Information about the creation of the Tretyakov Gallery. History of the State Tretyakov Gallery

State Tretyakov Gallery (also known as the State Tretyakov Gallery, Tretyakov Gallery) - Art Museum in Moscow, founded in 1856 by the merchant Pavel Tretyakov and having one of the largest and most significant collections of Russian art in the world visual arts. The exhibition in Moscow's Lavrushinsky Lane "Russian Painting of the 11th - Early 20th Centuries" (Lavrushinsky Lane, 10) is part of the All-Russian Museum Association "State Tretyakov Gallery", formed in 1986.

Pavel Tretyakov began collecting his painting collection in the mid-1850s. This, after some time, led to the fact that in 1893 the “Moscow City Gallery of Pavel and Sergei Tretyakov” was opened to the general public in Zamoskvorechye. Her collection consisted of 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

On June 3, 1918, the Tretyakov Gallery was declared “state property of the Russian Federative Soviet Republic"and was named the State Tretyakov Gallery. Igor Grabar was appointed director of the museum. With his active participation, the same year the State Museum nal fund, which until 1927 remained one of the most important sources of replenishment of the Tretyakov Gallery collection.

In 1928, major heating and ventilation repairs were made, and electricity was installed in 1929. In 1932, three new halls were built, connecting the main building of the State Tretyakov Gallery with the storage room in the Church of St. Nicholas in Tolmachi. This ensured uninterrupted viewing of the exhibition. The museum began developing a new concept for exhibit placement.

From the first days of the Great Patriotic War, the dismantling of the exhibition began in the Gallery - like other museums in Moscow, the Tretyakov Gallery was preparing for evacuation. In mid-summer 1941, a train of 17 carriages departed from Moscow and delivered the collection to Novosibirsk. Only on May 17, 1945, the State Tretyakov Gallery was reopened in Moscow.

In 1985, the State Art Gallery, located on Krymsky Val, 10, was merged with the Tretyakov Gallery into a single museum complex under common name State Tretyakov Gallery. The building now houses a renovated permanent exhibition"Art of the 20th century."

From 1986 to 1995, the Tretyakov Gallery was closed to visitors due to major reconstruction.

Part of the Tretyakov Gallery is the Museum-Church of St. Nicholas in Tolmachi, which represents a unique combination museum exhibition and a functioning temple. The museum complex on Lavrushinsky Lane includes, intended for temporary exhibitions, the Engineering Building and Showroom in Tolmachi.

Included in the federal government agency culture All-Russian Museum Association State Tretyakov Gallery (FGK VMO Tretyakov Gallery) includes: Museum-workshop of the sculptor A.S. Golubkina, House-Museum of V.M. Vasnetsov, Museum-Apartment of A.M. Vasnetsov, House-Museum of P.D. Korina, Exhibition Hall in Tolmachi.

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 peace. 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 of the 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 XVIII- first half of the 19th century century. (Slide 14)

The third section includes painting of the second half of the 19th century and turn of the XIX century 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 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. (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 shops. 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.

With the purchase of a large Turkestan series paintings and sketches by V.V. Vereshchagina, 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.

By 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 of Pavel and Sergei Mikhailovich Tretyakov” (this was then the full name of the Tretyakov Gallery). 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 with a common facade, built according to the design of V.M. Vasnetsov and gave the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow attractions

TRANSFER OF P. M. TRETYAKOV’S GALLERY AS A GIFT TO MOSCOW. 1892-1898

In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, unexpectedly died. He left a will in which he asked to add his paintings to his older brother’s art collection; the will also contained the following lines: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate an art collection to the city of Moscow and, in view of this, to provide the ownership of the Moscow City Duma with his part of the house... where his art collection is located... then I am part of this house, that belongs to me, I give as property to the Moscow City Duma, but so that the Duma accepts the conditions under which my brother will provide her with his donation...” The will could not be fulfilled while the gallery belonged to P.M. Tretyakov.

On August 31, 1892, Pavel Mikhailovich wrote a statement to the Moscow City Duma about donating his collection to the city, as well as the collection of Sergei Mikhailovich (along with the house). In September, the Duma at its meeting officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (son of Sergei Mikhailovich) for the gift, and also decided to petition for the donated collection to be named “City art Gallery Pavel and Sergei Mikhailovich Tretyakov." P.M. Tretyakov was approved as a trustee of the Gallery. Not wanting to participate in the celebrations and listen to gratitude, Pavel Mikhailovich went abroad. Soon they really began to fall thank you addresses, letters, telegrams. Russian society did not remain indifferent to noble deed Tretyakov. In January 1893, Moscow city ​​council decided to allocate 5,000 rubles annually for the purchase works of art for the Gallery, in addition to the amounts bequeathed by Sergei Mikhailovich Tretyakov. In August 1893, the Gallery was officially opened to the public (Paul

Mihailovich was forced to close it in 1891 due to thefts of works).

In December 1896, P.M. Tretyakov became an honorary citizen of the city of Moscow, as stated in the verdict of the Moscow City Duma “... For great merit before Moscow, which he made the center artistic education Russia, bringing as a gift ancient capital his precious collection of works of Russian art.”

After transferring the collection to the city, Pavel Mikhailovich did not stop caring about his Gallery, remaining its trustee until the end of his life. The paintings were bought not only with the city’s money, but also with Tretyakov’s funds, who donated them to the Gallery. In the 1890s, the collection was replenished with works by N.N. Ge, I.E. Repin, A.K. Savrasov, V.A. Serov, N.A. Kasatkin, M.V. Nesterov and other masters. Beginning in 1893, P.M. Tretyakov annually published catalogs of the collection, constantly supplementing and clarifying them. To do this, he corresponded with artists, their relatives, and collectors, obtaining valuable information bit by bit, sometimes suggesting changing the name of the painting. This is how N.N. Roerich agreed with Pavel Mikhailovich when compiling the 1898 catalog: “...For language, indeed, better name short, at least something like this: “Slavic town. Messenger". This was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was expanded again, this time to include an internal garden, where Pavel Mikhailovich loved to walk, sacrificing everything for the sake of his beloved brainchild. Organizing Sergei Mikhailovich’s collection and re-hanging the paintings took a lot of energy from Tretyakov. Trade and industrial affairs, participation in many societies, and charity required time and energy. Pavel Mikhailovich received Active participation in the activities of the Moscow

Society of Art Lovers, Moscow art society, Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnold School for the Deaf-Mute, helping not only financially, but also going into all the details educational process, construction and renovation of buildings. At the request of I.V. Tsvetaev, Tretyakov contributed to the creation of the Museum fine arts(now the State Museum of Fine Arts named after A.S. Pushkin). It is impossible to list all of P.M. Tretyakov’s donations; it is enough to mention the assistance of N.N. Miklukha-Maclay’s expedition, numerous scholarships, and donations for the needs of the poor. IN last years Pavel Mikhailovich was often unwell. He was also very worried about his wife’s illness, which was paralyzed. In November 1898, Tretyakov went to St. Petersburg on business and, upon returning to Moscow, felt unwell. On December 4, Pavel Mikhailovich Tretyakov died.

History of the gallery. State Tretyakov Gallery

MONUMENT TO P.M. TRETYAKOV

Pavel Mikhailovich Tretyakov (1832-1898) was buried at the Danilovsky cemetery next to his parents and brother Sergei, who died in 1892; in 1948, his remains were transferred to the Seraphim Cemetery (Novodevichy Convent). Tombstone by sculptor I. Orlov according to the design of artist I. Ostroukhov (granite, bronze).

After 1917, a monument-bust to V.I. Lenin was erected in front of the façade of the Tretyakov Gallery on a rectangular pedestal. Some time later, in 1939, a monument was erected on this site, sculptural image Chairman of the Council of Ministers of the USSR. Sculpture by S.D. Merkulova, 3.5 meters high, depicting Stalin at full height, is made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has high degree safety and is located in the courtyard of the main building of the Tretyakov Gallery (leaning against the wall). On April 29, 1980, on the site of the removed monument to Stalin, a monument to the founder of the Tretyakov Gallery, Pavel Tretyakov, was finally erected, a sculpture that still exists today. This is a four-meter granite statue, created according to the design of sculptor A.P. Kibalnikov and architect I.E. Rozhin.

"POSTHEATH JOURNEY" OF THE TRETYAKOVS

The Danilovskoe cemetery was formerly famous for its special “third-class” flavor, which, however, has not been completely lost to this day. Moscow historian A.T. Saladin stated in 1916: “The Danilovskoye cemetery can safely be called a merchant cemetery, but it could not be anything else, being close to the merchant Zamoskvorechye. Perhaps no other Moscow cemetery has such an abundance of merchant monuments as this one.” A lot has changed since then. You won’t find the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins here now...

Perhaps the most famous merchant burial of the Danilovsky cemetery, and perhaps the whole of Moscow, was the site of the Tretyakovs Pavel Mikhailovich, Sergei Mikhailovich and their parents. A. T. Saladin left the following description: “On the grave of Sergei Mikhailovich there is a black marble, rather tall, but completely simple monument with the inscription: “Sergei Mikhailovich TRETYAKOV was born on January 19, 1834, died on July 25, 1892.” The monument to Pavel Mikhailovich is a few steps away, under a protective wire grill; it is almost the same, but in a slightly more refined design. Caption: “Pavel Mikhailovich TRETYAKOV December 15. 1832 d. 4 Dec. 1898." However, today all this is not at the Danilovsky cemetery. On January 10, 1948, the remains of both brothers, as well as P. M. Tretyakov’s wife Vera Nikolaevna, were transferred to the Novodevichy cemetery.

Formally, the reburial was carried out on the initiative of the Committee for Arts under the Council of Ministers of the USSR. Chairman of the Committee M. B. Khrapchenko in a letter to the trust manager funeral homes under the Moscow Soviet, he motivated his initiative as follows: “Despite the agreement concluded by the administration of the [Tretyakov] Gallery on the protection of these graves and their artistic tombstones, executed by the artist V. M. Vasnetsov, these graves are falling into extreme disrepair. (...) Considering the petition of the Directorate of the State Tretyakov Gallery, as well as the request of the closest relatives of the founders of the Gallery, the Committee for Arts Affairs under the Council of Ministers of the USSR, for its part, petitions for the transfer of the remains of Pavel Mikhailovich, Vera Nikolaevna and Sergei Mikhailovich Tretyakov, as well as their artistic tombstones from the cemetery Danilovsky Monastery at the cemetery Novodevichy Convent, where the most prominent figures of Russian culture and art are buried.”

That the chairman of the art committee confused the cemeteries of the Danilovsky Monastery and Danilovskoye is not so strange - they are still confused, although the first has not existed for seventy years extra years. The justification for the need to move the graves sounds strange: in the old place they are “falling into extreme decay.” However, graves that are taken care of will never “fall into decay,” but if they are abandoned, decay is guaranteed, even if they are located right next to the Kremlin wall. The urn with Mayakovsky’s ashes stood in the best columbarium of the Donskoye Cemetery in the country at that time and could not “fall into decay” - nevertheless, it was still moved to Novodevichye.

The background of all these reburials was, of course, completely different, and, judging by Khrapchenko’s letter, the authorities did not really want to reveal it: a campaign was unfolding in Moscow to collect and concentrate remains in the Novodevichy Pantheon famous personalities. Moreover, reburials were carried out not only from cemeteries subject to liquidation, but generally from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally second in importance after Novodevichy.

Some sources (for example, the Moscow encyclopedia) indicate that Sergei Mikhailovich Tretyakov still rests in the Danilovsky cemetery. This is wrong. The Tretyakov Gallery archive contains the “Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakov and S. M. Tretyakov from the Danilovsky cemetery to the Novodevichy Convent cemetery dated January 11, 1948.” In addition to the act and other papers, the archive also contains several photographs: some depict the moment of exhumation, others were taken already Novodevichy Cemetery at the edge of a freshly dug grave. The photographs leave no room for any doubt.

But here’s what’s curious: in the archives of the neighboring Danilovsky Monastery, among the cards of those buried here, there is also a card of Sergei Mikhailovich Tretyakov. It turns out that the Danilovsky monastery graveyard also claims to be the place of his burial? Of course not. Having the testimony of A.T. Saladin and the above-mentioned Act, this version can be safely discarded, but making the most interesting conclusion: since Sergei Mikhailovich was not buried in the monastery, and documents were nevertheless “opened” for him there, obviously, the Danilovskoye cemetery was a kind of a branch of the monastery - maybe not always, but for some time.

At the Danilovsky cemetery, the grave of the parents of famous philanthropists has been preserved. Or rather, their monument. To the left of the main path, almost immediately after the memorial to those killed in the Great Patriotic War, surrounded by extremely rusty fragments of a wrought-iron fence, stands a strong, slightly lopsided obelisk, reminiscent of a Russian stove, with the inscription:

"Mikhail Zakharovich Tretyakov
Moscow merchant
died 1850 December 2 days.
His life was 49 years, 1 month and 6 days.
Alexandra Danilovna Tretyakova
born in 1812.
died on February 7, 1899."

We don’t know for sure whether anyone’s remains lie under the obelisk today. It would seem, who would have thought to disturb the bones of the senior Tretyakovs? But apparently it could. The transfer of the founders of the largest art gallery to an elite cemetery is somehow still explainable, but here’s what else their admirers came up with then: according to the “letter of guarantee” stored in the Tretyakov archive, the Mytishchi sculpture factory No. 3 undertook to carry out at the Danilovsky cemetery: “a) Confiscation of ashes Tretyakov P.M. and his burial at the Novo-Devichy cemetery, b) Confiscation of the ashes of Tretyakov M.Z. and burial in the grave instead of the ashes of Tretyakov P.M., c) Relocation of the monument to Tretyakov M.Z. in place of the monument to Tretyakov P. M."

Tretyakov got it! Both older and younger. By the way, for some reason the “letter of guarantee” does not say a word about Alexandra Danilovna. It turns out that the father was reburied in the place of his son (if he was reburied), but the mother was not? Mystery. So it turns out that it is impossible to say for sure whether the old Tretyakovs are now resting under their “name” tombstone.

In the depths of the Danilovsky cemetery, at the very apse of the St. Nicholas Church-chapel, there is a barely noticeable monument - a low column of pink granite. The brothers and sisters of Pavel Mikhailovich and Sergei Mikhailovich are buried there, who died almost simultaneously in infancy in 1848 during the scarlet fever epidemic - Daniil, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family that no one has ever encroached on.

The Tretyakov Gallery is one of the most famous museums in Russia, and throughout the world. The extensive exhibition covers the period from the eleventh century to today. It is difficult to imagine that the Tretyakov Gallery, whose halls have become a reflection of Russian art from antiquity to the present, began with a private collection.

Home collection

The Tretyakovs purchased the house on Lavrushinsky Lane in 1851. The head of the family, Pavel Mikhailovich, was a successful businessman, but at the same time he was a famous philanthropist who invested in many charity programs. He was a passionate collector, collecting paintings, sculptures, icons and other works of art.

He had a global goal - to create national gallery, and not just a museum. The collection began with ten paintings painted by Dutch masters. Initially, the Tretyakov Gallery, whose halls were open only to family members and guests, was in the house where the Tretyakovs lived. But the collection grew very quickly, and there was not enough space for display. During the owner's lifetime, numerous reconstructions were carried out. And even under Pavel Mikhailovich, townspeople had the opportunity to visit such a cultural institution as the Tretyakov Gallery. The halls expanded, and the exhibition grew constantly. The popularity of the museum is evidenced by the fact that in the first four years its visitors exceeded 30 thousand people.

40 years after the collection was started, he donated it to Moscow. The collection was supplemented by works of art kept by the second brother, Sergei. This is how the “Paul and Sergei Tretyakov Gallery” appeared in Moscow. Another famous philanthropist Morozov handed over masterpieces by Renoir, Van Gogh, and Monet. Despite the transfer to the city, both patrons continued to add to the collection. After the death of the Tretyakovs, the entire house in Lavrushinsky Lane came under the jurisdiction of the city.

New life for the collection

In 1913, I. E. Grabar was appointed trustee and director of the gallery. He was not only talented artist, an architect and art historian, but also an organizer. It was he who carried out the colossal work of systematizing the collection. He distributed the canvases according to historical periods so that visitors have the opportunity to trace the path of development of Russian art. A restoration workshop was also founded under him. At the end of the year, the works hanging in the hall of the Tretyakov Gallery were available for viewing by the general public.

After the revolution, the entire collection was nationalized and transferred to the young republic. The State Tretyakov Gallery was created, the halls of which became accessible to all segments of the population. The collection has expanded significantly through mergers with other museums and the transfer of private collections that were nationalized during the years of Soviet power.

During the war, museum funds were taken to Novosibirsk. The Nazis bombed the capital mercilessly. In 1941, two high-explosive bombs hit the Tretyakov Gallery, causing significant damage. But already at next year The restoration of the museum began, and by 1944 the doors of the gallery, beloved by the residents of the capital, were again opened to the public.

Halls of the Tretyakov Gallery

Since the gallery's founding, the building has been rebuilt many times. New passages and additional rooms were created so that the collection could be presented in all its glory. Today the exhibition is located in 106 halls. Most are located in a building on Lavrushinsky Lane, there are 62 of them. The complex also includes the museum-temple of St. Nicholas the Wonderworker, the Golubkina workshop-museum, the Vasnetsov house-museum and the Korin house-museum. Each room in the Tretyakov Gallery is an opportunity to touch art and see brilliant masterpieces. The collection contains over 150 thousand exhibits, most of which are familiar to everyone from childhood. Reproductions of many paintings were included in school textbooks throughout the country. You can get to know Russia from these paintings. After all, our sea is like forests - like Shishkin's, nature is like Levitan's. Even best portrait Pushkin, known to every schoolchild, is exhibited here.

Hall of Icon Painting

In every corner of the Tretyakov Gallery there are canvases that will take your breath away. But perhaps one of the most mysterious halls is the hall of icon painting. When handing over the collection, Pavel Mikhailovich, along with the paintings, also handed over 62 icons from his collection. Now there are several hundred of them in the museum. Each of them reflects the path of Orthodoxy on Russian soil. Among them are works by Rublev, Theophanes the Greek and other famous icon painters. And in the Tretyakov house church one of the most revered and ancient images is exhibited - Vladimirskaya Mother of God. She is already more than 900 years old.

Exhibition in Lavrushinsky Lane

The building on Lavrushinsky Lane, with the famous Vasnetsovsky facade, houses the bulk of the collection. In 62 halls, divided into 7 zones, chronological order works exhibited the best masters Russia and not only. How large and diverse the Tretyakov Gallery is. A description of the halls would take several volumes printed edition. When going on an excursion, it is better to choose a specific artist or painting to devote most of your time to. Otherwise, your acquaintance with the galleries will be very superficial and incomplete. The names of the halls of the Tretyakov Gallery correspond to the collections exhibited in them.

So, ancient Russian art represented by iconography.

And in the halls of the 18th-19th centuries, paintings by the great masters Levitsky, Rokotov, Ivanov, and Bryullov are exhibited. A special room was built to display Ivanov’s painting “The Appearance of Christ to the People.” And Rokotov became famous for the largest number of portraits of unknown people. It was important for him to capture and convey on canvas the features and character of a person, but at the same time he did not necessarily have to be famous. Among Bryullov’s works, one can note the masterfully executed work “Horsewoman,” where a young girl with amazing grace sits astride a magnificent stallion.

Also captivating is the hall where works by artists of the second half of the 19th century are presented. Here you can dive into Magic world realistic art, where every detail is executed with amazing care. In Repin’s paintings, you can physically feel how the sun is baking on the lawn, how every leaf is swaying in the wind. And Vasnetsov’s “Three Heroes” seem to be protecting the country’s borders from uninvited invaders even today. By the way, here you can also see the works of Vasnetsov Jr.

Surikov’s paintings “Boyaryna Morozova” or “Morning of the Streltsy Execution” convey the emotional intensity of each participant in those events. There is not a single indifferent face or random character here. Everything is described with an authenticity that boggles the imagination.

In the section reflecting painting turn of XIX-XX centuries, works by such geniuses as Serov, Vrubel, as well as representatives of the Union of Russian Artists are presented.

Treasures of Russian art

The Tretyakov Gallery is large and diverse. The halls, paintings, sculptures, graphics will not leave anyone indifferent. A separate part exposition is the “Treasury”, where objects from precious metals and gems. The fine work of the jewelers is mesmerizing.

Graphic arts

A separate room is dedicated to graphic art. All works presented in this technique are very afraid of light; these are fragile creations. Therefore, special lighting, slightly dimmed, was installed to demonstrate them. Exhibited here largest meeting Russian graphics. And also a small, but no less valuable collection of porter miniatures.

Modern Art

The building on the Tretyakov Gallery displays art from the Soviet period to the present day. Visitors observe with interest how ideology influences the artist.

Halls of masters

The collection includes individual works, but there are also entire collections of paintings by one master. The hall dedicated to the artist in the Tretyakov Gallery accommodates only his works different periods. This is the exhibition of Shishkin’s works. But other masters of the brush received a similar honor.

Since its opening, the Tretyakov Gallery has become the richest collection of paintings and art objects. Even the Russian Museum, created at the state level, was inferior in popularity to this private collection.

Tretyakov Gallery

State Tretyakov Gallery(Moscow city). Lavrushinsky Lane, 10) is an art museum containing one of the world's largest collections of Russian fine art. The gallery was founded by merchant and philanthropist Pavel Tretyakov in 1856. IN Soviet period expanded into a large museum complex. IN present time, except museum complex in Lavrushinsky and Maly Tolmachevsky lanes, Vserossiyskoe museum association"State Tretyakov Gallery" includes a large exhibition complex Tretyakov Gallery on Krymsky Val ( Krymsky Val, 10), museum-apartment of A.M. Vasnetsov (Furmanny lane, 6), house-museum of V.M. Vasnetsov (Vasnetsova lane, 13).

Official website of the Tretyakov Gallery:

1874- Vereshchagin is holding an exhibition of paintings of the Turkestan campaign and travel across Central Asia. Pavel Tretyakov admires Vereshchagin’s work and strives to purchase the entire exhibition (the entire series of paintings) for his gallery for mandatory permanent display. Tretyakov bought the exhibition for 92,000 rubles, which was a very high price for that time.

1874- The construction of the first two museum halls of the gallery has been completed and they are open to permanent visitors.

1876 ​​- Pavel Tretyakov becomes a supporter of the “Peredvizhniki” (Partnership of Mobile art exhibitions- TPHV) and begins to patronize their creativity, buying and ordering a large number of paintings by I.N. Kramskoy, I.I. Shishkina, A.K. Savrasova, N.N. Ge et al.

1882- 6 new halls have been added to the gallery.

1885- 7 more rooms are being added to the house. paintings by V.I. were purchased Surikov, paintings by I.E. Repin, works by V.M. Vasnetsova, I.I. Shishkin, I.N. Kramskoy, I.I. Levitan, V.D. Polenova and others.

1892- Pavel Tretyakov transfers the gallery with the building and the entire collection to the ownership of the Moscow City Duma. Tretyakov himself received the title Honorary Citizen Moscow and is appointed a lifelong trustee of the gallery.

December 4 (16), 1898 Pavel Mikhailovich Tretyakov died in Moscow. Last words his relatives were like: “Take care of the gallery and be healthy.”

1904- construction of the famous facade of the Tretyakov Gallery, designed according to the drawings of the artist V. M. Vasnetsov, has been completed.

January 16, 1913- happened in the gallery tragic event. Ilya Repin’s painting “Ivan the Terrible and his son Ivan November 16, 1581” was attacked by a vandal with a knife. Having learned about the damage to the painting, the curator of the Tretyakov Gallery (E.M. Khruslov) committed suicide by throwing himself under a train. Ilya Repin restored the painting with his own hands, practically re-drawing the faces.

1913- the Moscow City Duma elects Igor Grabar as a trustee of the Tretyakov Gallery.

1918 - after the revolution, the gallery was declared “state property of the Russian Federative Soviet Republic” and became state owned.

1926- Academician A.V. Shchusev became the director of the museum.

1928- major repairs were made to the building, the heating system, ventilation was organized, and electricity was installed.

1932- the building of the closed church of St. Nicholas in Tolmachi was transferred to the Tretyakov Gallery for storage.

1936- a new two-story building was opened, work is underway to organize a continuous visiting route. The gallery is popular, and some paintings by the Wanderers are used Soviet power for ideological education.

1941- in the summer, an urgent evacuation of the exhibition to Novosibirsk begins. A train of 17 wagons was required.

1956- the 100th anniversary of the Tretyakov Gallery was celebrated.

1985- the depository has been completed - restoration workshops and storage of works.
The building at 10 Krymsky Val was combined with the Tretyakov Gallery into a single museum complex.

1989- a new “Engineering building” was added to the main building of the gallery (to the left of the front facade). It contains most of modern engineering systems of the museum.