Archive of literature and art. Federal Archives
NAVY
(RGA Navy)
Saint Petersburg
1. History of creation.
The archival repository dates back to 1724, when, by an oral decree of Peter the Great, the archive of the State Admiralty Collegium was created. Since 1827 – Archive of the Maritime Ministry. In 1918, the archive documents became part of the EGAF USSR.
In 1925, the Marine Department of the Leningrad Branch of the Central Historical Archive (LOTSIA) was created. And in 1934 the department turned into the Marine historical archive, which since 1937 became known as the Central State Naval Archive (TSGVMA).
In 1941, the TsGVMA was renamed the Central State Archive of the USSR Navy (TSGAVMF USSR). In 1992, the archive underwent a final change in name, becoming the Russian state archive Navy.
2. Composition of funds.
The archive stores documents generated in the activities of the central institutions of the maritime department, departments of fleets and flotillas, formations, units and ships, naval educational institutions, military ports, shipbuilding enterprises, hydrographic and scientific expeditions, figures of the Navy.
Total: 2875 funds, 927,663 cases;
29 funds, 266,456 units. hr. Photo documents.
Documents for the period: from 1550 to 1940.
RUSSIAN STATE ARCHIVE OF ECONOMICS
(RGAE)
Moscow
1. History of creation.
In 1961, on the basis of documents on the history of the national economy of the USSR, allocated from the TsGAOR of the USSR, the Central State Archive of the National Economy of the USSR (TsGANKh USSR) was created.
In 1992 it was transformed into the Russian State Archive of Economics (RGEA).
2. Composition of funds.
The archive stores documents on the history of the economy and social development of Soviet society since 1917: funds of people's commissariats, ministries, state committees, main departments providing planning, financing, standardization, managing sectors of the national economy, as well as central bodies of the RSFSR with similar competence, which Before the formation of the USSR, they extended their activities to other Soviet republics.
The funds of production and economic organizations are concentrated here: trusts, associations directly subordinate to the central governing bodies of the USSR; funds of people in the national economy and science, as well as sets of documents on the personnel of all organizations - sources for completing the archive and nomenklatura workers in the economic sphere.
Total: 1955 funds, 3,520,521 cases;
5 funds, 279,767 units. hr. scientific and technical documentation
1046 units hr. photographic documents.
Documents for the period 1917 – 1993.
Russian State Archive
Literature and art
(Rgali)
Moscow
History of creation.
The Central State Literary Archive of the USSR (TSGLA USSR) was created in 1941. It was based on the funds of the State literary museum(GLM), formed in 1933. The specialized funds from the TsGAOR of the USSR, the State Historical Museum (GIM), the Central State Historical Museum, the State Tretyakov Gallery and other archives.
In 1954, the archive was renamed TsGALI of the USSR, and in 1992 - to RGALI.
In April 1997, the archive was included in the State Code of Especially Valuable Objects of the Cultural Heritage of the Peoples of the Russian Federation.
Composition of funds.
Archive documents characterize various stages of the development of literature, art and social thought, creative relationships between representatives of domestic and foreign culture.
The archive contains funds from central government bodies in the field of culture, theaters, film studios, specialized educational institutions, publishing houses, public organizations; personal funds of writers, critics, artists, composers, theater and film workers, collections of documents.
Total: 2871 funds, 1,078,777 cases for the period from XVIII to 1993.
The writer Zoya Boguslavskaya once said about the country and time that our cause is not hopeless - as long as someone else cherishes the unknown sheet of the draft, which preserves the trace of the poet Mandelstam’s tears. It seems like a lyric, but there is an abyss of meaning in it.
We approach the archive, the famous RGALI, skirting garages and garbage dumps. Let’s remember in passing: last year there were stories in the news about how the archive was trying to fence itself off from the trash. Unsuccessfully, as you can see. However, the atmosphere outside and there, inside, are two different atmospheres.
We agreed that we would be given time here - two and a half hours. It turned out to be six and a half, and that didn’t seem enough. Time here cannot be measured in hours and minutes - wandering in the nooks and crannies of eras. Does it suck you in like a funnel? The next day, after us, actor Mikhail Efremov was waiting here. Misha, as he was affectionately called here, was preparing for the evening in memory of Igor Kvasha. Once upon a time, Kvasha himself, with whom they were very friendly in the archive, worked here on his book of memoirs.
Well, yes, they say, there is something here: an aura. And the fact that electricians are pulling cables there is, don’t blame me, a permanent improvement in everyday life. The building was built by captured Germans after the war. A year ago, another building was finally transferred to the balance sheet, on the contrary, a former trophy archive (they fought for it for 20 years). The facility is old and complex, the requirements for the archive are severe, and repairs are inevitable.
We enter the most reserved and treasured repository, already in shoe covers. The doors are like a bunker, it’s not hot inside: the temperature regime. Decorously boxes on shelves. There are treasures in the boxes. If you stretch out your hand, you will touch Akhmatova. Or Mayakovsky. Or Eisenstein, there are countless of them here. Some are sealed: until such and such a year.
And then... they will open Marina Tsvetaeva’s notebook for us. The letters and lines are careful and neat. And suddenly - between the leaves there is a dried flower. No worse than that very tear of Mandelstam, by the way, is a crocus flower, inserted by the poet’s hand, remembering her breath.
Lyrics again? Subtle vibrations of miracle? Hello from a terrible distance? Call it what you want, but even the most insensitive person will feel something here. According to the storage rules, the flowers should be removed: you never know how they affect the paper. Fortunately, no one in the archive raised their hand: they left Tsvetaeva as is, with the herbarium.
We will also see paintings by the artist Tatlin, and find out by what miracle they were found and preserved. We will hear how the amazing album “Mischievous Eisenstein” appeared - and how the director of the archive, Tatyana Goryaeva, was invited to the Cannes Film Festival on this occasion, to walk the red carpet like a movie star.
We will inevitably talk about the concerns and problems of the “archive of muses”. About the future of a unique institution in which there is currently no place for all interested researchers to stay together. And then... However, first things first.
Conversation with RGALI director Tatyana Goryaeva
No secrets
There are neat thread gloves on Tatyana Mikhailovna’s table. There was no need to come up with a question:
Composer Rodion Shchedrin recently visited the editorial office and gave you part of his archive with Maya Plisetskaya. They handed over the second part to the Germans, who delighted him - and he remembered the gloves first of all... Is this still a matter of the future for us?
Tatyana Goryaeva: Why future? This is the day before yesterday for us too. Moreover, in front of Rodion Konstantinovich’s eyes, I pulled out Tchaikovsky’s manuscripts. I even wrote him a letter (it’s not the first time he’s talked about this) - remember, I was also wearing white gloves...
We've sorted out the gloves. Let's talk about something else: how do you get these personal archives? Here Shchedrin and Plisetskaya - suddenly they took it and brought it?
Tatyana Goryaeva: They still know us, RGALI has a history and a reputation. But it happens in different ways. As for Rodion Konstantinovich and Maya Mikhailovna, they were convinced by Ekaterina Sergeevna Vlasova from the Moscow Conservatory. She worked in our foundations, now she is a Doctor of Science, studying Prokofiev, Soviet musical culture. But from the start of negotiations to the transfer is always a very long road.
- Did any sudden discoveries or discoveries happen along this difficult path?
Tatyana Goryaeva: Oddly enough, miracles happen. Just recently - phone call, from the tube: “I am the son of Nikolai Zabolotsky, I want to transfer to the archive all of my dad’s correspondence, starting with him in the 1930s, with his letters from the camp.” Of course, such minutes are expensive.
Or the door opens, a researcher from the reading room enters: “And I just found Chekhov’s autograph in the file.” Can you imagine?
We now have the complete archive of David Samoilov. There are a lot of modern funds. Now Eldar Aleksandrovich Ryazanov is handing over his archive...
- Did he offer his archive himself?
Tatyana Goryaeva: Myself. It transmits in parts. There are people who throughout their lives have a historical-archival consciousness, as I call it... We have a huge Chukovsky fund. And at one time, Elena Tsesarevna Chukovskaya gave us the archive of his daughter, Lydia Korneevna. This is very important, entire eras have connected.
And for some, there is probably nowhere to store things, old papers seem unnecessary, they are thrown away. Does this happen too?
Tatyana Goryaeva: In the last 20 years, the world has changed a lot, it has become easier for people to change their place of residence, leave, and sell their apartments. It’s good if they call: come, pick it up, I’ll throw it away tomorrow. And more often... Here in our reception room is the piano of Alexei Mikhailovich Remizov from Penza. It was preserved by a miracle. His great-grandson was moving - friends called our employee, we took the piano, which had already been thrown out onto the street, tuned it, and repaired it. This happens too...
- Apparently, not everything goes to the archive for free?
Tatyana Goryaeva: A lot of things are donated for free. The state allocates us modest funds for the purchase, but we are in conditions of wild competition due to all kinds of auctions, black markets... In Soviet times, by the way, a lot was bought. And now this question is very acute - in the conditions of mass collecting, which, however, can hardly be called collecting, but rather simply “investing”, “investing funds”.
- And modest government funds - excuse me, how much? Still, you manage to buy something...
Tatyana Goryaeva: We are allocated a million rubles. And we are practically the only ones among the federal archives who have the opportunity to purchase. Last year they continued to purchase the Zilberstein collection in parts. There enters G. Garibaldi, A.S. Griboedov, whose manuscripts are few preserved, I.A. Goncharov, F.M. Dostoevsky. Autographs of Leonid Andreev, artist Vasily Shukhaev, and poet David Samoilov were purchased from the heirs.
- Many such valuables “float” past RGALI - because there is no money for them?
Tatyana Goryaeva: Sometimes collections are offered, but we cannot find the funds. The state doesn't have enough for everything. Unfortunately, we don't have any sponsors. We contacted banks and funds - to no avail. They are more interested in buying one painting and immediately exhibiting it in a museum than in giving it away to an archive. So they lost part of Mandelstam’s collection, which belonged to him younger brother, and we are the main custodians of his legacy... In the early 70s, we received the Yuri Pavlovich Annenkov Foundation, according to the will, the rest of the money from Paris should also have gone to us. But part belonged to his wife and was transferred to other owners. There are many such large-scale losses, and they could have been avoided with emergency support from trustees.
One autograph, of course, can warm the soul of a collector, but what is important to us is the complexity, depth and completeness of the collections. It seems that everything is clear, but... We have a huge archive of the writer Alexei Remizov, and recently the heirs offered another part. And the Ministry of Culture suddenly asks me: why do you need so much Remizov? And then I find out from the media that the archive was purchased, but for the State Literary Museum. I am, of course, very happy for my colleagues. But such a decision raises many questions. I would like more thoughtful approaches, and not just: these already have it - we need them to have a little bit too.
- RGALI was transferred to the status of a state institution. Has it made your life easier or more difficult?
Tatyana Goryaeva: Yes, according to the law of May 8, 2010, museums and libraries became a budgetary type of institution, and archives became a state-owned one. This has its pros and cons. On the one hand, the state guarantees the necessary minimum. The main areas of archival activity are financed: storage facilities, boxes, folders, digitization, microfilming. But on the other hand, now we cannot receive grants for the same scientific, research work, for many projects.
By the way, this year we provided a complete replacement of electrical equipment, allocating almost five million. But the salary, unfortunately, decreased by ten thousand rubles. I ask the team to be patient. They promise to gradually increase wages starting this year so that by 2018 it will reach the level of Moscow salaries.
- What is the number of storage units in RGALI today?
Tatyana Goryaeva: We have one and a half million. Among the 15 federal archives there are some that are not completed, for example, the archive of ancient acts. But we are actively recruiting. Here the entire cultural sector, starting with the Ministry of Culture, all agencies, theaters, film studios, publishing houses, universities, creative unions... And, of course, personal funds - they make up half of everything, such wealth is not found in any archive.
- Why do you need a paper catalogue? Electronic technologies are just around the corner, but are you still doing things the old fashioned way?
Tatyana Goryaeva: Firstly, we have not only a paper catalogue, and secondly, I will explain what its significance is. Our handmade catalog is unique. There is no other Russian culture like it in the world. In general, you shouldn’t look at Russia as the “homeland of elephants.” We have gloves, and a rich tradition of Russian archivists, which is no less important. The scientific reference apparatus, the depth of description, the methods developed at RGALI back in the 50s, surprise many foreign researchers...
Now we are told that we don’t need to maintain a traditional catalogue, spend work time, working budget, employing employees... But I am for common sense. Informatization is brilliant, but if there were suddenly a blockade, “revenge of the machine,” we would lose all the information. So the paper catalog must be protected as a unique intellectual property.
And if you visited our website, you could see that we are also doing well with information technology.
- Have you already compiled an electronic catalog for all your funds?
Tatyana Goryaeva: IN electronic catalog Our website provides information not only about all archival funds and collections, but also 40 percent of archival inventories and even full-text images of documents are already in the public domain.
Among other things, you have in your archive a whole collection of Tatlin’s paintings, which were exhibited with a bang in many countries. Maybe it’s time to call RGALI an archive-museum?
Tatyana Goryaeva: We participate in an average of four major events annually international exhibitions. There were exhibitions at the Pushkin State Museum of Fine Arts, at the Tretyakov Gallery, at the Russian Museum... Of course, the status of an archive-museum would give us great opportunities. By the way, “mirror” archives, created at one time in Ukraine and Belarus in the image and likeness of RGALI, have this status. But “by default” we still consider ourselves part of not only the archival, but also the museum community.
Tatyana Goryaeva: Very in demand. A third of our researchers are foreigners. RGALI is known everywhere and everywhere, wherever I go. Another thing is that in Europe, in Germany, France, they treat archives with incredible reverence, and especially Russian ones - in Russia, archivists are at the lowest social level.
As for the respect for archivists in the West, is it not for nothing that you once found yourself on the red carpet of the Cannes Film Festival?
Tatyana Goryaeva: There was such a thing. We presented an exhibition of erotic drawings by S. Eisenstein and the album "Naughty Eisenstein". After all, in RGALI the most large collection his drawings are over 5 thousand. This was a personal project of the director of the Cannes Festival Gilles Jacob... By the way, last year our archive was the guest of honor at the 62nd Berlin Film Festival (Berlinale) in connection with the world premiere of the reconstructed film by Sergei Eisenstein "October". And this is also thanks to our documents.
The poet Yuri Kublanovsky said that he transfers his diaries to the archive with the note “limit use for 20 years.” Do you have a lot of such “closed” materials?
Tatyana Goryaeva: Let's agree on terms; today we do not have closed archives. Back in the late 1980s, all funds located in special storage were declassified and became available for work in reading room. These were the funds of Nikolai Berdyaev, Arkady Averchenko, Don Aminado, Teffi and other writers who were in exile. But in some cases other restrictions remain: access to documents of personal origin. Heirs have certain conditions: for example, correspondence or diaries, which before certain period are not issued to researchers.
Thus, the funds of Sergei Yesenin, Vladimir Mayakovsky, Marina Tsvetaeva were limited by the will of the heirs until 2000. The fund of Vladimir Vysotsky is kept under special conditions: both the part that we received from Marina Vladi and the part that was given by his son, Nikita Vladimirovich. Part of the fund of the famous writer and collector Nikolai Khardzhiev, according to his will, is closed until 2019. But there are very few such funds, and, as a rule, the heirs always meet halfway needs of everyone who seriously studies the work of their great ancestors.
Archive employees, having access to these secrets of wills, receive salaries of 8-15 thousand - which keeps them from temptations and temptations... Do they sign non-disclosure papers?
Tatyana Goryaeva: Well, salary doesn’t play a special role here. And no one signs any papers. They still come to work with us (and we have almost 40% of young people) consciously, for ideological reasons. There is an International Code of Ethics for Archivists, where all these issues are discussed, as well as many others.
- Dmitry Likhachev called museum workers"the last saints in Rus'." Apparently, this is also about archivists...
Tatyana Goryaeva: To be honest, I would not like to return to these words spoken by Dmitry Sergeevich more than twenty years ago, today in the 21st century. Although the mentality of the domestic archivist really differs from the international standard. And this is our usual Russian peculiarity.
- How are you different from your Western colleagues?
Tatyana Goryaeva: In the West, an archivist is almost never a researcher. In French archives, for example, there are no publishing departments at all. It’s hard to imagine our activities without preparation scientific publications, albums and reference books. Although a restrictive tendency is now appearing here too. We are talking, of course, about financing socially significant projects within the framework of the Federal Target Program “Culture of Russia”. This year, for example, we supported our requests for publications dedicated to the 200th anniversaries of Mikhail Yuryevich Lermontov and Taras Grigorievich Shevchenko, which will be celebrated in 2014. We can prepare the rest of the publications... already outside of working hours.
- Is the reconstruction of RGALI buildings a matter of the distant future?
Tatyana Goryaeva: Last year, the neighboring building of the former Special Archive was finally transferred to our management, but for now some of the storage and work premises are still occupied by the neighboring Russian State Military Archive. And we are now concerned about creating a concept for a comprehensive reconstruction of RGALI buildings, because we cannot limit ourselves to cosmetic repairs. There’s a lot of everything here: replacing all the shelving, equipping the storage facilities with new fire extinguishing equipment, creating an infrastructure that corresponds to the importance of the Archive of Muses and meets modern needs - a spacious electronic reading room, exhibition space, comfortable work spaces, and finally, a canteen for employees and visitors. At the same time, the archive must remain operational for both employees and researchers.
- Modern archival centers in the West are increasingly moving somewhere to the outskirts...
Tatyana Goryaeva: I recently visited the newly built National Archives of France building in Paris. The archive is now located in Saint-Denis. This is some spaceship made of glass and metal. As the director said, the material is very cheap, and the architecture gives a lot of light. But I felt somehow uncomfortable. Over time, they will probably get used to it.
- Isn't light harmful for storage?
Tatyana Goryaeva: We are, of course, talking about those premises that are not intended for storing documents. The storage facilities are the same everywhere, like bunkers. Of course, storage conditions are also important, but... we take documents to the reading room. And the restorers assure that the painting must sometimes be allowed to breathe, to “look”...
Chief curator of RGALI Natalya Shtevnina
Riddle from Pushkin
We walked through the storage facilities with the chief custodian. We learned that the optimal temperature for storing documents is 18-20 degrees. An increase in temperature by one degree “ages” the document by ten years. The storage facilities are too dry; unfortunately, the archive does not have an industrial air conditioning system. The most rare documents are stored in a special safe. Many of them, judging by the records, were issued to visitors only 10 times in six decades. Some of them were taken out and shown - especially for us.
* Pushkin’s early autograph is the poem “An Inexperienced Lover of Foreign Lands,” written in 1817 (RGALI today houses 11 autographs of the poet). The poem was addressed by the poet to Princess E.I. Golitsyna, nicknamed by her contemporaries “Princesse Nocturne”. In 1817, Pushkin was extremely passionate about it, as evidenced by the text itself. The poem was written after the poet’s meeting with E.I. Golitsyna in Karamzin’s house. According to the surviving information, the autograph was kept for some time by a St. Petersburg acquaintance of Pushkin N.I. Krivtsov, then passed on to P.N. Krivtsov’s son-in-law. Batyushkov, included in the album of his wife S.N. Batyushkova.
* Drawing by Pushkin. “The image of Natalya Nikolaevna Goncharova was discovered by our employee in the 70s... Pushkin ran to Vyazemsky’s wife, when she was reading a letter from her husband, she told Alexander Sergeevich that Vyazemsky was sending him greetings. And Pushkin depicted his bride on the back. However, the lower part of the figurine "Natalya Nikolaevna was carefully carved out. What was on it is a mystery to Pushkin scholars. The drawing was most likely made between May 26 and July 16, 1830, during the period of the poet's matchmaking."
* Letter from Gogol to Belinsky. In the history of literature, it is a document of extraordinary socio-political power. “In 1853, the letter was torn into 48 parts. It came to Pavlov, Belinsky’s secretary. When the gendarmes came to him with a search, he tore it into small pieces, fearing that the gendarmes might find seditious thoughts in the letter. The torn letter was confiscated ", but no crime was found in it and was returned to the owner. So the letter was preserved. Only in 2010, restorers collected these pieces almost into a complete letter. Only some fragments are missing."
* “My Sister is My Life”, manuscript of the book by Boris Pasternak. “If Pushkin and Dostoevsky edited in drafts, crossing out, writing in the margins, then Pasternak treated his manuscripts with reverence. He always wrote on good paper, always with excellent ink. And he covered unsuccessful fragments of text with strips of paper - unfortunately, with silicate glue: he " “eats up” the image on the paper. The restorers made it so that we can see what was written on these strips and what was underneath them.”
* Paintings by futurist Vladimir Tatlin. “After the artist’s death in 1956, his paintings and drawings remained in the studio unattended. The artist’s friend, sculptor S. D. Lebedeva, offered them to museums - everyone refused. She turned to RGALI, where he was sheltered. And in the 90s, archivists opened "To the world of Tatlin the artist. Today, the collection of his paintings in the Russian State Archive of Literature is comparable in completeness only to the collection of the Russian Museum. Unfortunately, some works already require restoration - the paint layer is crumbling. There is no money for this yet."
Chief specialist Maria Rashkovskaya
Khlebnikov from Khardzhiev
Maria Arkadyevna has been working in the archive for 45 years, she is engaged in the description of personal funds and assures that the main thing in her work is a disinterested interest in culture in all its manifestations. And what kind of profit is there for fifteen thousand rubles a month? She was engaged in a scientific description of the documentary heritage of I. G. Ehrenburg, B. L. Pasternak, and is now describing the Nikolai Khardzhiev fund, part of which returned to RGALI recently from Holland - after seven years of negotiations. He shows us Khlebnikov's drawings from the collection - and watches in horror the photographer, who cannot calm down while choosing angles.
“Nikolai Khardzhiev left in 1994. Some of his things were detained at customs: they asked to send experts. There were his manuscripts, documents, personal correspondence, manuscripts of Mandelstam, Mayakovsky, Khlebnikov. After our description, negotiations began about who would get it. Our the director at that time, Natalya Borisovna Volkova, contacted Nikolai Ivanovich, and she managed to agree on storing these materials with us, but subject to the closure of this archive for 25 years.
In 2004, Tatyana Mikhailovna managed to agree that we could get acquainted with what was stored in Amsterdam and help them process it; this was considered part of the Khardzhiev Foundation, which was created after the death of Nikolai Ivanovich and his wife. There was hope that this part would also go to us. In 2006 we went, the Dutch were grateful for the help. And in 2011 they agreed to hand over this part of the documents. So now you can work with these materials in the microfilm reading room."
Head of the Acquisition Center of RGALI Larisa Babaeva
Non-random accidents
Larisa Babaeva knows everything about how and through what routes personal archives get into RGALI. And what a miracle it is that discoveries are made here.
Here, for example, are two stories. Our director was given the phone number of a lawyer who was supposed to help in solving archival problems. She calls - and word for word, in the conversation it turns out that the lawyer’s family keeps a letter from A.A. Blok, addressed to their grandmother, Rostovite Klavdia Petrovna Tsingovatova. And we kept a letter from Klavdia Petrovna in the Blok Foundation - and no one could understand who Klavdia Petrovna was. Everything became clear only thanks to a coincidence.
In 2006, we were offered the archive of Nika Nikolaevna Glen, a famous literary translator. While sorting it out, we found two autographs of Shostakovich. It was just the year of Shostakovich’s anniversary, and suddenly the first performance pops up Leningrad Symphony. It was first performed in Kuibyshev during the evacuation. And Nika Nikolaevna Glen’s dad was a violinist Bolshoi Theater. He took part in this concert and kept the program with Shostakovich's autograph... Can you imagine?
Head of Archival Communications Department of RGALI Natalya Strizhkova
On the state status of science
We have not implemented an amazing publishing project with Pasternak: a facsimile edition of the manuscript of Doctor Zhivago with open fragments of the original text, which the author, while working on the word, sealed and wrote a new version on top. Scientific value These adhesives are great. You can open and see the entire process of working on the text. Restorers are hired, but it costs a lot of money. According to our calculations - two million rubles for restoration plus publishing costs. There is no such money yet. Such publications are produced in quantities of 200-300 copies and are intended for specialists and collectors. We need to look for funding.
But it’s been two years since we’ve been deprived of our status budgetary institution, we are a government institution, and we do not have the right to receive grants at our own expense. We are looking for ways, concluding agreements with scientific institutes and publishing houses. This is a very complex and lengthy process.
We prepare full-fledged scientific collections of documents, albums, and reference books. Over the years of research and publishing activity, RGALI has developed its own textual school. Every year our publications receive first prizes in book competitions and are presented at international Book exhibitions. But all this is not taken into account. The state's attitude towards us is based on the fact that we provide services - we provide certificates to the Pension Fund, we fulfill thematic requests. For the state, we are formally a warehouse where documents are taken for storage. Service sector, government institution."
Only numbers
* 8 thousand rubles is the salary of a young employee of RGALI.
* 15 thousand rubles is the salary of a specialist.
* 1 million rubles are periodically allocated by the state for the purchase of documents for RGALI
* One letter from A.S. Griboedov to V.G. Kuchelbecker cost 300 thousand rubles.
* 18-20 degrees - a temperature that is comfortable for storage. There is no humidification or air conditioning system in the archive.
* TO XIV century refers to the Easter Haggadah - the oldest in RGALI handwritten book containing an exposition of the Passover Seder and fragments biblical texts, historical tales and prayers in Hebrew. Decorated with micrography from the 15th-16th centuries.
Scientific publications of recent years
RGALI released:
* Between a rock and a hard place. Union Soviet writers: Doc. and comment. T. 1: 1925 - June 1941
* Marina Tsvetaeva, Boris Pasternak. Souls begin to see. M.: Vagrius, 2008.
* A.M. Remizov. Handwritten books. St. Petersburg: Pushkin House, 2008.
* I.E. Repin, V.I. Bazilevsky. Correspondence. 1918-1929 St. Petersburg: Mir, 2012.
* I.A. Goncharov in literary criticism Russian abroad: Sat. documents and materials. M.: Rudomino Book Center, 2012.
* A.P. Dovzhenko. Diary entries. 1939-1956 Kharkov: Folio, 2013.
RGALI are preparing:
* Masterpieces of Russian culture of the 18th-20th centuries. from the collection of the Russian State Archive of Literature and Art. Album.
* Documented legacy of M.Yu. Lermontov in RGALI. To the 200th anniversary of his birth. Album.
* Photographic history. 1840-1950. From the collections of the Russian State Archive of Literature and Art.
* Living things about living things: Maximilian Voloshin and Marina Tsvetaeva. Album.
* Traveling artist. Travel diaries of the artist A.E. Yakovleva.
* O.F. Bergholtz. Diaries. T.I (1923-1941), T.II (1941-1971).
* Movie: public policy and management organization. 1917-1938 Collection of documents.
Help "RG"
The archive was founded in 1941, partly on the basis of the collection of the State Literary Museum. In 1954 it was named TsGALI of the USSR, in 1992 - RGALI.
Since April 1997, included in the State Code of Particularly Valuable Objects cultural heritage peoples of the Russian Federation (along with the Pushkin State Museum of Fine Arts, the Tretyakov Gallery, the Hermitage, the Russian Museum, the State Archive of the Russian Federation, etc.).
"Rossiyskaya Gazeta" thanks the staff of RGALI for their assistance in preparing the publication.
Russian State Archive of Literature and Art
The Russian State Archive of Literature and Art - "Archive of the Muses" - is the largest repository in Russia, which concentrates richest materials in history Russian literature, music, theater, cinema, visual arts, architecture. Its 3012 funds contain over 1 million 300 thousand storage units. Created in 1941 on the basis of the archival collection of the State Literary Museum, it became a favorite and the subject of special care of the state. “Never before has any archival institution received such huge funds for the purchase of manuscripts, museum valuables and entire libraries from private individuals,” recalled Irakli Andronikov. “Never have autographs, diaries, notebooks, albums, suitcases with letters, drafts, documents, memories, drawings, portraits, books flowed into such a mighty stream into any museum.”
The archive funds contain documents from the 14th to 20th centuries. Among them are manuscripts and personal documents of outstanding cultural figures of Russia, autographs of A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol, F. M. Dostoevsky, A. P. Chekhov, the most valuable collections and individual documents from the collections of Yu. A. Bakhrushin, F. F. Fidler, S. P. Melgunov, P. I. Bartenev; archival funds of V. V. Rozanov, A. A. Blok, B. L. Pasternak, A. A. Akhmatova, M. I. Tsvetaeva, A. Bely, M. A. Kuzmin, A. I. Solzhenitsyn, D. D. Shostakovich, M. M. Plisetskaya, R. K. Shchedrin, the creative heritage of figures of the Russian diaspora, as well as documents of governing bodies, institutions and cultural organizations - the People's Commissariat of Education of the RSFSR, the All-Union Committee for Arts (VKI) under the Council of People's Commissars of the USSR, the Ministry of Culture USSR and RF, State Committee for Cinematography of the USSR, scientific and educational institutions of culture, film studios, theaters, circus and stage, publishing houses, editorial offices of literary and art magazines.
Main feature The documentary base of RGALI is a unique information set in which the personal funds of writers, composers, artists, actors, directors and other outstanding artists (2664 funds) are combined with the variety of management documentation of the Institute of Cultural Management, creative unions, public organizations (348 funds).
Most ancient source- Easter Haggadah of the 14th century. - a handwritten book containing a description of the Passover Seder ritual and fragments of biblical texts, historical tales and prayers read in it in Hebrew, decorated with micrography of the 15th–16th centuries.
Approximately half of all personal collections consist of literary materials; the second half falls on all other types of art. Literature of the early 19th century. presented by materials from classic writers A. S. Griboedov, N. M. Karamzin, V. A. Zhukovsky. The largest fund, most of the materials of which date back to the first half of the 19th century, is the family archive of three generations of the Vyazemsky family “Ostafevsky Archive” - a real treasury of autographs and manuscripts, including manuscripts of A. S. Pushkin’s friend Prince P. A. Vyazemsky, letters of G. R. Derzhavin, A. S. Griboyedov, K. F. Ryleev, V. K. Kuchelbecker, A. S. Pushkin and his wife, N. V. Gogol; autographs of Peter I, Catherine I, Catherine II and other “royal persons”, commanders A.V. Suvorov, P.A. Rumyantsev, A.P. Ermolov, classics of foreign literature J. Byron, O. Balzac, A. Mitskevich.
A significant part of F. M. Dostoevsky’s archive containing his notebooks with early versions of the novels “Crime and Punishment”, “The Idiot”, “Teenager”; epistolary heritage of the writer.
Literary process of the late XIX-early XX centuries. reflected in the funds of L. N. Andreev, A. I. Kuprin, I. A. Bunin. RGALI is the largest center for storing and studying the heritage of the classics of the Silver Age: the life and work of A. A. Blok, A. Bely, S. A. Yesenin, M. A. Kuzmin, V. V. Mayakovsky, A. A. Akhmatova, B L. Pasternak, M. I. Tsvetaeva.
The archive contains funds of writers of the 20th century - F.V. Gladkov, A.P. Gaidar, A.S. Green, V.V. Vishnevsky, I.A. Ilf and E.P. Petrov, A.S. Makarenko, Yu. K. Olesha, N. A. Ostrovsky, P. A. Pavlenko, K. G. Paustovsky, M. A. Svetlov, A. S. Serafimovich, S. N. Sergeev-Tsensky, Yu. N. Tynyanov, A. A. Fadeev, I. G. Erenburg, V. T. Shalamov and many others.
Russian theatrical art, its various directions and stages of development are reflected in the funds of actors and directors A. I. Yuzhin, V. E. Meyerhold, M. G. Savina, E. D. Turchaninova, A. A. Yablochkina, L. V. Sobinov, A. A. Gorsky, M. I. Petipa, as well as in the funds of the Moscow Office of the Imperial Theaters (10,280 items), the Society of Dramatic Writers and Composers (2,951 items), the Central House of Artists (6,630 items) .khr.), Chamber Theater(1129 storage units). Specifics theatrical arts, when the performance of each role, each production is a unique, inimitable creative act, gives especially great value for theater research and construction to such materials as director's copies of plays, sketches of scenery and costumes, photographs of actors in roles and scenes from performances.
History documents national music are contained in the funds of P. I. Tchaikovsky, S. I. Taneyev, N. A. Rimsky-Korsakov, S. S. Prokofiev, R. M. Glier, V. Ya. Shebalin, D. B. Kabalevsky, N. Ya Myaskovsky, I. O. Dunaevsky, D. D. Shostakovich, in the funds of the Moscow State Conservatory. P.I. Tchaikovsky (2727 items), State Musical Pedagogical School named after. Gnessins (1280 items), State Music Publishing House (4614 items), magazine " Soviet music"(2355 items), etc. Another feature of the RGALI collection is its museum component: the third part of the collection is visual materials (paintings, graphics, photographs, etc.). Traditional distinction in the formation of museum and archival collections predetermined the nature of their collections: works of fine art are stored in museums, documentary heritage is stored in archives. However real life much richer in rules and schemes and, being imprinted in the personal archives of cultural and artistic figures, often violates these schemes and rules. That is why the Russian State Archive of Literature and Art, along with handwritten and epistolary heritage, stores works of painting and graphics of the 19th and 20th centuries. Another reason for this apparent incident is that at one time archives served as a reliable shelter for the works of those artists who did not belong to the “ official art”, were not recognized by the authorities or were simply destroyed by this authority. The overwhelming number of such artists are representatives of the Russian avant-garde. It is their works that make up the significant majority of the “fine” collections of RGALI. The circumstances under which paintings and graphic works ended up in archival storage are interesting and varied. They reflect in their own way Soviet history. Thus, during the formation of RGALI in the early 1940s, the core of the collection consisted of materials received from the State Literary Museum, including the funds of the publishing houses “Detgiz”, “Iskusstvo”, “Muzgiz”, etc., as well as the editorial offices of art magazines. At the same time, in 1941, part of the fund of the V. V. Mayakovsky Museum was received from the Literary Museum, including the poet’s drawings and stencils of the “Windows of Growth”. Documents from the School of Painting, Sculpture and Architecture, State Art and Technical Workshops (Vkhutemas-Vkhutein), were transferred from the State Tretyakov Gallery. Russian Academy artistic sciences, the Moscow Society of Art Lovers, as well as various materials from artists A. G. Venetsianov, I. N. Kramskoy, I. K. Aivazovsky, I. S. Ostroukhov and others. Thus the foundation was laid for the art collection of the archive.
At the same time, personal funds of artists began to form in the archive - the most full complex, which stores numerous works of art: drawings and sketches, engravings and etchings, sketches and studies by V. M. Vasnetsov, I. E. Repin, V. K. Byalynitsky-Biruli, B. M. Kustodiev, M. V. Nesterov, S. Yu. Sudeikin, A. N. Benois, M. V. Dobuzhinsky, N. K. Roerich, K. S. Petrov-Vodkin, E. G. Guro, M. V. Le-Dantu, L. M. Lisitsky, V. E. Tatlin and others. The collection of posters was also replenished from personal funds - this part of the RGALI collection is unique in its completeness and numbers about one thousand two hundred posters, including over four hundred originals by V.V. Mayakovsky, V.V. Lebedev, M.M. Cheremnykh, D. S. Moor, V. N. Denis, photomontages by L. M. Lisitsky, G. G. Klutsis, S. Ya. Senkin.
Rich visual material and funds of filmmakers - Y. A. Protazanov, I. I. Mozzhukhin, V. I. Pudovkin, M. I. Romma, L. V. Kuleshova, Dz. Vertova, R. L. Karmena. RGALI stores more than five thousand drawings by S. M. Eisenstein.
In the 1960s, RGALI acquired the most valuable archive of Yu. P. Annenkov, which included forty original drawings - theatrical sketches, book covers, portrait sketches. In the same way, the already mentioned archives of E. G. Guro, V. F. Khodasevich, K. S. Petrov-Vodkin, K. N. Redko, as well as A. A. Arapov, I. I. Nivinsky, P. N. Filonova, P. V. Kuznetsova and E. M. Bebutova.
A special place is occupied by the legacy of figures from the Russian diaspora, in the return of which a huge role on the part of official structures was played by I. S. Zilbershtein, a famous art critic and literary historian, a collector who devoted his life to the study and promotion of Russian culture, collecting its relics. As a result of his foreign trips, the collections were replenished with watercolors by A. N. Benois, sketches by M. V. Dobuzhinsky, K. A. Korovin, S. M. Lifar, A. M. Remizov.
RGALI houses a rich collection of works by V. E. Tatlin. The fate of Tatlin's works, like his own fate, was predetermined by a categorical rejection of his “formalist” art. After the artist’s death, his legacy was almost lost: paintings and drawings were left unattended in the studio. A friend of the artist, sculptor S.D. Lebedeva, saved the situation: she turned to archivists, and RGALI employees took away Tatlin’s works, thereby preserving them for posterity. The corpus of graphic works of V. E. Tatlin in the Russian State Archive of Literature coincides chronologically with his pictorial heritage. The most valuable are two albums of sketches, mostly nudes, made in 1912-14. by the hand not only of the meter himself, but also of those who visited his workshop at that time - L. S. Popova, N. A. Udaltsova, A. A. Vesnin and other artists of Tatlin’s circle.
The early avant-garde in RGALI is still a whole layer of little-known or completely unknown works by E. G. Guro, K. M. Zdanevich, S. B. Nikritin, V. S. Bart, A. A. Morgunov.
The RGALI collection contains more than a hundred albums by one of the main figures of the poetic and artistic avant-garde, its collector and custodian - A. E. Kruchenykh. Easier to compose short list names that are not represented in this collection than to list the many artists, poets and writers who appear in one form or another in this uniquely comprehensive illustrated history of the artistic avant-garde. Therefore, albums are perceived not only as a historical document, but also as a kind of artifact, as independent work art, where a historical document becomes an aesthetic value. No less representative in the archive is the era of the birth of constructivism in the early 1920s. It is enough to name a number of brilliant names. Among them is L.M. Lissitzky with his sketches for book covers, innovative photographs and unique graphic design; G.G. Klutsis and his poster designs, I.V. Clune with his small color compositions and sketches book covers.
A special place is occupied by the legacy of the architect Ya. G. Chernikhov, consisting of many graphic creations of the second half of the 1920s. Repeating motifs on the themes of “architectural fantasies” and “machine forms”, Chernikhov achieved constructive and stylistic perfection of his compositions. The avant-garde works in the RGALI collection – from paintings to sketches – are striking in their diversity. And what is even more surprising - despite the randomness of the selection of names and the nature of the works - they illustrate with sufficient completeness the history of the avant-garde in Russia, using examples that are little known not only to the general public, but also to specialists.
To date, RGALI has collected 483 museum memorial items that belonged to N. A. Berdyaev, V. A. Solovyov, A. M. Remizov, M. I. Tsvetaeva, I. G. Erenburg, A. G. Koonen, K. M. Simonov, K. A. Kedrov, M. M. Plisetskaya and others. Thus, the fund of M. I. Tsvetaeva contains her casket made of pear wood, beads made of cornaline, a bamboo pen with a cap, a silver ring, a signet, a silver dish , metal chain necklace with pendants, glass inkwell in a metal case. The collection of N. A. Berdyaev includes a metal cigarette case, pince-nez, a leather wallet and purse, two rings, a pocket mirror in a leather case, wooden pens, and an Omega watch with a monogram. The entire interior of K. M. Simonov’s office was transferred to the archive.
The Russian State Archive of Literature and Art - "Archive of the Muses" - is the largest repository in Russia, included in the State Code of Especially Valuable Objects of the Cultural Heritage of the Peoples of the Russian Federation. More than 3,000 funds and 1.5 million storage units contain the richest materials on the history of Russian literature, music, theater, cinema, fine arts, and architecture.
Created in 1941 on the eve of the Great Patriotic War, The archive became a favorite and a subject of special concern of the state. “Never has any archival institution received such huge funds for the purchase of manuscripts, museum valuables and entire libraries from private individuals,” as Irakli Andronikov emphasized. “Never before has any museum received such a mighty stream of autographs, diaries, notebooks, albums, suitcases with letters, drafts, documents, memories, drawings, portraits, books."
The main feature of the RGALI collection is a unique information set in which the personal funds and creative heritage of writers, composers, artists, actors, directors are combined with the variety of management documentation of the institute of cultural management, creative unions, and public organizations.
The Archive funds contain documents of the 14th-11th centuries, and among them are manuscripts and personal documents of prominent Russian cultural figures, autographs of A.S. Pushkin, the most valuable collections and parts of the collections of Yu.A. Bakhrushin, F.F. Fidler, S.P. Melgunov, P.I. Bartenev, personal funds of M.Yu. Lermontov, N.V. Gogol, F.M. Dostoevsky, A.P. Chekhov, V.V. Rozanov, A.A. Blok, B.L. Pasternak, A.A. Akhmatova, M.I. Tsvetaeva, A. Bely, M. A. Kuzmina, V.T. Shalamov, A.I. Solzhenitsyn, D.D. Shostakovich, S.S. Prokofiev, M.M. Plisetskaya, R.K. Shchedrin, the creative heritage of figures of the Russian diaspora, as well as documents of governing bodies, institutions and cultural organizations - the People's Commissariat of Education of the RSFSR, the All-Union Committee for Arts (VKI) under the Council of People's Commissars of the USSR, the Ministry of Culture of the USSR and the Russian Federation, the State Committee for Cinematography of the USSR, scientific and educational institutions of culture, film studios , theaters, circus and stage, publishing houses, editorial offices of literary and art magazines.
Another feature of the RGALI collection is its museum component: the third part of the collection is visual materials (paintings, graphics, photographs, etc.). A real discovery of the last decade was the collection of Russian avant-garde from the RGALI collection with works by E.G. Guro, M.V. Matyushin, K.M. Zdanevich, S.B. Nikritin, V.S. Bart, A.A. Morgunov, M.V. Le-Dantu, L.M. Lisitsky, V.E. Tatlin and others. The memorial collection is also representative, including more than 1000 museum objects that belonged to N.A. Berdyaev, V.A. Solovyov, A. M. Remizov, M. I. Tsvetaeva, I. G. Erenburg, A. G. Koonen, K. M. Simonov, K. A. Kedrov, M. M. Plisetskaya and others.
The modern image of RGALI is openness and accessibility. Numerous publications, exhibitions, round tables and of course, high degree informatization of archival activities. We hope it's new showroom, which will be located in one of the buildings of the building, will become a popular platform for friends of RGALI and Muscovites.
Introduction
Russian State Archive of Literature and Art: history of origin and development
Characteristics of the archival collections of RGALI
Conclusion
List of sources used
Introduction
The Russian State Archive of Literature and Art (RGALI) - “Archive of the Muses” - is the largest repository in Russia, which contains the richest materials on the history of Russian literature, music, theater, cinema, fine arts, and architecture.
The location of the archive is Moscow.
The RGALI archive contains documents characterizing various historical stages in the development of literature, art, social thought both in Russia and in other countries of the world, dating from 1545 to the present.
The purpose of this work is to describe the history of the emergence and development of RGALI, as well as briefly characterize its archival funds.
The work consists of an introduction, two main chapters, a conclusion and a list of sources used.
1. Russian State Archive of Literature and Art: history of origin and development
The Russian State Archive of Literature and Art is a federal archive that is Russia's largest repository of documents on the history of literature, fine arts, music, theater and cinema.
The archive was created in 1941 as the Central State Literary Archive. He became a favorite and the subject of special care of the state. “Never before has any archival institution received such huge funds for the purchase of manuscripts, museum valuables and entire libraries from private individuals,” recalled Irakli Andronikov. “Never have autographs, diaries, notebooks, albums, suitcases with letters, drafts, documents, memories, drawings, portraits, books flowed into such a mighty stream into any museum.”
A significant part of the collection consisted of materials from the State Literary Museum, founded back in 1933. Funds from other repositories were also transferred here: the Central State Archive October revolution(now part of GARF), Central State Archive of Ancient Acts (now RGADA), State Historical Museum, Tretyakov Gallery, etc.
In 1954, the Central State Archive of Literature and Art was renamed the Central State Archive of Literature and Art (TsGALI USSR), in 1992 it received its current name - the Russian State Archive of Literature and Art (RGALI).
The archive contains documents characterizing various historical stages in the development of literature, art, and social thought both in Russia and in other countries of the world. Chronological framework The collected documents cover three centuries - from the 18th century. to the present day, but the bulk of the materials date back to the 20th century. Selected documents dating back to 1545
RGALI documents contain information about cultural life countries, about the various stages of development of literature, art and social thought, about creative contacts between representatives of the Russian and foreign culture.
The archive contains funds from central government bodies in the field of culture, theaters, film studios, specialized educational institutions, publishing houses, and public organizations; personal funds of writers, critics, artists, composers, theater and film workers, collections of documents.
Documents are stored in two main archives - funds of institutions and organizations, and funds of personal origin, which make up the bulk of archive funds. Among them are manuscripts and personal documents of outstanding cultural figures of Russia, the creative heritage of figures from the Russian diaspora; as well as documents of governing bodies, institutions and cultural organizations.
By Decree of the President of the Russian Federation dated April 2, 1997, RGALI was included, along with State Museum Fine Arts named after. Pushkin, the Tretyakov Gallery, the Hermitage, the Russian Museum, the State Archive of the Russian Federation, the Russian State Military Historical Archive, the Russian State Archive of Ancient Acts, etc., to the State Code of Particularly Valuable Objects of the Cultural Heritage of the Peoples of the Russian Federation and is responsible for the safety of the documents in storage and their proper use.
The vast majority of documents stored in RGALI are of historical and cultural value.
2. Characteristics of the archival collections of RGALI
archive literature art foundation
In its 3012 funds there are over 1 million 300 thousand storage units of the 18th-21st centuries, individual documents - the 14th, 16th, 17th centuries; institutional funds - 351 ff.; personal funds - FF 2677; microfilms - about 6,000,000 frames. 1 lb., microforms. Therefore, any list will be incomplete; we will name only a few.
The oldest source is the Easter Haggadah of the 14th century. - a handwritten book containing a description of the Passover Seder ritual and fragments of biblical texts, historical tales and prayers read in it in Hebrew, decorated with micrography of the 15th-16th centuries.
The main feature of the documentary base of RGALI is a unique information set in which the personal funds of writers, composers, artists, actors, directors and other outstanding artists (2664 funds) are combined with the variety of management documentation of the Institute of Cultural Management, creative unions, public organizations (348 funds) .
The archive contains numerous documents from authorities government controlled in the field of culture Soviet period: Ministry of Culture of the USSR, Committee for Arts, Committee for Cinematography, Union of Architects (Writers, Composers) and other organizations.
Documentation government agencies and public organizations for pre-revolutionary period are represented by funds, first of all, of public and cultural associations and societies, such as the Society of Lovers of Russian Literature (1811-1930), the Society for Benefits for Needy Writers and Scientists ( Literary Fund, 1859-1922), as well as the funds of the editorial offices of newspapers and magazines “Russian Bulletin”, “Delo”, “Russian Wealth”, “Sovremennik”, etc.
Russian theatrical art is reflected in the funds of the Moscow office of the Imperial Theaters and the Russian theater society. Documents on the history of fine arts were deposited in the funds of the Moscow Society of Art Lovers, the School of Painting, Sculpture and Architecture, and the Tretyakov Gallery.
The history of the development of culture and art of the Soviet period is captured in the funds of administrative bodies in the field of culture - the Committees for Arts under the Council of People's Commissars of the USSR (1936-1953) and the RSFSR (1938-1953), the Main Directorate for fiction and art of the People's Commissariat of Education of the RSFSR (Glaviskusstvo, 1925-1928), the Ministry of Culture of the USSR and its departments (1953-1991), as well as sectoral governing bodies certain types art - USSR Cinematography Committee, Directorate art exhibitions and panoramas, the State Association of Musical, Variety and Circus Enterprises, etc.
Cultural, educational, literary and artistic non-governmental organizations in the field of literature are represented by the funds of Proletkult (1917-1932) and the All-Russian Society proletarian writers“Forge” (1920-1932), the Union of Writers of the USSR (1932-1991) and its predecessors - literary associations and circles, literary publishing houses. Similar creative organizations are represented by the funds of the All-Russian Theater Society, the Union of Composers of the USSR (1934-1991) and the RSFSR (1957-1991), the Unions of Artists (1957-1991), Architects (1932-1991), and Cinematographers (1965-1991) of the USSR.
The archive stores numerous funds of scientific institutions in the field of art under the Ministry of the Imperial Household, such as the Academy of Arts (1757-1918), the Institute of Art History, as well as funds of specialized higher educational institutions: theater schools and the State Institute of Theater Arts (GITIS, since 1879), Moscow State Conservatory. P.I. Tchaikovsky and the Higher State Art and Technical Institute (VKHUTEIN, 1926-1930), the All-Union State Institute of Cinematography (VGIK), etc. A significant part of the funds is represented by creative organizations, such as film studios, theaters, circuses, ensembles, choirs and orchestras, museums, permanent And traveling exhibitions, as well as publishing houses and editorial offices of magazines and newspapers.
The documentation of these institutions can be divided into three groups:
managerial, reflecting the administrative functions of the institution. Among the management documentation there are documents of a general nature - reports, certificates, reports to higher authorities;
by personnel, including information about life and activities creative workers. Personal files, as a rule, continue to be stored as part of the fund of a specific department or institution. RGALI receives personal files containing information about creative activity, which is reflected in questionnaires, autobiographies, personal documents;
directly creative, related to the creation of cultural values.
About half of them are literary materials; the other half comes from all other arts (theater, ballet, music, cinema, sculpture, architecture and visual arts).
Most large fund, available in the archive, the family archive of three generations of the Vyazemsky family of the Vyazemsky princes is the so-called “Ostafevsky archive” from the village of Ostafyevo, Moscow province, including a lot of documents on the history of literature of the first half of the 19th century V. Documents from this collection allow us to get an idea of many processes in Russian literature in the first half of the 19th century.
His documents reflected social and literary processes, the life and work of many writers of that time: the archive quite widely represents the correspondence of many Russian writers: G.R. Derzhavina, P.Ya. Chaadaeva, A.S. Griboyedova, N.V. Gogol and other writers. Literature of the early 19th century. presented by materials from classic writers A.S. Griboyedova, N.M. Karamzina, V.A. Zhukovsky.
The archive contains a significant part creative heritage F.M. Dostoevsky, I.A. Goncharova, N.A. Nekrasova, I.S. Turgeneva, M.E. Saltykov-Shchedrin. The dramaturgy of the 19th - early 20th centuries is reflected in the materials of A.N. Ostrovsky, A.V. Sukhovo-Kobylina, A.F. Pisemsky, A.P. Chekhov. A significant part of F.M.’s archive is of great value. Dostoevsky, containing his notebooks with early versions of the novels “Crime and Punishment”, “The Idiot”, “Teenager”; epistolary heritage of the writer.
« silver Age» Russian literature is represented by the funds of A.A. Akhmatova, A.A. Bloka, M.I. Tsvetaeva, L.N. Andreeva, I.A. Bunina, A.I. Kuprina. In the funds of S.A. Yesenina, V.V. Mayakovsky, O.E. Mandelstam, F.V. Gladkova, A.S. Grina, Yu.K. Oleshi, K.G. Paustovsky, B.L. Pasternak, Yu.N. Tynyanova, A.A. Fadeeva, I.P. Ehrenburg, and many other writers reflect the history Soviet literature(XX century).
Documents on the history of Russian music are contained in the funds of P.I. Tchaikovsky, S.I. Taneyeva, N.A. Rimsky-Korsakov, S.S. Prokofieva, R.M. Gliera, V.Ya. Shebalina, D.B. Kabalevsky, N.Ya. Myaskovsky, I.O. Dunaevsky, D.D. Shostakovich, in the funds of the Moscow State Conservatory. P.I. Tchaikovsky (2727 items), State Musical Pedagogical School named after. Gnessins (1280 items), the State Music Publishing House (4614 items), the magazine “Soviet Music” (2355 items), etc. Another feature of the RGALI collection is its museum component: the third part of the collection is fine art materials (paintings, graphics, photographs, etc.).
Russian theatrical art, its various directions and stages of development are reflected in the funds of actors and directors A.I. Yuzhina, V.E. Meyerhold, M.G. Savina, E.D. Turchaninova, A.A. Yablochkina, L.V. Sobinova, A.A. Gorsky, M.I. Petipa, as well as in the funds of the Moscow Office of the Imperial Theaters (10,280 items), the Society of Dramatic Writers and Composers (2,951 items), the Central House of Artists (6,630 items), and the Chamber Theater (1,129 items). .). The specificity of theatrical art, when the performance of each role, each production is a unique, inimitable creative act, gives especially great value for theatrical research and construction to such materials as director's copies of plays, sketches of scenery and costumes, photographs of actors in roles and scenes from performances.
The archive also has special collections dedicated to outstanding cultural figures whose personal funds are stored in other places (for example, the collections of A.S. Pushkin, L.N. Tolstoy). Documents of personal origin famous figures literature and art can be found in numerous personal collections (D.I. Evarnitsky [Yavornitsky], F.F. Fidler, E.F. Tsippelzon, L.N. Rabinovich, Ya.N. Tarnopolsky, Yu.G. Oksman, etc. .).
The traditional difference in the formation of museum and archival collections predetermined the nature of their collections: works of fine art are stored in museums, documentary heritage - in archives. However, real life is much richer than rules and schemes and, being imprinted in the personal archives of cultural and artistic figures, often violates these schemes and rules. That is why the Russian State Archive of Literature and Art, along with handwritten and epistolary heritage, stores works of painting and graphics of the 19th and 20th centuries. Another reason for this apparent incident is that at one time archives served as a reliable shelter for the works of those artists who did not belong to “official art”, were not recognized by the authorities, or were simply destroyed by this authority.
The overwhelming number of such artists are representatives of the Russian avant-garde. It is their works that make up the significant majority of the “fine” collections of RGALI.
The circumstances under which paintings and graphic works ended up in archival storage are interesting and varied. They reflect Soviet history in their own way. Thus, during the formation of RGALI in the early 1940s, the core of the collection consisted of materials received from the State Literary Museum, including the funds of the publishing houses “Detgiz”, “Iskusstvo”, “Muzgiz”, etc., as well as the editorial offices of art magazines. At the same time, in 1941, part of the museum’s fund was received from the Literary Museum by V.V. Mayakovsky, including the poet’s drawings and stencils of the “Windows of Growth”. Documents from the State Tretyakov Gallery were transferred from the School of Painting, Sculpture and Architecture, the State Art and Technical Workshops (Vkhutemas-Vkhutein), the Russian Academy of Art Sciences, the Moscow Society of Art Lovers, as well as various materials from artists A.G. Venetsianova, I.N. Kramskoy, I.K. Aivazovsky, I.S. Ostroukhova and others. Thus the foundation of the archive’s art collection was laid.
At the same time, personal funds of artists began to form in the archive - the most complete complex in which numerous works of art are stored: drawings and sketches, engravings and etchings, sketches and studies by V.M. Vasnetsova, I.E. Repina, V.K. Byalynitsky-Biruli, B.M. Kustodieva, M.V. Nesterova, S.Yu. Sudeikina, A.N. Benoit, M.V. Dobuzhinsky, N.K. Roerich, K.S. Petrova-Vodkina, E.G. Guro, M.V. Le Dantu, L.M. Lisitsky, V.E. Tatlin and others. The collection of posters was also replenished from personal funds - this part of the RGALI collection is unique in its completeness and numbers about one thousand two hundred posters, including over four hundred originals by V.V. Mayakovsky, V.V. Lebedeva, M.M. Cheremnykha, D.S. Moora, V.N. Denis, photomontages by L.M. Lisitsky, G.G. Klutsis, S.Ya. Senkina.
The collections of filmmakers are also rich in visual material - Ya.A. Protazanova, I.I. Mozzhukhina, V.I. Pudovkina, M.I. Romma, L.V. Kuleshova, Dz. Vertova, R.L. Carmena. RGALI stores more than five thousand drawings by S. M. Eisenstein.
In the 1960s, RGALI acquired the most valuable archive of Yu. P. Annenkov, which included forty original drawings - theater sketches, book covers, portrait sketches. In the same way, the already mentioned archives of E.G. were added to the funds. Guro, V.F. Khodasevich, K.S. Petrova-Vodkina, K.N. Redko, as well as A.A. Arapova, I.I. Nivinsky, P.N. Filonova, P.V. Kuznetsova and E.M. Bebutova.
A special place is occupied by the legacy of figures from the Russian diaspora, in the return of which a huge role on the part of official structures was played by I.S. Zilbershtein, a famous art critic and literary historian, a collector who devoted his life to the study and promotion of Russian culture, collecting its relics. As a result of his foreign trips, the collections were replenished with watercolors by A.N. Benois, sketches by M.V. Dobuzhinsky, K.A. Korovina, S.M. Lifarya, A.M. Remizova.
RGALI houses a rich collection of works by V. E. Tatlin. The fate of Tatlin's works, like his own destiny, were predetermined by a categorical rejection of his “formalistic” art. After the artist’s death, his legacy was almost lost: paintings and drawings were left unattended in the studio. A friend of the artist, sculptor S.D. Lebedeva, saved the situation: she turned to archivists, and RGALI employees took away Tatlin’s works, thereby preserving them for posterity. The corpus of graphic works of V. E. Tatlin in the Russian State Archive of Literature coincides chronologically with his pictorial heritage. The most valuable are two albums of sketches, mostly nudes, made in 1912-14. by the hand not only of the meter himself, but also of those who visited his workshop at that time - L. S. Popova, N. A. Udaltsova, A. A. Vesnin and other artists of Tatlin’s circle.
The early avant-garde in RGALI is still a whole layer of little-known or completely unknown works by E.G. Guro, K.M. Zdanevich, S.B. Nikritina, V.S. Barta, A.A. Morgunova.
The RGALI collection contains more than a hundred albums by one of the main figures of the poetic and artistic avant-garde, its collector and custodian - A. E. Kruchenykh. It is easier to make a short list of names that are not represented in this collection than to list the many artists, poets and writers who appear in one form or another in this uniquely comprehensive illustrated history of the artistic avant-garde. Therefore, albums are perceived not only as a historical document, but also as a unique artifact, as an independent work of art, where the historical document becomes an aesthetic value. No less representative in the archive is the era of the birth of constructivism in the early 1920s. It is enough to name a number of brilliant names. Among them is L.M. Lissitzky with his sketches for book covers, innovative photographs and unique graphic design; G.G. Klutsis and his poster designs, I.V. Klün with his small color compositions and sketches of book covers.
A special place is occupied by the legacy of the architect Ya.G. Chernikhov, consisting of many graphic creations of the second half of the 1920s. Repeating motifs on the themes of “architectural fantasies” and “machine forms”, Chernikhov achieved constructive and stylistic perfection of his compositions. The avant-garde works in the RGALI collection - from paintings to sketches - are striking in their diversity. And what is even more surprising - despite the randomness of the selection of names and the nature of the works - they illustrate the history of the avant-garde in Russia with sufficient completeness.
To date, RGALI has collected 483 museum memorial items that belonged to N.A. Berdyaev, V.A. Solovyov, A.M. Remizov, M.I. Tsvetaeva, I.G. Ehrenburg, A.G. Koonen, K.M. Simonov, K.A. Kedrov, M.M. Plisetskaya and others. Thus, in the M.I. Tsvetaeva keeps her casket made of pear wood, cornaline beads, a bamboo pen with a cap, a silver ring, a signet, a silver dish, a metal chain-necklace with pendants, a glass inkwell in a metal case. As part of the N.A. Foundation Berdyaev - a metal cigarette case, pince-nez, leather wallet and purse, two rings, a pocket mirror in a leather case, wooden handles, an Omega watch with a monogram. The entire interior of K.M.’s office was transferred to the archive. Simonova.
Documents from the editorial offices of numerous magazines and newspapers published in Russia between the 18th and early 20th centuries are preserved in the archives. Among them are such as “Russian Wealth”, “Sovremennik”, “Rech”, “Russian Vedomosti”, etc.
The archive materials contain collections and individual manuscripts of foreign writers, public and government figures: V. Hugo, A. Dumas, E. Zola, R. Rolland and others, contain autographs of Napoleon I, Voltaire, O. de Balzac, J. Sand, F. Lista et al.
Many foundations have rich collections of graphic materials and photographs. From individual small acquisitions in the archive, special thematic collections of documents have been formed - albums, engravings, manuscripts, poems, letters, memoirs, diaries, photographs, folklore materials, as well as formal lists of artists (about 70 collections in total). In addition, a number of archive funds contain copies of documents received from foreign archives, including England, the USA, Czechoslovakia, France, and Yugoslavia.
In 1988-1993 Over 100 funds and parts of funds were declassified at RGALI. These are mainly documents of institutions, organizations and persons who were in exile or repressed in Soviet time. Among them are personal funds and documents of A.T. Averchenko, A. Bely, Z.N. Gippius, S.A. Yesenina, S.P. Melgunova, M.I. Tsvetaeva, funds of the editorial offices of newspapers and magazines “Krasnaya Nov”, “At the Literary Post”, Institute for the Study Jewish history, philosophy and literature, Glavlit.
Conclusion
Thus, at present, RGALI is Russia's largest repository of documents on the history of literature, social thought, music, theater, cinema, and fine arts. Founded in 1941, partly on the basis of the collection of the State Literary Museum - Goslitmuseum (GLM) - as the Central State Literary Archive of the USSR (TSGLA). The specialized funds from the Central State Historical Archive of the USSR, the State Historical Museum, the Central State Historical Archive, the State Tretyakov Gallery and other archives were also transferred here. In 1954 it was renamed the Central State Archive of Literature and Art of the USSR (TSGALI), and in June 1992 - to the Russian State Archive of Literature and Art (RGALI). In April 1997, the archive was included in the State Code of Especially Valuable Objects of the Cultural Heritage of the Peoples of the Russian Federation.
The archive contains documents from the 18th century. to the present day. The bulk of the archive's funds are the personal funds of cultural figures. The documentary array model includes 65% written sources and 35% visual. More than half are documents of personal origin: creative materials, correspondence, biographical documents, etc. The rest are management documentation, including documents on personnel. RGALI also deposited various sources on history national culture: works of painting and graphics, photographs, memorial items and relics; information about the cultural life of the country, about the various stages of the development of literature, art and social thought, creative contacts between representatives of domestic and foreign culture.
The archive contains funds from central government bodies in the field of culture, theaters, film studios, specialized educational institutions, publishing houses, and public organizations; personal funds of writers, critics, artists, composers, theater and film workers, collections of documents.
List of sources used
1.Russian State Archive of Literature and Art (RGALI). [ Electronic resource]. - Access mode: #"justify">2. Russian humanitarian encyclopedic dictionary: In 3 volumes. Volume 3: P-Y. - M.: VLADOS, 2002. - 704 p.
.Federal Archive Service of Russia: Quick reference. Russian State Archive of Literature and Art: Guide / Ed. E.V. Bronnikova, T.L. Latypova. - M.: ROSSPEN, 2010. - 695 p.
.Chmykhalo A.Yu. Archival work: manual / A.Yu. It snorted. - Tomsk: TPU, 2005. - 138 p.
Tutoring
Need help studying a topic?
Our specialists will advise or provide tutoring services on topics that interest you.
Submit your application indicating the topic right now to find out about the possibility of obtaining a consultation.
