and accepting the only premise - the possibility of describing the spontaneously meaningful life of consciousness.
The main idea of phenomenology is the continuity and at the same time mutual irreducibility, irreducibility of consciousness, human existence, personality and objective world.
The main methodological technique of phenomenology is phenomenological reduction - reflective work with consciousness, aimed at identifying pure consciousness, or the essence of consciousness.
From Husserl’s point of view, any object should be grasped only as a correlate of consciousness (the property of intentionality), that is, perception, memory, fantasy, judgment, doubt, assumptions, etc. The phenomenological attitude is not aimed at the perception of known and identification of yet unknown properties or functions of an object, but on the process of perception itself as a process of formation of a certain spectrum of meanings seen in the object.
“The goal of phenomenological reduction,” writes phenomenology researcher V.I. Molchanov, “is to discover in each individual consciousness pure conceivability as pure impartiality, which calls into question any already given system of mediation between oneself and the world. Impartiality must be maintained in a phenomenological attitude not in relation to objects and processes real world, the existence of which is not questioned - “everything remains as it was” (Husserl) - but in relation to already acquired attitudes of consciousness. Pure consciousness is not consciousness cleared of objects; on the contrary, consciousness here for the first time reveals its essence as a semantic closure with the subject. Pure consciousness is the self-purification of consciousness from the schemes, dogmas, templates of thinking imposed on it, from attempts to find the basis of consciousness in what is not consciousness. The phenomenological method is the identification and description of the field of direct semantic conjugation of consciousness and the subject, the horizons of which do not contain hidden, unmanifested entities as meanings."
From the point of view of phenomenology (cf. individual language in the philosophy of L. Wittgenstein), the experience of meaning is possible outside of communication - in an individual, “lonely” mental life, and therefore, linguistic expression is not identical to meaning, the sign is only one of the possibilities - along with contemplation - implementation of meaning.
Phenomenology developed its original concept of time. Time is considered here not as objective, but as temporality, the temporality of consciousness itself. Husserl proposed the following structure of temporal perception: 1) now-point (initial impression); 2) retention, that is, the primary retention of this now-point; 3) protention, that is, primary expectation or anticipation, constituting “what comes.”
Time in phenomenology is the basis for the coincidence of a phenomenon and its description, a mediator between the spontaneity of consciousness and reflection.
Phenomenology also developed its own concept of truth.
V.I. Molchanov writes about this: “Husserl calls truth, firstly, both the very certainty of being, that is, the unity of meanings that exists regardless of whether anyone sees it or not, and being itself is the “subject” , accomplishing truth." Truth is the identity of an object with itself, "being in the sense of truth": a true friend, true position affairs, etc. Secondly, truth is the structure of an act of consciousness, which creates the possibility of seeing the state of affairs exactly as it is, that is, the possibility of identity (adequation) of the thought and the contemplated; evidence as a criterion of truth is not a special feeling that accompanies certain judgments, but the experience of this coincidence. For Heidegger, truth is not the result of a comparison of representations and not the correspondence of a representation to a real thing; truth is not the equality of knowledge and object [...]. Truth as true being is rooted in the way of human being, which is characterized as openness [...]. Human existence may be in truth and not in truth - truth as openness must be torn out, stolen from being [...]. Truth is essentially identical with being; the history of existence is the history of its oblivion; The history of truth is the history of its epistemology."
IN last decades phenomenology reveals a tendency towards rapprochement with others philosophical directions, in particular with analytical philosophy. The closeness between them is found where we're talking about about meaning, meaning, interpretation.
Bibliography
Molchanov V.I. Phenomenapogy // Modern Western Philosophy: Dictionary, - M., 1991.
The content of the article
HERMITAGE The State Museum in St. Petersburg is an art and cultural-historical museum. Included in best museums world, it holds first place among Russian museums. The Hermitage presents historical and artistic monuments East and West, from the Paleolithic era to the present day. Occupies 5 interconnected buildings on palace embankment: Winter Palace (1754–1762, architect. B.F.Rastrelli), Small Hermitage (1764–1767, architect J.B.M. Wallen-Delamot), Old Hermitage(1771–1787, architect Yu.M. Felten), New Hermitage (1839–1852, architect L. von Klenze), Hermitage Theater (1783–1787, architect. G. Quarenghi).
The diversity of the Hermitage collections.
Nowadays the Hermitage collection consists of 6 sections: primitive culture, ancient world, the culture of the peoples of the East, the history of Russian culture (includes palace interiors and the “Gallery of 1812” - portraits of heroes Patriotic War 1812, and also b. Menshikov Palace, Winter Palace Peter I), numismatics, Western European art.
In the department of Western European art, along with paintings and sculptures, furniture, porcelain, silverware, tapestries, and weapons are exhibited. Among them are many outstanding collections and genuine masterpieces. For example, the best collection of paintings outside of Holland Rembrandt(26 paintings), 42 paintings P.P.Rubens, 2 paintings by Leonardo da Vinci (there are 14 of them in the world), works of great masters of France different eras(painters – br. Lehnen , N. Poussin , A. Watteau , J.O.D.Ingres , E. Delacroix , K. Monet , O. Renoir , P.Cezanne, sculptors – J.A. Houdon , O. Rodin). The collection occupies 52 rooms Winter Palace, 2 floors. Receives special attention from museum visitors french art late 19th – early 20th centuries, from the impressionists to A.Matisse And P. Picasso. There are 37 paintings by Matisse in the Hermitage (incl. Dance And Music), 31 paintings by Picasso.
The Oriental Department has rare collections. It contains monuments ancient civilizations: Egypt, Sumer, Assyria, Babylon, Urartu (a state that existed on the territory of Armenia in the 8th–6th centuries BC). Along with them, objects created by masters of China, India, Byzantium, Turkey and other Eastern countries are stored. Among them are many famous collections that are not found anywhere else in the world, such as an outstanding collection of “Sassanian silver” - Iranian artistic tableware (3rd–7th centuries), decorated with images of hunting scenes, animals, and birds. There is no such collection either in Iran itself or in other countries.
The Department of Primitive Culture (Department of Archeology) is world famous. It contains stone tools paleolithic era, cave drawings, objects made from mammoth ivory, etc. Some of them were created 500,000 BC. Particularly famous is the collection of Scythian objects (8th–3rd centuries BC), found in the southern part of our country in ancient burial grounds. A set of objects made of gold, silver and precious stones, found in the Maikop mound in the North Caucasus at the end of the 19th century, belongs to the unique collections of the Hermitage. These things were created in 4 thousand BC. There are only two such complexes of ancient jewelry items in the world (the second is in Bulgaria). There are many things here that are not found anywhere else.
Among the monuments of the department, the only one in the world, both in composition and in the state of preservation of things, stands out: a collection from excavations of burial mounds in the Altai Mountains carried out by S.I. Rudenko in 1929–1949. Here, perfectly preserved objects made of fur, felt, leather, and fabric were found that had survived in the icy chambers of burial mounds of the 6th–4th centuries. BC. From one of them, the Pazyryk mound, comes the world's only carpet, woven from wool in the 5th–4th centuries. BC. (possibly made in Persia) and another made of felt with appliqués made locally.
The Antique Department occupies the entire first floor of the New Hermitage. It displays sculptures, vases, and products of ancient artisans. Notable among them is the colossal statue of Jupiter (3.5 m high), carved by Roman craftsmen in the 1st century. AD and the Tauride Venus, acquired under Peter I in Italy. Modern experts have come to the conclusion that this is a Greek original of the 3rd century. BC. Very few such statues have survived in the world. Unique products of ancient craftsmen were discovered during excavations in Greek cities of Crimea. Feodosian earrings of the finest virtuoso work (4th century BC), pendants with the image of Athena (early 4th century BC) and a number of other antique gold objects are world famous.
The department of Russian culture presents monuments reflecting various stages in the development of art in our country. Paintings, sculptures, art objects. Particularly popular among museum visitors are the exhibits transferred to the Hermitage from the “office of Peter the Great”, where after his death his personal belongings were received: machines, tools, objects made by him (for example, an ivory chandelier), as well as the “Wax Person” "- a documentary portrait of Peter I, created by the sculptor B.K. Rastrelli (father of the architect B.F. Rastrelli) immediately after the death of the king. B.K.Rastrelli filmed death mask from the face, hands, feet of Peter I, to be as accurate as possible.
They are very famous unique watches in the shape of an egg, made by the famous mechanic Ivan Kulibin from Nizhny Novgorod as a gift to Catherine II. The mechanism consists of 427 parts. Every hour the doors open and, accompanied by church hymns, small figures appear to act out the gospel scene. At noon the clock plays a melody composed by I. Kulibin himself.
The state rooms of the Winter Palace also belong to the department of Russian culture. Many of them are related to important events history of the country. Thus, in the gallery of 1812 the heroes of this war are glorified, thanks to whom the victory over the French army was won. Petrovsky Hall reminds of the victory over the Swedes in the Northern War. Monuments October revolution are the Malachite Hall, where the last meetings of the Provisional Government took place, and the Small Dining Room, where the ministers of the Provisional Government were arrested.
In all exhibitions of the Hermitage, only authentic things are exhibited. There are no copies or casts among them. Currently, the museum stores more than 2 million 800 thousand exhibits (their number is constantly growing). More than 350 halls are dedicated to displaying collections.
The history of the creation of the museum and the construction of buildings.
The name of the museum “Hermitage” (from the French ermitage) means “hermit’s dwelling”, “secluded corner”. The name is associated with the location of the first collections purchased by the Empress of All Russia Catherine II(b. 1729, 1762–1796). The paintings were located in a building adjacent to the Winter Palace, which is now called the Small Hermitage. The Small Hermitage consists of two pavilions and two galleries surrounding the Hanging Garden, located on the roof of the first floor. The Northern Pavilion (formerly called the Orangery House) was built by order of Catherine II by a French architect J.B.M. Wallen-Delamot(1767–1769), the southern pavilion and galleries were built by the architect Yu. Felten (1764–1775).
In the northern pavilion, Wallen-Delamot created a room with two lifting tables. The tables, already set, were raised using mechanisms from the first floor. They dined here without servants. This room was called the “Hermitage”; a small company of 12–15 people, invited by Catherine II herself, usually gathered in it.
The rooms and galleries of the Small Hermitage began to quickly fill with works of art. Therefore, there was a need for another building, a larger one, to house the collections. It was built by Yu. Felten along the bank of the Neva (1771–1787). It began to be called the Great Hermitage, and later – the Old Hermitage. With the help of a covered bridge, it was connected to the theater building (architect G. Quarenghi, 1783–1787), built on the site of the dilapidated palace of Peter I. Soon, along the Winter Canal, Quarenghi created a repetition of the famous Vatican loggias of Raphael (1783–1792). Authentic loggias in Rome were built according to the design D. Bramante, the paintings were executed according to sketches and under the direction of Raphael in 1516 - 1518. Raphael's loggias in St. Petersburg are located in a special building adjacent at right angles to the building of the Old Hermitage. Copies of Raphael's paintings were made by a group of artists led by H. Unterberger in Rome.
The buildings of the Small Hermitage, the Old Hermitage, the Raphael loggia, and the theater foyer were filled with works of art purchased by Catherine II. Since then, the name “Hermitage” has been assigned to the museum founded by her.
The New Hermitage is the first specially designed museum in Russia.
Until the middle of the 19th century. the Hermitage collections were accessible to a small circle of people. The tickets were issued by the court office. Thus, on the recommendation of the poet V. Zhukovsky, A. Pushkin received a permanent pass to the Hermitage, as V. Zhukovsky put it - “a ticket for all eternity.”
However, in the middle of the 19th century. Public museums were springing up all over Europe. Such a museum was built in St. Petersburg in 1839–1852 according to the design of the Bavarian architect Leo von Klenze. The museum was adjacent to the buildings of the Old and Small Hermitage and was named the New Hermitage.
The new Hermitage was built as a museum intended for the general public, performing educational functions in society. It was the first professionally designed museum in Russia, with special exhibition spaces dedicated to specific collections, which were systematized according to scientific principles. All the best exhibits from the royal collections were moved here. Other buildings: the Small Hermitage, the Old Hermitage, and the Winter Palace were exempted from storing art monuments. In 1850–1858, the interiors of the Small and Old Hermitage were rebuilt by the architect A.Stackenschneider. A series of luxurious rooms were then created, including the famous, light-filled Pavilion Hall on the site of the small rooms built by Vallin-Delamot. The rebuilt halls, which received a new design, were used as parts of the royal residence until the revolution.
Architect L. von Klenze, outstanding master museum ensemble, scientist, archaeologist, painter developed the museum project taking into account the experience of European museum construction in the 19th century. All the halls on the first floor were built in the spirit of Greco-Roman architecture, although the antique collection occupied only 5 halls. The remaining rooms were occupied by sculptures by Russian and Western European masters, as well as a “book museum”, a collection of engravings and drawings. The most valuable part of the antique collection was a collection of antique vases found in Italy in places where there were Greek colonies. The meeting was located in the hall of “Greco-Etruscan vases” (since Etruscan art was also presented there – ancient population Italy), which later received the name “Twenty-Column” - because of its architectural appearance. Klenze wanted to give a powerful “orchestration” to the best part of the collection thanks to the solemn architecture of the hall, built in the form Greek temple and decorated with 20 columns of gray granite. In the upper part of the walls there were paintings on themes and in the style of Greek vase painting and Etruscan paintings. This hall is still largely preserved in its original form as the most consistent exhibition ensemble of the mid-19th century.
On the second floor, Klenze designed rooms designed to display paintings (according to the rules of the time, sculpture and painting were exhibited separately), as well as coins, medals and cameos. Separate rooms were allocated for each national school: Italian, French, Dutch, Spanish, Flemish, and Russian. In front of the entrance to the art gallery there was a History Gallery. ancient painting. 86 paintings, painted according to sketches by L. Klenze (almost all were executed on copper boards by the Munich artist G. Hiltensperger), represented history antique painting: its origin, flourishing and death. Through the Gallery of Ancient Paintings, the museum visitor found himself in central halls– Large openings, with overhead lighting. At the end of the round art gallery the visitor toured the halls of Russian art. They presented famous paintings K. Bryullova(among them - Death of Pompeii), F.Bruni , A.Ivanova , I. Aivazovsky and others. In 1898, when it was formed Russian Museum, paintings from the Russian school were transferred there.
Until 1925, only the New Hermitage was a museum. Winter Palace, most of the halls of which were re-decorated in 1837–1839 after the great fire of 1837 (the fire did not spread to other buildings), the Small Hermitage, the Old Hermitage (the interiors were designed by A. Stackenschneider), and the Hermitage Theater remained the royal residence before the revolution.
Acquisition of the first Hermitage collections during the reign of Catherine II.
The conventional date for the foundation of the Hermitage collections is considered to be 1764, when the Hermitage received 225 paintings, mostly Dutch and Flemish school, from the German merchant Gotzkowsky in payment of his debt to the Russian treasury. Gotzkowski collected this collection for the Prussian king Frederick II, who, after a long, ruinous war, was unable to pay for the purchase of paintings. Ekaterina P acquired the collection to emphasize that things were going better in Russia than in Prussia. She elevated the purchase of paintings to the rank of an important area of foreign policy.
The ambassadors, as well as the queen's confidants, were instructed to buy all the best that appeared at auctions in Europe. Especially important role Russian Ambassador to France D.A. Golitsyn played a role in collecting collections - very educated person, whose friends included D. Diderot, J.L.D "Alembert and other prominent representatives French culture. It was D.A. Golitsyn who bought for the Hermitage in Paris Return prodigal son Rembrandt. This picture is still considered greatest masterpiece museum paintings. On the recommendation of D.A. Golitsyn, Catherine II bought the library of D. Diderot. However, it remained in Diderot’s house until his death, and its former owner himself was appointed librarian and curator of the collection by the queen. Diderot received a monthly fee for this. The act of Catherine II, worthy of an “enlightened monarch” who patronized cultural figures, had loud publicity and contributed to increasing the prestige not only of Catherine II herself, but also of Russia. Diderot considered himself a debtor to the queen and tried to use all his knowledge and energy to help her acquire a good collection of works of art, no worse than those that were in the palaces of other kings of Europe. Diderot, indeed, was one of the best art experts of his time. With his assistance, Catherine II managed to acquire a number of outstanding collections of paintings: the most famous among them was part of the Crozat collection (entered the Hermitage in 1772), which included such masterpieces of painting as Bacchus Rubens, JudithGiorgione(then considered a painting by Raphael), DanaeTitian And Danae Rembrandt, as well as many other works of painting.
Diderot made extraordinary efforts to ensure that famous collection went to Catherine II. In his letter, he described the scandal that erupted in Paris over this issue: “Amateurs are screaming, artists are screaming, rich people are screaming.”
Has been purchased yet whole line collections, among them - the collection of the Minister of the King of Saxony Brühl, who helped the king acquire famous paintings Dresden gallery. From the Bruhl collection (entered the Hermitage in 1769) 600 first-class paintings by great masters were purchased. These paintings greatly enriched the collection. One of the last great acquisitions of Catherine II was the collection of Lord Walpole (1779), purchased in England. This collection included famous works Van Dyck , Rubens , Italian masters, which decorated the Hermitage collection. Just as was the case with the purchase of the Crozat collection, many in London expressed dissatisfaction with the fact that one of the best collections in England was being sent to Russia. The issue was even discussed in the English Parliament.
Catherine II acquired not only paintings by old masters, but also gave orders to outstanding contemporary artists West: D. Reynolds , F. Boucher, E.M. Falcone and many others. The catalog of paintings of the Winter Palace already in 1774 contains 2080 works. Along with paintings, the collection included collections of engravings and drawings, ancient antiquities, and works of Western European decorative art. applied arts, glyptics (precious carved cameos), coins, medals, books. As a result, Catherine II became the owner of one of the best collections in Europe.
In total, Catherine II had about 4 thousand paintings by the end of her reign (some of them decorated country palaces).
Of course, not everything went smoothly. Sometimes fakes were brought to the queen, passing them off as works of great masters. For example, in 1779 a batch of paintings acquired by an agent of Catherine II in Italy was delivered to St. Petersburg. Almost all of them turned out to be poor copies.
In 1771, the ship carrying her sank in the Gulf of Finland. large collection paintings acquired by D.A. Golitsyn in The Hague for the Empress. Ended with the death of Catherine II in 1796 important stage formation of the Hermitage collections. The first purchases determined the character and face of the museum, which took one of the first places in Europe. The best part collections of France 17–18 centuries, Holland, Flanders, England modern Hermitage- These are the acquisitions of Catherine II. In addition, it was Catherine II who was the owner of one of the best collections of cameos in the world - carved images on stone, shells, bones (10 thousand in total).
Replenishment of the Hermitage collections during the 19th – early 20th centuries.
In the first half of the 19th century. purchases continued, but were not carried out on such a scale. Then a Spanish collection was formed, almost not represented in the Hermitage under Catherine II. A large collection of Russian paintings emerged. The most important acquisition of Emperor Alexander I (b. 1777, 1801–1825) was the purchase of a collection of masterpieces that belonged to his wife Napoleon Bonaparte Josephine Beauharnais. Josephine gave as a gift Alexander I unique Gonzaga cameo, which belonged in the 16th century. one of famous philanthropists Renaissance - the Duke of Gonzaga and named after him, although later it belonged to many other owners. The cameo was made in Alexandria in the 3rd century. BC, it depicts the ruler of Hellenistic Egypt, Ptolemy and his wife Arsinoe. Now this cameo is one of the pearls of the Hermitage cameo collection.
From the collection of Josephine Beauharnais come famous sculptures A. Kanova, the best sculptor of the late 18th - early 19th centuries.
Catherine II bought mainly paintings. In the first half of the 19th century. a large collection of sculptures created by modern masters Rome, in 1861 - a wonderful collection of ancient monuments: sculptures, vases, artistic objects from the famous Roman collection of the Marquis Campana. Thanks to this purchase, the antique collection of the Hermitage became comparable to the best collections Europe. The purchase of paintings also continued. In 1865 she entered the Hermitage Madonna Litta(1490–1491), and in 1914 – Madonna Benoit brushes by Leonardo da Vinci (from the collection of St. Petersburg architect Leonty Benois).
In 1870 they purchased Madonna Conestabile Raphael. Before this, there was only one painting by Raphael in the Hermitage collection Holy family, purchased by Catherine II. In 1850, the Hermitage collection was replenished with 6 paintings by Titian from the Barbarigo Palace in Venice (now there are 8).
In the second half of the 19th century. The Hermitage also began to receive artistic objects (previously they were not exhibited in the museum), for example, the richest collection of applied art of the Middle Ages and the Renaissance, purchased from Bazilevsky in Paris in 1884. A collection of weapons from the Arsenal, located in Tsarskoe Selo, was transferred to the Hermitage, and also a collection of antique silver, porcelain and other objects of applied art.
In 1910 the Hermitage acquired a large private collection paintings by Dutch masters (716 paintings), collected by the famous Russian traveler P.P. Semenov - Tian-Shansky. However, these things entered the museum only after the revolution.
The Hermitage after 1917 and before the Great Patriotic War.
During the days of the revolution, when the Winter Palace was stormed, the collections collected in the New Hermitage were absent. By order A. Kerensky in September 1917 they were packed into boxes and transported to Moscow. Part of the collection was kept in the Kremlin, part - in the Armory Chamber and Historical Museum. Only in 1922, with great effort, were they brought back. Many then insisted that they remain in Moscow forever. Only due to the lack of a building in Moscow that could house such a grandiose collection, the items were returned to the Hermitage.
In the post-revolutionary years, the Hermitage received many nationalized honest collections, incl. the richest collections of the Stroganovs, Sheremetyevs, Yusupovs, Shuvalovs and others. A large collection was transferred from the Academy of Arts (collection of N. Kushelev - Bezborodko), thanks to which the Hermitage received works by French masters of the mid-19th century, which were previously absent from the museum.
The collections of the Stable Museum, where antique carriages were kept, were transferred to the Hermitage; very valuable items from the Museum of Decorative and Applied Arts, founded by A.L. Stieglitz in 1881 and closed shortly before the Second World War.
Later, paintings by French impressionists arrived from Moscow, and in post-war years– 316 paintings by Matisse, Picasso and other French artists from the New Museum Western art in Moscow, closed in 1948. In return, 700 paintings from the Hermitage collection were sent to Moscow. Many works of art from the Hermitage collection were transferred to museums in different cities of the country. In 1929–1932, some Hermitage masterpieces were sold abroad.
Despite all this, the museum’s collections more than quadrupled in the post-revolutionary years.
The buildings of the former royal residence were transferred to the Hermitage: the Winter Palace (its area is 46 thousand square meters), Small and Old Hermitage, theater and loggias of Raphael. New departments were opened that had not previously existed in the Hermitage: the Department of the East (1920), the Department of Primitive Culture (1931), the Department of Russian Culture (1948).
During the war and blockade, the Hermitage collections were evacuated to Sverdlovsk. This was already the third evacuation. The first was carried out by order of Alexander I in 1812.
During the war, the museum buildings were not destroyed, but they suffered extensive damage due to daily artillery shelling and bombing. After the war, restoration work began. Already in 1945, the collections were returned from Sverdlovsk. By November 8, 1945, the first 69 halls of the museum were opened to visitors.
The Hermitage today.
Over the past decades, the Hermitage has received additional buildings to house its collections. In 1981, after restoration, the Menshikov Palace on Vasilievsky Island (18th century, architect G. Fontana, G. Shedel, D. Trezzini, J.-B. Leblon, etc.) It housed exhibits from the department of Russian culture of the 1st quarter of the 18th century.
In 1992, after a complex restoration of the surviving part of the Winter Palace of Peter I (architects G. Mattarnovi, D. Trezzini, B.F. Rastrelli, 1719–1727), it was open to the public. Petrovsky Winter Palace is located under the stage of the Hermitage Theater. During the construction of the theater, it was filled with construction debris. Now in the Winter Palace of Peter I (he died in 1725) there is Wax person, personal belongings of Peter I (including machines and tools), portraits of the Tsar himself and members of his family.
In 1999, the eastern wing of the General Staff building was transferred to the Hermitage Palace Square(architect K. Rossi, 1827). In the General Staff building, the interiors created by Rossi were restored and a number of exhibitions were launched: “Under the Banner of the Eagle”, “Pierre Bonnard and Maurice Denis. Decorative ensembles". This building also hosts temporary exhibitions of the Hermitage.
In 2003, the museum’s collections, located in exhibition hall on the outskirts of the city in the Old Village. A special building was built for them, equipped in accordance with the latest technical advances time.
In February 2001, the Hermitage took over the management of the Lomonosov Porcelain Factory Museum, the collection of which includes 35 thousand exhibits.
Despite this expansion of the museum's space, it is still not enough to display all the collections. Many things are still kept in the funds. In order to display them, various temporary exhibitions are constantly organized, both in the Hermitage itself and in different cities our country and abroad.
The modern Hermitage is a palace-museum. Here the visitor finds himself in a special solemn environment that puts him in a high mood. A big role in this is played not only by the palace luxury of its halls, but also by numerous objects made of malachite, jasper, lapis lazuli, placed in many halls.
In the Hermitage, not only the exhibits are of interest, but also the museum’s interiors, created by the best architects of Russia, associated with important events in the life of the country. The Hermitage today is one of the most dynamically developing museums in the world. The number of its visitors (more than 3 million per year) and its popularity throughout the world are growing rapidly.
Olga Morozova
Literature:
Georgi I.G. Description of the Russian Imperial capital city of St. Petersburg and attractions in its vicinity. St. Petersburg, 1794
Pilyavsky V.I., Levinson-Lessing V.F. Hermitage Museum. History and architecture of buildings. L., 1974
Sokolova T.M. Buildings and halls of the Hermitage. L., 1982
Voronikhin L.N. State Hermitage Museum. L., 1983
Levinson-Lessing V.F. History of the Hermitage Art Gallery. (1764 – 1917). L., 1985
Hermitage Museum. History of construction and architecture of buildings. Ed. B.B. Piotrovsky. L., 1989
Hermitage Museum. History and modernity. L., 1990
Piotrovsky B.B. History of the Hermitage: short essay: materials and documents. M., 2000
Gervits M. Leo von Klenze and the New Hermitage in the context of modern museum construction. St. Petersburg, 2003
Hermitage (St. Petersburg, Russia) - exhibitions, opening hours, address, telephone numbers, official website.
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The State Hermitage is the pride of Russia, the country's largest cultural and historical museum, occupying 6 historical buildings, chief among which remains the majestic Winter Palace. Today the Hermitage contains almost 3 million exhibits: works of painting, graphics, sculptures, objects of applied art, a collection of numismatics and archaeological monuments.
And the Hermitage began in 1764 as the private collection of Catherine the Great, who bought a collection of 220 paintings and placed them in remote apartments of the palace, called the “Hermitage,” which translated from French means “place of solitude.” The museum opened for visitors in 1852, and even then it had accumulated the richest collections of works of art. Today, guests of the Hermitage can admire such masterpieces as “Madonna and Child” (“Benois Madonna”) by Leonardo da Vinci, “Saint Sebastian” by Titian, “ Holy Family"Raphael", "Return of the Prodigal Son" by Rembrandt, "Apostles Peter and Paul" by El Greco. A visit to the Hermitage is, of course, an obligatory item on a visit to St. Petersburg.
Main Ensemble of the Hermitage
Opening hours: Tuesday, Thursday, Saturday, Sunday - from 10:30 to 18:00, Wednesday, Friday - from 10:30 to 21:00, day off - Monday.
How to get there: by metro to the station. “Admiralteyskaya”, “Nevsky Prospekt”, “Gostiny Dvor”.
Ticket price for adults to the Main Complex and all other branches is 700 RUB, to one of the branches - 300 RUB. For children, students, and pensioners of the Russian Federation, admission is free. On December 7th and the first Thursday of every month, admission is free for everyone. Prices on the page are for October 2018.
The Hermitage is the largest and one oldest museums throughout Russia. It arose in 1764, being then the private collection of the Empress. Only almost a hundred years later the doors of the Hermitage opened to visitors, and the gallery turned into state museum. Then the collection of paintings occupied only one building, but today the main part of the exhibition is located in five buildings, which are located on the very banks of the Neva in the center of St. Petersburg.
The official history of the Hermitage painting collection begins with Catherine II, who loved foreign art and ordered paintings from the most famous artists of its time. It all started with the Winter Palace - a building near Palace Square, to which, at the behest of the Empress, a new part called the Hermitage. This place became the abode of art, science and sophisticated conversations of the most revered guests of the ruler.
The first big acquisition of Catherine II was the Gortskovsky collection, which now forms the basis of the collection Dutch painting in the Hermitage. Then the Empress acquired works by Raphael, Ticinus, Rubens and many other great masters of painting. Catherine's emissaries were engaged in purchasing works of art throughout Europe, and as a result the collection grew to enormous proportions.
The following rulers also tried to pay as much attention as possible to the Hermitage collection, because it became business card Russia. Alexander I expanded the collection of English and Spanish painting, the world famous “Gonzaga Cameo”. Under Nicholas I, hundreds of battle-themed paintings appeared in the museum, and in 1826 he opened the Military Gallery.
In 1852, the museum was opened to the public and received the official name “Imperial Hermitage”. In the 20th century the collection suffered greatly due to Soviet power and numerous wars, famous exhibits disappeared from it, and there was practically no replenishment. The staff and curators of the Hermitage tried their best to preserve its collection, and only thanks to them many paintings still hang on its walls.
Today the Hermitage is not only largest museum Russia, but also the largest and most successful research center on domestic territory. Millions of people visit it every year, and branches appear in other cities. The Hermitage is the pearl of St. Petersburg, a favorite place for tourists and a mandatory point on the route to visit for everyone who arrives in Northern capital Russia.
Hermitage brief information.
