Exhibition of the Vatican Pinakothek in the Tretyakov Gallery. Why should you go to the exhibition “Masterpieces of the Vatican Pinacoteca” at the Tretyakov Gallery? The most ancient exhibit

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The exhibition "Roma Aeterna. Masterpieces of the Vatican Pinacoteca" opened at the Tretyakov Gallery. The exhibition includes works by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin - a total of 42 works out of 460 stored in the collection. Most of them have never left the walls of the eternal city and are unknown to the general public.

Raphael "Faith" and "Charity", 1507

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For the first time, the Vatican Museums are showing in Russia the best part of their collection – masterpieces of the 12th–18th centuries. And for the first time, the Pinakothek brought 42 works out of 460 - a tenth of the collection. In 2017, the Tretyakov Gallery will show some of the best masterpieces of Russian religious art in the Vatican. This cultural exchange should reveal how close European and Russian painting are.

The entire exhibition occupied three halls of the Engineering Building. The central work was chosen to be two small grisaille (monochrome) works that were part of the composition of the Baglioni altarpiece in the church of San Francesco al Prato in Perugia. “Vera” is a female figure with a chalice (a religious attribute) in her hand, surrounded by putti or, in other words, small angels. In their hands are monograms - the initials of Jesus. And Mercy is a mother hugging her babies. Putti on the right holds a cauldron with fire on his shoulders - an ancient symbol of peace, referencing the history of the Olympic Games. Such a connection with antiquity for artists of the Renaissance and later eras was not an accident: even in Christian religious art, masters found parallels with the culture of the ancient Romans and Greeks.

The third altar image was the image of “Hope”. These three small works, as well as the composition “Entombment,” became Raphael’s first major commission and immediately brought him success and recognition.

Michelangelo Merisi, nicknamed "Entombment" by Caravaggio, circa 1603–1604

The most significant and probably famous work at the exhibition is “Entombment” by Caravaggio. The artist became the main innovator of his generation. the brightly lit figures of his heroes break through the surrounding darkness, which creates an incredible emotional dramatic intensity in each work. The iconography of the “Entombment” plot is very unusual: this scene has never been depicted from such a perspective.

It is interesting that Caravaggio never depicted his saints in halos, as was customary: his models were poor people and vagabonds whom he found on the streets and in taverns, and not professional sitters. But their faces always expressed what the artist needed, all the hardships and lives were reflected in their large features, deep wrinkles or tousled hair. Caravaggio never allowed random details: it seems that Christ’s hand is free and lowered, and the gesture of his fingers is random. However, the viewer sees exactly three fingers, which indicates that Christ will spend three days in the Tomb.

Nicolas Poussin "The Martyrdom of Saint Erasmus", 1628

The painting "The Martyrdom of Saint Erasmus" became Poussin's first major commission in Rome. It was intended for one of the chapels in St. Peter's Basilica, the construction of which had just been completed. Such a cruel scene with the ripping open of the abdomen and the wrapping of intestines around the collar amazed contemporaries with its naturalism, nevertheless, it corresponded to the accuracy of the biblical plot. Poussin became one of the main artists of classicism, an antagonist of the baroque painting of Caravaggio and his followers. Therefore, it is no coincidence that at the exhibition the paintings are located opposite each other. Thus, it becomes noticeable that Poussin’s drama is in no way inferior to Caravaggio’s emotional intensity, although the artists went to this effect in completely different ways.

Giovanni Bellini "Lamentation of Christ with Joseph of Arimathea, Nicodemus and Mary Magdalene", circa 1471–1474

Bellini was the largest artist of the Venetian school of painting of the 15th century. A contemporary or even predecessor of Raphael and Leonardo, he was in no way inferior to them in the perfection of his art. He was one of the first in Italy to paint in oils, a technique brought to Venice by Dutch artists, and in his painting itself one can feel notes of the Northern Renaissance: the clarity of lines and sophistication of proportions anticipate the images of northern authors. The complex composition, perspective, emphasis on gestures and emphasized elegance of hands amazed his contemporaries.

Paolo Cagliari, nicknamed Paolo Veronese "The Vision of Saint Helena", circa 1575-1580

Veronese is another representative of the Venetian school. The saint is depicted in a luxurious dress in the spirit of 16th century fashion. According to legend, an angel appeared to Helen and told her to go to Rome in search of the cross of Jesus. Usually this plot was depicted differently: Elena was presented as leading the workers who dug up the cross. Veronese writes her sleeping, with an angel holding a cross in her hands. Art historians believe that the artist’s model was his wife.

Guido Reni "Saint Matthew and the Angel", circa 1620

The exhibition features two works by Guido Reni. The image of St. Matthew with an angel is indicative of Reni’s work as a whole: his portrait images of saints, created with Caravaggist light-and-shadow contrasts, cost a lot of money and were extremely popular. Like Caravaggio, he paints his saints not as calm and dispassionate saints, but as living and emotional characters. Matthew is depicted at the moment of creating the Gospel, the text of which he writes down behind an angel.

Melozzo da Forli "Music Angels". Frescoes from the Church of Santi Apostoli, 1480

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Melozzo became the founder of the Roman school of painting, which flourished in the 16th–17th centuries. The Musical Angels of Forlì have become one of the main tourist brands of the Vatican. Their images can be found everywhere, from souvenirs to official symbols. This fresco was located in the Roman church of Santi Apostoli and decorated its dome. The image served as the embodiment of the concept of “music of heaven” and the glorification of the Lord, quotes from the Bible: “Let them praise His name with faces on the tympanum and harp, and sing to Him, for the Lord delights in His people, glorifying the peaceful with salvation.”

Antonio Allegri, nicknamed Correggio, "Christ in Glory"

Such an image of Christ was rare for the Italian pictorial tradition, but it was often found in Byzantine icons. Therefore, the image seems so similar to ancient Russian icons, which became a continuation of Byzantine traditions: the frontality of the composition, the golden background, the very position of the body of Christ - all this can be found in Orthodox iconography. During his lifetime, Correggio's fame was limited to his hometown of Parma, but today his works represent a unique chance for researchers to trace the connection between the eastern and western pictorial traditions of Christianity.

Donato Creti, Series "Astronomical Observations"

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An unusual series of paintings depicting observations of all the planets of the solar system known at that time was created at the beginning of the 18th century as a gift to Pope Clement XI. Count Luigi Ferdinando Marsili hoped that after such a present the Pope would allocate money for the construction of an observatory in Bologna. This city, with one of the oldest universities in Europe, was already considered the center of Enlightenment and culture. At the same time, its natural philosophical context is very different from the entire series of religious works presented at the exhibition, and the atmosphere of painting of “gallant festivities” connects these works with the French art of the era of Louis XIV. That is why a separate room is allocated for the Creti series.

Giovanni Francesco Barbieri (Guercino) "The Unbelief of St. Thomas"

In the exhibition "Roma Aeterna" you can see two works by Guercino - "The Penitent Magdalene" and "The Unbelief of St. Thomas." Both were extremely popular in the art of the Renaissance and in later times. The paintings painted on this subject by different artists were distinguished by varying degrees of drama: some masters depicted Thomas with his fingers deeply immersed in the wound of Christ, due to which they achieved an incredibly vivid, almost physical sensation in the viewer. Guercino takes a different path: his Thomas gesture is not so daring: drama is achieved thanks to light-shadow contrasts and combinations of blood-red and deep blue clothes of the saints. This is not surprising, because Guercino is considered one of the best colorists of the Bolognese school of the 17th century.

In the second half of the 18th century. In 1797, many of the paintings were sent by order of Napoleon Bonaparte to Paris. In 1815, at the Congress of Vienna, it was decided to return the paintings to the Vatican. The paintings of the Vatican Pinacothèque were placed in the papal chambers, repeatedly moving from one room to another, until they were placed in one of the wings of the Belvedere Palace, where on March 19, 1908, the Pinacothèque was inaugurated to the public. In 1932, a new building was built for the Pinakothek by order of Pope Pius XI (architect L. Beltrami), where it is located to this day. The opening of the Pinakothek in the new building took place on October 27, 1932.

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Michelangelo: Pieta
There is a Pietà at the entrance to the Pinacoteca. Pieta - iconography of the scene of the Lamentation of Christ by the Virgin Mary with the image of the Mother of God with the dead Christ lying on her lap. We see the famous Pieta of the young Michelangelo Buonarotti. The figures of the Virgin Mary and Christ were carved from marble by a 24-year-old master commissioned by the French cardinal Jean Bilaire for his tomb. In the 18th century, the statue was moved to one of the chapels of St. Peter's Basilica in the Vatican. Only an exact copy is kept in the museum, while the original is exhibited in the Cathedral of St. Petra.
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The Vatican Pinakothek presents mainly works by Italian masters, as well as a collection of Byzantine art acquired by Pope Pius X; works by artists from other countries are few. In total, the collection includes about 460 paintings from the 12th to 19th centuries, housed in 18 rooms of the Pinakothek in chronological order. By tradition, the collection contains only paintings on religious themes.
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Hall I (XII-XV centuries): Medieval Siena, Umbrian and Tuscan schools
Most of the paintings in the Middle Ages were executed on boards, on religious themes and by orders of religious institutions for the decoration of sanctuaries. The paintings were characterized by a lack of dynamics, since the works served only as a link between the worshipers and sacred entities. The figures were depicted in two-dimensional space with impassive faces. As a rule, the drawing was made on a gold background with the composition divided into registers, as dictated by the rigid hierarchical scheme of those times. In the first two halls of the Pinakothek, a series of medieval wooden panels, at one time called “Primitives,” is exhibited.

The oldest painting in the collection is Last Judgment- round work with a rectangular attachment at the bottom; Perhaps this form was chosen by the artist to emphasize the universal scale of the event. After all, in the Middle Ages they believed that the Earth had the shape of a disk. Most likely, the board, dating from the 12th century, was used as an altar image.
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Giunta Pisano School: St. Francis and scenes from his life(1260-1270)
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Umbrian school: painted cross(1260-1270)
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“Roma Aeterna” or “Eternal Rome” is forty-two works of the first row, most of which rarely left the Pinakothek (and some works never left at all), connecting seven centuries of the history of the Vatican - from the 12th to the 18th. The curator of the project is an art critic, curator of the engraving department and an author who rethinks the images of Italy in his books (“Especially Lombardy. Images of Italy XXI”, “Only Venice. Images of Italy XXI”),

— selected indisputable masterpieces for the exhibition in Moscow: there really is not a single passable work here that has been collecting dust in storage rooms for years.

Caravaggio. Position in the coffin. OK. 1602-1603

The exhibition opens with “Christ Blessing” - a Roman icon of the 12th century, as well as one of the earliest images of Francis of Assisi performed by Margaritone d'Arezzo. In both, traces of both Byzantine aesthetics and the emerging Gothic are clearly visible. The series of works by Donato Creti “Astronomical observations" of the 18th century, which included eight small paintings with images of the planets of the solar system. The series was commissioned by the artist Count Luigi Marsili, who presented it as a gift to Pope Clement XI in order to convince him of the need to sponsor the opening of the first astronomical laboratory in Bologna.

Nicolas Poussin. The Torment of Saint Erasmus. 1628

Between them are the works that make up the color of the papal collection: the textbook Lamentation of Christ, The Dream of Saint Helena by Veronese and Entombment by Caravaggio, small grisailles by Raphael - Faith and Charity, a huge canvas by Nicolas Poussin The Torment of Saint Erasmus "from St. Peter's Basilica, as well as the music-playing angels of Melozzo da Forli, who adorn all the "papal" souvenirs - from entrance tickets to the Vatican Museums to souvenir iPhone cases.

Melozzo da Forli. Angel with lute

In addition to its obvious content appeal, the exhibition also became a diplomatic gesture on a grand scale, which is now presented as

a natural result of the centuries-old “spiritual connection between Moscow and Rome.”

The idea that the main masterpieces of the Vatican would come to the main Russian museum was first discussed three years ago - after a meeting between the President of Russia and.

Paolo Veronese. "The Dream of Saint Helena" 1580

In 2017, a return exhibition of Russian religious painting from the collection of the Tretyakov Gallery will go to the Vatican.

Unlike previous blockbuster exhibitions, “Roma Aeterna” will work in the Engineering Building of the gallery in Lavrushinsky Lane, and not on Krymsky Val. The choice of a less spacious exhibition space was determined by the need to maintain the required humidity and climate conditions necessary for maintaining the exhibits - they are better in a historical building than in a modern one. The Tretyakov Gallery does not set itself the goal of breaking Aivazovsky’s record, said the head of the Tretyakov Gallery. However, to avoid queues, the Tretyakov Gallery organizes half-hour sessions at the exhibition. 90 people will be allowed into the halls. It will last until February 19, 2017. Now electronic tickets for the exhibition, which appeared a month before its opening, have already expired before the end of the year, the resumption of sales is expected any day now.

The Tretyakov Gallery invites you to visit a new exhibition - “Roma Aeterna. Masterpieces of the Vatican Pinacoteca. Bellini, Raphael, Caravaggio." It will be held from November 25, 2016 to February 19, 2017 in the Engineering Building (Lavrushinsky Lane, building 12). This largest and unprecedented international project in recent years will become an event both for Russia and Europe, and for the whole world. And in 2017, the Tretyakov Gallery will show works of Russian painting on gospel subjects from its collection in the Vatican.

For the first time, the Vatican Museums, one of the ten largest collections in the world, brought to Russia the best part of their collection - masterpieces of the 12th-18th centuries. Among the 42 paintings are works by Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin.

The title of the exhibition includes the Latin expression Roma Aeterna - “Eternal Rome”. It reflects the perception of this city in the history of mankind - ancient and young at the same time, uniting such different eras as Antiquity, the Middle Ages and the Renaissance. The Eternal City became the center of empire, religion and art, and the concept of Roma Aeterna became one of the most important ideas of world culture. And the collection itself is as diverse as the culture of Rome.

Every piece that visitors see is exceptional. The exhibition opens with a rare work of the Roman school of the 12th century - the image of “Christ Blessing”, which had never previously left the Vatican. It is close to Byzantine painting and demonstrates the common roots of Italian and Russian art.

Margaritone d'Arezzo's 13th-century work Saint Francis of Assisi is included in all art history textbooks and is one of the earliest depictions of a saint who played an important role in the history of the Western church. The current pope, the first Francis in the history of the Vatican, chose his name for himself.

There are also works by Gothic masters that are rare in Russian collections. Among these is “Jesus before Pilate” by Pietro Lorenzetti, which echoes the famous painting by Nikolai Ge.

Two predella tell stories from the life of St. Nicholas the Wonderworker, Archbishop of Myra in Lycia, revered by the Orthodox and Catholic churches. The heyday of the Renaissance includes one of the most interesting works by the greatest master of the Ferrara school, Ercole de Roberti, “The Miracles of St. Vincenzo Ferrer” and “The Lamentation” by the Venetian Giovanni Bellini. There are no paintings by these artists in Russia either.

The frescoes of one of the largest painters of the Quattrocento, Melozzo da Forli, depict angels, which are reproduced in huge numbers on souvenirs and have become the hallmark of Rome. His paintings were removed from the apse dome during the rebuilding of the Church of the Holy Apostles in Rome and decorate a special hall of the Pinacoteca.

The exhibition ends with a series of paintings from the 18th century. The paintings of the Bolognese Donato Creti are dedicated to astronomical observations and complete the history of Lo Stato Pontificio - the Papal States, which soon ceased to exist and turned into the Vatican - Lo Stato della Città del Vaticano.

History and collection of the Vatican Museums

The Vatican territory resembles a treasure chest that can suddenly slam shut. This is exactly what happens during important ceremonies, when the borders of the city-state become impenetrable not only for tourists, but also for the police. The huge museum complex was gradually filled with exhibits. Over the course of several centuries, successive popes founded one museum after another. Gregorian Etruscan - by Pope Gregory XVI in 1837, Pio Cristiano - by Pius IX in 1854, the Vatican Pinacoteca, which contains paintings by Raphael, Filippo Lippi, Cranach, Titian, Caravaggio - by Pius VI in the 18th century. In the same century, most of the collection ended up in the capital of France at the whim of Napoleon. After 18 years, the paintings were returned to their homeland. The Chiaramonti Museum of Ancient Sculpture was founded by Pius VII. The Sistine Chapel, a unique monument of the Renaissance, was erected at the end of the 18th century. One of the youngest museums, the Historical Museum, appeared thanks to the decision of Paul VI in 1973.

The concentration of masterpieces per square meter here is such that it would not be possible to walk around and thoughtfully examine each of them in a day. When planning an excursion, it is worth remembering the existence of weekends and holidays, the possibility of purchasing entrance tickets on the Internet, and not in a long line at the entrance.

The Sistine Chapel

The Sistine Chapel received its name in honor of Pope Sixtus IV, who initiated its construction. This is not only a unique monument of the Renaissance, but also a place for conclaves (elections of the next pope). Visually, a modest rectangular structure, reminiscent of a fortress, inside amazes with the unparalleled beauty of the wall paintings made by Botticelli, Ghirlandaio, Pinturicchio, Rosselli, Perugino, and the power of Michelangelo’s creations - a huge ceiling lamp and the altar fresco “The Last Judgment”. The invitation of Julius II to work on the interior decoration of the Sistine Chapel, received in 1508, initially discouraged the brilliant sculptor, who did not consider painting the strongest side of his talent. Michelangelo did an incredible amount of work, decorating the majestic vault with frescoes, the area of ​​which is about 540 square meters. m. Almost without outside help, on “flying scaffolding” on consoles attached to the walls of the chapel, after 4 years the master completed his masterpiece. For months in a tense position, leaning back, developing a goiter due to a lack of iodine in the local drinking water - Michelangelo devoted a lot of strength and health to his work. The famous fresco “The Creation of Adam” is located in the center of the ceiling. God's index finger is about to touch Adam's hand, transferring life energy to him. The outline of the mantle that envelops the Creator and the angels resembles a brain. This emphasizes the involvement of the higher mind in the emergence of Adam. The ignudi (nude figures) placed next to each of the frescoes give particular expressiveness to the painting.

Last Judgment

After 29 years, a grandiose altar fresco “The Last Judgment” will appear in the chapel about the second coming of Christ, opening the way to heaven for the righteous and punishing those who committed evil to hell. The tragic work of the late Michelangelo conveys his disappointment in the ideas of the Reformation and the aggressive advance of Protestantism. One of the main mysteries of the fresco is the self-portrait of the brilliant sculptor on the flayed alive skin of St. Bartholomew. According to one hypothesis, Christ’s gaze is turned to the artist’s face, since at this moment God’s judgment is being carried out specifically for him.

Stanzas of Raphael

One of the main treasures of the Vatican Museums - Raphael's Stanze di Raffaello - owes its appearance to the same Julius II. A controversial personality, a wise and cunning politician, a commander who contributed to the unification of Italy and the flourishing of the arts. He was called the Terrible long before a similar nickname appeared among the angry and extremely educated Russian Tsar, who had a lot in common with Julius. Thanks to the Pope, the best artists, architects and sculptors worked in the Vatican: Donato Bramante, who designed the Belvedere Palace, St. Peter's Basilica, Tempietto, Michelangelo, who created a miracle in the Sistine Chapel, the romantic Florentine Sandro Botticelli. 25-year-old Raphael, on the recommendation of Bramante, was invited to decorate the papal residence in the Vatican Palace. This is how Raphael’s frescoed rooms appeared - four small halls. The master himself worked on three of them. After the death of Raphael, his students were engaged in the design of the fourth. The artist's task of glorifying the church and the pope himself was brilliantly accomplished while working on the pontiff's study - Stanza della Segnatura. Her frescoes harmoniously united different aspects of spiritual life: philosophy and poetry, theology and justice. They are both elevated and secular. From the depths of centuries, the greatest philosophers and scientists look at the person entering the hall - Plato, Pythagoras, Aristotle, Socrates, Ptolemy (in the famous fresco “The School of Athens”), amazing poets - Dante, Homer, Sappho, Petrarch (“Parnassus”). On the fresco “Disputation”, exalting faith, there are the faces of John the Baptist, Christ and God the Father.

Pio-Clementino

“Pio Clementino” is a collection of precious antique sculpture. Here are the 500-year-old handsome Apollo Belvedere, and the tragic sculptural group “Laocoon and Sons,” a statue of the brave Perseus with the severed head of Medusa in his left hand, and a kneeling Venus, onto whom an invisible servant is pouring invisible water. In the popular animal hall there are many realistic and expressive sculptures of our little brothers. Rotunda Hall with a large porphyry bowl, statues of gods in niches and luxurious Roman mosaics on the floor.

The Vatican Museums introduce you to ancient frescoes and ancient geographical maps, huge tapestries, ancient sarcophagi, works of art from Ancient Egypt, treasures of St. Peter's Basilica, priceless manuscripts of the Vatican Apostolic Library. In the pavilion of carriages there are various vehicles used by popes in different centuries to move around their residence and beyond: palanquins, carriages, “popemobiles”.

The Pinakothek is one of the largest collections of paintings, mainly Italian, on religious subjects. It presents works by Leonardo da Vinci, Titian, Caravaggio, Crivelli, Giotto, Bellini. In the Raphael room there are works painted during different periods of his short life (“Transfiguration”, “Coronation of Mary”, “Madonna di Foligno”, etc.), and ten magnificent tapestries created according to his sketches by order of Pope Leo X.

Saint Paul's Cathedral

The exterior of St. Peter's Basilica is the hallmark of the Vatican. This is a gigantic structure with a huge oval dome, which is located at the base of the public square. At one time, Pope Julius II wanted to build a religious cathedral that would eclipse not only pagan temples, but also surpass European Christian churches. Thus, under the skillful hands of a group of architects, the Cathedral dedicated to St. Peter was revived. Bernini and Bramante, Michelangelo and Raphael took part in the construction of the structure and its decoration. These names have long been familiar to the world thanks to their talent and extraordinary vision, which was embodied in works of sculpture and painting.

How to get there

The cathedral is a papal diocese and is considered the main of the four basilicas erected. The building is located in the center of the Vatican on St. Peter's Square of the same name. You can get there by taxi, public transport or metro. However, you will have to walk a little from the station. But, during this walking tour you will have the opportunity to admire the unusual architecture of the city, which embodies the most striking elements of all styles of past centuries. Entrance is from the square through the front doors.

The Cathedral welcomes tourists all week, seven days a week. And on holidays, in addition to getting to know the exhibits, you can personally enjoy the original religious Catholic processions. Visitors are allowed into the building from 07.00 to 18.00 hours. During the period from April 1 to September 31 of each year, the Cathedral extends its work by an hour and closes at 19:00. Entrance to the building is absolutely free for everyone.

In addition to an individual visit to the institution and getting acquainted with valuable exhibits, it is possible to book a group excursion. This can be done via the Internet, or directly by coming to the Cathedral. Experienced guides will draw your attention to the most worthy examples of culture and tell you about the history of their creation, cultural value, as well as the history of acquisition. Many of the exhibits are associated with miraculous legends and mysterious stories that the guides will share with you.

Museum Features

The Museum of St. Peter's Basilica is not a separate building or hall. The entire building is a rich collection of masterpieces of painting, sculpture, ancient manuscripts, tombstones and altars. All samples are systematically placed in the Cathedral and are available for viewing by the common man. Each of the exhibits is an example of ancient religious art, so they are used not only for contemplation, but also during Catholic rites.

Considering that famous Italian painters and sculptors took part in the work on the structure, their works are given a special place. In particular, the only sculpture of its kind, born under the hands of Michelangelo, took pride of place in the hall of the Cathedral. This is the figure of the Lamentation of Christ. Not only does it have no copies or analogues, but it is also the only work on which the sculptor left his signature.

The “Statue of Saint Veronica”, created by master Francesca Mochi, is also a unique creation of sculpture. This is an incredibly accurate full-length depiction of a woman, which decorated one of the inner domes of the Cathedral.

In addition to masterpieces of sculpture, it is necessary to pay attention to the frescoes, mosaics and tapestries, which were created for the purpose of inlaying the structure and are the only similar works by Italian painters of the sixteenth century.

The Cathedral Museum deserves the close attention of visitors, since it is not only a rich storehouse of examples of religious culture, but also remains a current Catholic institution, which amazes with the accuracy of its observance of ancient canons and traditions.