In St. Petersburg, Tretyakov saw a collection of paintings by Fyodor Pryanishnikov. He was struck by the works of Tropinin, Venetsianov, and especially the "Major's Matchmaking" and "The Fresh Cavalier" by Fedotov. The owner of the collection offered it for 70,000 rubles. Tretyakov did not have that kind of money, and then Pryanishnikov recommended buying paintings from the artists themselves: it was cheaper that way.
Pavel Mikhailovich went to the workshops of the capital's painters, and Nikolai Schilder saw the work "Temptation": a seriously ill woman is on the bed, and next to her is a matchmaker with an offer of a profitable marriage for her daughter. The heroine of the picture refused, but her determination was fading, because her mother urgently needed money for medicines. This story stirred up Tretyakov himself, whose lover in the same situation could not reject the offer of a rich boyfriend. Pavel Mikhailovich did not reveal this secret to anyone in order to preserve the good name of the girl, but he bought the painting by Schilder. This is how the principle of the collection was determined: no ceremonial portraits - only realism and lively subjects.
Pavel Tretyakov replenished the collection throughout his life. It was located in his house in Lavrushensky Lane. The Tretyakovs bought it from the merchants Shestovs back in 1851. And in 1860, Pavel Mikhailovich wrote the first will, where he allocated 150,000 rubles for the creation of a gallery of paintings by Russian artists. For this good cause, he bequeathed his collection and offered to buy several more collections. His brother, Sergei Tretyakov, was also a collector, but collected Western art.
Pavel Mikhailovich gave preference exclusively to Russian artists.
For example, he did not buy paintings by Semiramidsky, as he presented his best work to Krakow. When choosing paintings, Tretyakov relied on his own taste. Once, at an exhibition of the Wanderers, art critics rushed to criticize Nesterov's Bartholomew. They convinced Tretyakov that the painting should be removed. After listening to the arguments, Pavel Mikhailovich replied that he had bought this work long before the exhibition, and would have bought it again even after the angry tirade of his opponents.
Soon Tretyakov began to have a huge impact on the development of art. He could demand that the artists make changes. He ordered portraits of those persons whom he considered worthy for the gallery. So Herzen, Nekrasov, Saltykov-Shchedrin appeared there. And Konstantin Ton or Apollo Maykov seemed to not exist for him.
It was a cherished dream of every young artist (and even an old one) to get into his gallery, and even more so for mine: after all, my father announced to me half-seriously long ago that all my medals and titles would not convince him that I was a “ready artist” until my picture was in the gallery.
True, Tretyakov had a rival in the field of collecting. And what - Alexander III himself! The tsar was furious when he saw the Wanderers at exhibitions the best works the note “Property of P.M. Tretyakov. But often he managed to interrupt the price offered by Pavel Mikhailovich. So already Nicholas II, in memory of his father, bought from Surikov for fabulous money "The Conquest of Siberia by Ermak." The artist promised this picture to Tretyakov, but could not resist a good deal. And he gave the sketch of the work to the philanthropist free of charge. He is still exhibited in the gallery.
All this did not prevent the Tretyakov collection from growing, and the architect Kaminsky rebuilt the gallery building several times.
In the winter of 1887, Pavel Tretyakov's beloved son died of scarlet fever. His last words were a request to go to church. And then Pavel Mikhailovich began to collect icons.
In 1892, after the death of Sergei Tretyakov, the brothers' collections were merged. Pavel Mikhailovich donated them and the building in Lavrushensky Lane to Moscow. This is how the Tretyakov Gallery Museum appeared.
At the time of foundation, the collection included 1,369 paintings, 454 drawings, 19 sculptures, 62 icons. Pavel Tretyakov received the title of honorary citizen of Moscow and remained a trustee of the Tretyakov Gallery until his death. He continued to replenish the collection of the Tretyakov Gallery at his own expense. And this required the expansion of the exposition area, so new premises were added to the mansion. At the same time, the gallery bore the name of both brothers, although, in fact, it was the collection of Pavel Mikhailovich.
After the death of the patron, the facade of the Tretyakov Gallery was rebuilt according to the sketches of V.M. Vasnetsov in the form of a fabulous tower. A bas-relief of the saint and the name written in Old Russian script appeared above the entrance to the museum.
In 1913, the Moscow City Duma appointed Igor Grabar as a trustee of the Tretyakov Gallery. He turned the Tretyakov Gallery into a European-style museum with chronological exposition.
How to Read Facades: A Cheat Sheet on Architectural ElementsThe principles of choosing paintings for the collection have also changed. Already in 1900, the gallery bought Vasnetsov's Alyonushka from von Meck. Previously rejected by Tretyakov.
And in 1925, contrary to the will of the founders of the Tretyakov Gallery, its collection was divided. Part of the collection was transferred to the Museum of Western Painting (now the Pushkin Museum of Fine Arts), and some paintings were taken to the Hermitage.
But in the collection of the Tretyakov Gallery there were real treasures. The most complete is the art collection of the second half of XIX century - it has no equal. Here are just some of the masterpieces of the Tretyakov Gallery: "They did not expect", "Ivan the Terrible and his son Ivan" I.E. Repin, “Morning of the Streltsy Execution”, “Menshikov in Berezovo”, “Boyar Morozova” by V.I. Surikov, "Trinity" by A. Rublev, "Apotheosis of War" by V. Vereshchagin, "The Tempest" by I. Aivazovsky, "The Last Day of Pompeii" by K. Bryullov, "Bogatyrs" by V. Vasnetsov, Portrait of A.S. Pushkin by O. Kiprensky, "Unknown" by I. Kramskoy, " Golden autumn"I. Levitan, "Troika" by V. Perov, "Unequal Marriage" by V. Pukirev, "The Rooks Have Arrived" by A. Savrasov, "Princess Tarakanova" by K. Flavitsky. There is a separate room where the “Appearance of Christ to the People” by A.A. Ivanova. In the Vrubel Hall you can see the "Princess of the Dream", "The Swan Princess", majolica. And the paintings of P.A. Fedotov was usually accompanied by poetry.
I'm a fresh cavalier
And now it's clear to everyone
I will be an example to everyone
And everything will count.
I'm a fresh cavalier
I'm an imposing guy
This satin fleur
It suits me very well.
Open the door wider
For some reason I'm hot
I deserve a cross
And glory to me
I'm a fresh cavalier
Come close to me, cook
And show kindness
You are my night time.
Now I'm like an actor
I am Hamlet, I am Othello
splendid dignity,
I shine like a portrait
And my satin fleur
Thrown so skillfully
And even my trestle bed
Everyone radiates light.
I have a cross
But that's not enough for me
I'm a fresh cavalier
I am the conqueror of ladies
I'll wait for a day like this
How do I become a general?
And I will be an example to everyone
For daughters and mothers...
Among the treasures of the Tretyakov Gallery there are real secrets.
For example, in the painting "Morning in pine forest”Only Shishkin is listed as the author, although Savitsky wrote the bears. But Pavel Tretyakov, who was not told about the second author, personally erased Savitsky's signature with turpentine.
Rokotov's painting "Unknown in a cocked hat" depicts a woman. Initially, it was a portrait of the artist's friend's first wife. When, having become a widow, he married a second time, he asked Rokotov to spare the feelings of his second wife, and the painter applied a second layer, turning the woman into a man, but did not touch his face.
And when in 1885 Pavel Mikhailovich bought Repin's painting "Ivan the Terrible and his son Ivan", he was forbidden to exhibit it. At first he showed the canvas in a narrow circle, and then hung it in a special room. In 1913, the Old Believer Abram Balashev came to the gallery with a knife in his boot and slashed the canvas. Fortunately, the painting has been restored.
On May 25, 2018, Repin's canvas suffered again: a resident of Voronezh, Igor Podporin, broke the glass and tore the canvas. He explained his actions by the fact that the picture depicts unreliable events. And on January 27, 2019, Arkhip Kuindzhi’s painting “Ai-Petri. Crimea". The perpetrator was quickly found, and the painting was returned.
Now Tretyakov Gallery welcomes guests with a fabulous facade. And in the courtyard there is a monument to the founder - P.M. Tretyakov. He replaced the monument to I.V. Stalin of the work of S.D. Merkulov 1939.
They say that......the building of the Tretyakov Gallery was damaged during the Great Patriotic War: two high-explosive bombs broke the glass roof in several places, destroyed the interfloor ceilings of some halls and the main entrance. The restoration of the building began already in 1942, and in 1944 40 of the 52 halls were in operation, where the evacuated exhibits returned.
...single girls can make a wish near V.M. Vasnetsov "Alyonushka", and love is not long in coming.
...girls are not allowed to look at the portrait of Maria Lopukhina in the Tretyakov Gallery for a long time. She died shortly after painting, and her father, a mystic and master of the Masonic Lodge, lured the spirit of his daughter into this portrait.
... the doormen of the Tretyakov Gallery did not let Ilya Repin near the paintings if he had brushes in his hands. The artist was so self-critical that he strove to correct already completed paintings.
...the collection of the Tretyakov Gallery almost perished in the flood of 1908. When Lavrushinsky began to flood with water, the building was surrounded by a brick wall, which was constantly built on to hold back the water. And the gallery workers at the time of the flood moved all the paintings to the second floor.
... in the Tretyakov Gallery there is a portrait of Ivan Abramovich Morozov against the backdrop of a still life by Henri Matisse. The curators joke that Serov copied the French artist so accurately that there was one more Matisse painting in Russia.
The Tretyakov Gallery in photographs of different years:
Could you complete the story about the Tretyakov Gallery?
1851
The main building of the Gallery is located in Lavrushinsky Lane, in Zamoskvorechye, a traditional merchant district of Moscow. The Tretyakov family bought this house at the end of 1851. In 1856, Pavel Mikhailovich acquired the first paintings, which laid the foundation for the famous collection. As the collection grew, rooms specially designed for works of art were added to the residential part of the mansion. However, the growth of the collection of the Tretyakov Gallery has constantly surpassed its exposition possibilities.
The construction of the first extension, adjacent to the southern wall of the house and turned towards the Church of St. Nicholas in Tolmachi, was carried out throughout 1873. In 1874 the Gallery opened to the public. In 1882, it became necessary to expand the exposition areas again at the expense of the territory of the garden that surrounded the house. Three new halls appeared upstairs and the same number downstairs, located at an angle to the old building of the Gallery, parallel to Maly Tolmachevsky Lane. The next addition was made in 1885. Thanks to her, three halls appeared on the top floor and five on the bottom. This made it possible to somewhat streamline the exposition that existed until then. The fourth extension was completed in 1892. Two large and one small halls were added on the upper floor, and three small ones below. The new halls exhibited mainly works from the late 1880s and works from the 1890s as they became available.
Facade of V.M.Vasnetsov
After the death of P.M. Tretyakov, in the rebuilt house where his family used to live, Pavel Mikhailovich’s library, a room for selling catalogs and photographs from the paintings of the Gallery, a wardrobe, an office and other services were placed on the ground floor. In May 1900, at a meeting of the Council of the Gallery in the presence of artists V.M. Vasnetsov, V.D. Polenov and a number of Moscow architects, the idea was expressed that the facade of the Gallery should be built in the “Russian style”. This work was entrusted to V.M. Vasnetsov. The construction of a new facade began in 1902 and was completed in 1904. The Vasnetsovsky facade became the emblem of the Tretyakov Gallery.
Sketch of the Gallery's façade in the "Russian style". V.M.Vasnetsov
On April 2, 1913, the Moscow City Duma elected Igor Emmanuilovich Grabar, a prominent artist, architect and art historian, as a trustee of the Tretyakov Gallery. The main thing that marked the activity of Grabar was the reforms that turned the Tretyakov Gallery into a European-style museum with an exposition built on a chronological basis. In early December 1913, on the fifteenth anniversary of the death of the founder of the Gallery, the reformed museum was opened to the public.
On June 3, 1918, the Council of People's Commissars issued a decree declaring the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment the museum became known as the State Tretyakov Gallery. After nationalization, I. E. Grabar was appointed director of the Gallery. During the first years of Soviet power (1918–1922), the Gallery's collection increased by almost 50% due to numerous contributions from the State Museum Fund. In connection with the increase in funds, many exhibition halls were given over to storage for paintings.
By 1923, the exposition, which I.E. Grabar created with such inspiration, had changed a lot.
Exposition of the City Art Gallery P.M. and S.M. Tretyakov. 1898
Academician of architecture A.V. Shchusev, who became director in 1926, did a lot to expand the existing premises and add a new one.
In 1927, the Gallery received a neighboring house on Maly Tolmachevsky Lane (the former house of Sokolikov). After the restructuring in 1928, it turned into a service building, which housed the administration of the Gallery, scientific departments, a library, a department of manuscripts, graphics funds.
This building was attached to the Gallery with a special extension. In 1928, heating and ventilation were radically re-equipped. In 1929, the Gallery was electrified (before that it was open to visitors only during the daytime).
Storeroom in the building of the closed church of St. Nicholas in Tolmachi. 1932
The building of the Church of St. Nicholas in Tolmachi, closed in 1929, was transferred to the Gallery in 1932 and became a repository of painting and sculpture. Later, it was connected to the exposition halls by a newly built two-story building, the upper floor of which was specially designed to display A.A. Ivanov’s painting “The Appearance of Christ to the People (The Appearance of the Messiah)” (1837–1857). A passage was also built between the halls located on both sides of the main staircase, which ensured continuity of the view. As a result of these changes, the exposition area of the museum has increased and work has begun on the creation of a new concept for the placement of works.
In 1936, the construction of a new two-story building on the north side of the main building was completed. Built according to the project of the architect A.V. Shchusev, skillfully correlated with the historical part and the Vasnetsovsky facade, the "Shchusevsky building" organically entered the panorama of Lavrushinsky Lane. Its spacious halls (four on the top floor and four on the bottom) were first used for exhibitions, and since 1940 have been included in the main exhibition route.
Gallery during the war
Bomb damage to the gallery building in August 1941
During the Great Patriotic War (1941–1945) the Gallery was bombed. On the night of August 11-12, 1941, as a result of German air raids, two high-explosive bombs fell on the building. The glass covering on the roof was destroyed in several places. The interfloor ceiling of the upper hall No. 6 and the lower one No. 49 collapsed. The main entrance suffered. The floors in the basement wardrobe were smashed. The heating and ventilation systems failed. A few months later, on the night of November 12-13, 1941, another high-explosive bomb fell on the territory of the Gallery. A two-story residential building next door was destroyed. In 1942, the Gallery building began to be restored. By autumn, skylights and windows were glazed in 13 halls, the parquet was put in order, the walls were painted, the heating and ventilation were repaired. By 1944, out of 52 halls, 40 had been repaired, and the exhibits evacuated to Novosibirsk and Perm in 1941-1942 returned to their places.
Museum complex in Lavrushinsky Lane
In May 1956, the 100th anniversary of the Tretyakov Gallery was widely celebrated. In connection with this anniversary, in 1955-1957, the A.A. Ivanov Hall was completed. By this time, the collection included more than 35,000 works of art. By the mid-1980s, the increased number of visitors, excursions, and school circles could hardly fit in the halls of the museum. The need to expand the exposition area became a paramount task. Reconstruction of existing and construction of new buildings of the Gallery in Lavrushinsky Lane is largely associated with the name of the director Yu.K.Korolev (1929-1992).
Korolev Yuri Konstantinovich 1980
Construction work began in 1983. Two years later, a depository was put into operation - a repository of works of art, where restoration workshops were also located. In 1986, the reconstruction of the main building of the Tretyakov Gallery began (architects I.M. Vinogradsky, G.V. Astafiev, B.A. Klimov and others), based on the idea of preserving the historical appearance of the building. In 1989, a new building was built on the south side of the main building, which housed a conference hall, an information and computing center, a children's studio and exhibition halls. In them, in 1992-1994, an exhibition of masterpieces from the Gallery's collection was held. Most of the engineering systems and services were concentrated in the same building, so it was called the Corps of Engineers.
Construction of the Depositary. 1984
The principal feature of the reconstruction plan was the inclusion in the museum ensemble of the church of St. Nicholas in Tolmachi (monument architecture XVII century) after its restoration and consecration. The temple was approved in the status of a house temple-museum at the Tretyakov Gallery. Construction in Lavrushinsky Lane took almost ten for long years: from 1985 to 1995.
Now the complex of buildings of the Tretyakov Gallery, located between Lavrushinsky and Maly Tolmachevsky lanes, is a favorite place not only for Muscovites, but also for many guests of the capital. People come here from various regions, regions and cities of the Russian Federation to see their favorite paintings, visit the temple and pray before the icon of Our Lady of Vladimir.
With the purchase of a large Turkestan series paintings and sketches by V.V. Vereshchagin, the question of building a special building for the art gallery was resolved by itself. Construction began in 1872, and in the spring of 1874 the paintings were relocated to the two-story, consisting of two large halls (now halls No. 8, 46, 47, 48), the first room of the Tretyakov Gallery. It was erected according to the project of Tretyakov's son-in-law (sister's husband), architect A.S. Kaminsky in the garden of the Zamoskvoretsky Tretyakov estate and connected to their residential building, but had a separate entrance for visitors. However, the rapid growth of the collection soon led to the fact that by the end of the 1880s the number of halls of the gallery had increased to 14. The two-story building of the gallery surrounded the residential building on three sides from the side of the garden up to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in affiliation, public in nature, a museum free of charge and open for almost all days of the week for any visitor, regardless of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.
By decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its life trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own funds, transferring such acquisitions already as a gift to the “Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov” (that was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P. M. Tretyakov, the Board of Trustees, elected by the Duma, became in charge of the gallery's affairs. In different years, it included prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I. N. Grabar. For almost 15 years (1899 - early 1913), Pavel Mikhailovich's daughter, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.
In 1899-1900, the empty residential building of the Tretyakovs was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and vestibules of the 1st floor). In 1902-1904, the entire complex of buildings was united along Lavrushinsky Lane with a common facade built according to the project of V.M. Vasnetsov and gave the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow sights
TRANSFER OF THE P.M.TRETYAKOV GALLERY AS A GIFT TO MOSCOW. 1892-1898
In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, died unexpectedly. He left a will in which he asked to attach his paintings to the art collection of his older brother; there were also the following lines in the will: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate an art collection to the city of Moscow and, in view of this, to give ownership to the Moscow City Duma of his part of the house ... where his art collection is located ... then I give the part of this house that belongs to me to the ownership of the Moscow City Duma, but so that the Duma accepts the conditions on which my brother will give her his donation ... "The will could not be executed while the gallery belonged to P. M. Tretyakov.
On August 31, 1892, Pavel Mikhailovich wrote an application to the Moscow City Duma to donate his collection to the city, as well as the collection of Sergei Mikhailovich (along with the house). In September, at its meeting, the Duma officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (Sergei Mikhailovich’s son) for the gift, and also decided to petition for the donated collection to be named the City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov. P. M. Tretyakov was approved as a trustee of the Gallery. Not wanting to participate in the celebrations and listen to thanks, Pavel Mikhailovich went abroad. Soon thank-you addresses, letters, telegrams really rained down. Russian society did not remain indifferent to noble deed Tretyakov. In January 1893, the Moscow City Duma decided to allocate 5,000 rubles annually for the purchase of works of art for the Gallery, in addition to the amounts bequeathed by Sergei Mikhailovich Tretyakov. In August 1893 the Gallery was officially opened to the public (Pavel
Mihailović was forced to close it in 1891 due to the theft of works).
In December 1896, P.M. Tretyakov became an honorary citizen of the city of Moscow, as stated in the verdict of the Moscow City Duma “... For the great service to Moscow, which he made the center art education Russia, having brought as a gift to the ancient capital your precious collection of works of Russian art.
After the transfer of the collection to the city, Pavel Mikhailovich did not stop taking care of his Gallery, remaining its trustee until the end of his life. The paintings were bought not only with the money of the city, but also with the funds of Tretyakov, who donated them to the Gallery. In the 1890s, the collection was replenished with works by N.N.Ge, I.E.Repin, A.K.Savrasov, V.A.Serov, N.A.Kasatkin, M.V.Nesterov and other masters. Beginning in 1893, P.M. Tretyakov annually published catalogs of the collection, constantly supplementing and updating them. To do this, he corresponded with artists, their relatives, collectors, extracting valuable information bit by bit, sometimes offering to change the name of the picture. So N.N. Roerich agreed with Pavel Mikhailovich when compiling the catalog of 1898: “... For the language, indeed, better name short, at least such “Slavic town. Messenger". It was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was again expanded, this time with an internal garden, in which Pavel Mikhailovich liked to walk, sacrificing everything for the sake of his beloved brainchild. The organization of the collection of Sergei Mikhailovich, the new re-hangling of paintings took away a lot of strength from Tretyakov. Trade and industrial affairs, participation in many societies, and charity required time and energy. Pavel Mikhailovich took an active part in the activities of the Moscow
Society of Art Lovers, Moscow Art Society, Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnold School for the Deaf and Dumb, helping not only financially, but also entering into all the subtleties of the educational process, construction and repair of buildings. At the request of I.V. Tsvetaev, Tretyakov also contributed to the creation of the Museum of Fine Arts (now State Museum fine arts named after A.S. Pushkin). All the donations of P.M. Tretyakov cannot be listed, it is enough to mention the help of the expedition of N.N. Miklukha-Maclay, numerous scholarships, donations for the needs of the poor. IN last years Pavel Mikhailovich was often unwell. He was also very worried about the illness of his wife, who was stricken with paralysis. In November 1898, Tretyakov went on business to St. Petersburg, returning to Moscow, he felt ill. On December 4, Pavel Mikhailovich Tretyakov died.
Gallery history. State Tretyakov Gallery
MONUMENT TO P.M.TRETYAKOV
Pavel Mikhailovich Tretyakov (1832-1898) was buried at the Danilovsky cemetery next to his parents and brother Sergei, who died in 1892; in 1948 his remains were transferred to the Serafimovskoye cemetery (Novodevichy Convent). Tombstone by sculptor I. Orlov, designed by artist I. Ostroukhov (granite, bronze).
After 1917, a monument-bust to V.I. Lenin was placed on a rectangular pedestal in front of the facade of the Tretyakov Gallery. Some time later, in 1939, a monument was erected on this site, sculptural image Chairman of the Council of Ministers of the USSR. Sculpture S.D. Merkulova 3.5 meters high, depicting Stalin in full growth, made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has a high degree of preservation and is located in the courtyard of the main building of the Tretyakov Gallery (leaned against the wall). On April 29, 1980, on the site of the removed monument to Stalin, a monument was finally erected to the founder of the Tretyakov Gallery, Pavel Tretyakov, a sculpture that still exists today. This is a four-meter granite statue designed by sculptor A.P. Kibalnikov and architect I.E. Rozhin.
THE POST-DEATH JOURNEY OF THE TRETYAKOVS
The Danilovskoye cemetery used to be famous for its special “third estate” flavor, however, it has not been completely lost to this day. The Moscow historian A.T. Saladin stated in 1916: “The Danilovskoye cemetery can be safely called a merchant cemetery, and it could not be otherwise, being close to the merchant Zamoskvorechye. Perhaps, no other Moscow cemetery has such an abundance of merchant monuments as this one.” A lot has changed since then. You can’t find here now the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins ...
Perhaps the most famous merchant burial of the Danilovsky cemetery, and perhaps the whole of Moscow, was the site of Tretyakov Pavel Mikhailovich, Sergei Mikhailovich and their parents. A. T. Saladin left the following description: “On the grave of Sergei Mikhailovich there is a black marble, rather high, but completely simple monument with the inscription: “Sergei Mikhailovich TRETYAKOV was born on January 19, 1834. He died on July 25, 1892.” The monument to Pavel Mikhailovich is a few steps away, under a protective wire grill, it is almost the same, but in a slightly more refined treatment. Caption: “Pavel Mikhailovich TRETYAKOV 15 Dec. 1832 d. Dec 4 1898". However, today all this is not at the Danilovsky cemetery. On January 10, 1948, the remains of both brothers, as well as the wife of P. M. Tretyakov, Vera Nikolaevna, were transferred to the Novodevichy cemetery.
Formally, the reburial was carried out on the initiative of the Committee for Arts under the Council of Ministers of the USSR. The Chairman of the Committee, M. B. Khrapchenko, in a letter to the manager of the funeral home trust under the Moscow City Council, motivated his initiative as follows: “Despite the agreement concluded by the administration of the [Tretyakov] Gallery on the protection of these graves and their artistic tombstones, executed by the artist V. M. Vasnetsov, these graves are falling into extreme decline. (...) Taking into account the petition of the Directorate of the State Tretyakov Gallery, as well as the request of the closest relatives of the founders of the Gallery, the Committee for Arts under the Council of Ministers of the USSR, for its part, petitions for the transfer of the remains of Pavel Mikhailovich, Vera Nikolaevna and Sergei Mikhailovich Tretyakov, as well as their artistic tombstones from the cemetery of the Danilovsky Monastery to the cemetery of the Novodevichy Monastery, where the most prominent figures of Russian culture and art are buried ".
That the chairman of the commissariat confused the cemeteries of the Danilovsky Monastery and Danilovsky is not so strange - they are still confused, although the first has not existed for more than seventy years. The justification for the need to move the graves sounds strange: in the old place, de they "fall into extreme decline." However, graves that are taken care of will never “fall into decay”, but if they are abandoned, the decline is guaranteed, even if they are at the very Kremlin wall. The urn with the ashes of Mayakovsky stood in the then best columbarium in the country of the Donskoy cemetery and could not “fall into decay” in any way - nevertheless, it was transferred to Novodevichy anyway.
The underlying reason for all these reburials was, of course, completely different, and, judging by Khrapchenko’s letter, the authorities did not really want to reveal it: a campaign was unfolding in Moscow to collect and concentrate the remains of famous personalities in the Novodevichy pantheon. Moreover, reburials were made not only from cemeteries subject to liquidation, but in general from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally the second largest after Novodevichy.
Some sources (for example, the encyclopedia "Moscow") indicate that Sergei Mikhailovich Tretyakov still rests at the Danilovsky cemetery. This is wrong. In the archive of the Tretyakov Gallery there is an “Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakov and S. M. Tretyakov from the Danilovsky cemetery at the cemetery of the Novodevichy Convent dated January 11, 1948.” In addition to the act and other papers, the archive also contains several photographs: some depict the moment of exhumation, others were already taken on Novodevichy cemetery at the edge of a freshly dug grave. The photographs leave no room for doubt.
But here's what is curious: in the archives of the neighboring Danilovsky Monastery, among the cards for those buried here, there is also a card of Sergei Mikhailovich Tretyakov. It turns out that the Danilovsky monastery churchyard also claims to be the place of his burial? Of course not. Having the evidence of A. T. Saladin and the above-mentioned Act, this version can be safely discarded, but making an interesting conclusion: since Sergei Mikhailovich was not buried in the monastery, but documents were nevertheless “brought up” there, it is obvious that the Danilovskoye cemetery was a kind of branch of the monastery - maybe not always, but for some time.
At the Danilovsky cemetery, the grave of the parents of famous patrons has been preserved. Rather, their monument. To the left of the main path, almost immediately behind the memorial to those who died in the Great Patriotic War, surrounded by fragments of a forged fence that have rusted to the extreme, there is a strong, slightly rickety obelisk, reminiscent of a Russian stove, with the inscription:
Mikhail Zakharovich Tretyakov
Moscow merchant
died 1850 December 2 days.
His life was 49 years, 1 m. and 6 days.
Alexandra Daniilovna Tretyakova
was born in 1812.
died February 7, 1899."
Whether someone's remains lie under the obelisk today - we do not know for sure. It would seem, who could have thought of disturbing the bones of the older Tretyakovs? Ah, apparently it could. The transfer of the founders of the largest art gallery to the elite cemetery is somehow still explainable, but here’s what else their admirers came up with: according to the “guarantee letter” stored in the archives of the Tretyakov Gallery, the Mytishchi Sculpture Factory No. 3 was obliged to produce at the Danilovsky cemetery: “a) The removal of the ashes of Tretyakov P.M. and his burial at the Novo-Devichye cemetery, b) The removal of the ashes of Tretyakov M.Z. and burial in the grave instead of the ashes of Tretyakov P. M., c) Moving the monument to Tretyakov M. Z. to the place of the monument to Tretyakov P. M. ".
The Tretyakovs got it! Both older and younger. By the way, for some reason, not a word is said about Alexandra Daniilovna in the “guarantee letter”. The father, it turns out, was reburied in the place of the son (if they were reburied), but the mother was not? Mystery. So it turns out that it is impossible to say for sure whether the old Tretyakovs are now buried under their “nominal” tombstone.
In the depths of the Danilovsky cemetery, at the very apse of the St. Nicholas Church-chapel, there is a barely noticeable monument - a low column of pink granite. There are buried brothers and sisters of Pavel Mikhailovich and Sergei Mikhailovich, who died almost simultaneously in infancy in 1848 during an epidemic of scarlet fever - Daniil, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family, which no one has ever encroached on.
The State Tretyakov Gallery is one of the largest museums in the world. Hundreds of thousands of people annually get acquainted with the collection of the Tretyakov Gallery, dedicated exclusively to national Russian art, those artists who have made a great contribution to the history of Russian art
Muscovites call this museum warmly and with love - "Tretyakovka". He is familiar to us and close to early childhood when we started coming there with our parents. Cozy, warm in Moscow style, located in a quiet Lavrushinsky lane among the streets and alleys of Zamoskvorechye, the oldest district of Moscow.
The founder of the Tretyakov Gallery was the Moscow merchant and industrialist Pavel Mikhailovich Tretyakov. At first, everything that was purchased by Pavel Mikhailovich Tretyakov was placed in the rooms of his apartment building in Lavrushinsky Lane, bought by the Tretyakov family in the early 1850s. But by the end of the 1860s, there were so many paintings that it was impossible to place them all in the rooms.
The founding date of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: "The Temptation" by N. G. Schilder and "Clash with Finnish Smugglers" by V. G. Khudyakov, although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. In 1867, the Moscow City Gallery of Pavel and Sergei Tretyakov was opened to the general public in Zamoskvorechye. Her collection included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.
P. M. Tretyakov, setting out to create a collection that in the future could develop into a museum of national art. “For me, who truly and ardently love painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts that will bring benefits to many, everyone will enjoy,” wrote P. M. Tretyakov in 1860, adding: “... I would like to leave the national gallery, that is, consisting of paintings by Russian artists.” Throughout his life, Tretyakov remained a major business man who did not have special education in the field of painting. Contemporaries were much surprised by the natural intelligence and impeccable taste of this hereditary merchant. Over time, high taste, strict selection, noble intentions brought Tretyakov a well-deserved and undeniable authority and gave him "privileges" that no other collector had: Tretyakov received the right to be the first to look at new works by artists either directly in their studios or at exhibitions, but, as a rule, before their public opening. P. M. Tretyakov bought the paintings that interested him, regardless of the opinions of critics and the dissatisfaction of the censors. This was with such paintings as "Rural Procession for Easter" by V. G. Perov, "Ivan the Terrible" by I. E. Repin. P. M. Tretyakov clearly understood that the museum he created should not so much correspond to his personal tastes and sympathies as reflect an objective picture of the development of Russian art. And until now, almost everything that was acquired by P. M. Tretyakov constitutes a genuine golden fund not only of the Tretyakov Gallery, but of all Russian art.
In 1892, Pavel Mikhailovich donated his art gallery to the city of Moscow. By that time, the collection included 1287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons.
Pavel Tretyakov until his death was the manager of the gallery. In 1898, a Council was created to manage the gallery, chaired by a trustee, which at the beginning was I. S. Ostroukhov, and since 1913 - I. E. Grabar.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery.
On June 3, 1918, the Tretyakov Gallery was declared "state property of the Russian Federative Soviet Republic" and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum.
In 1926, Academician of Architecture A.V. Shchusev. The following year, the gallery received a neighboring house on Maly Tolmachevsky Lane (the former house of the merchant Sokolikov). After perestroika, the administration of the Gallery, scientific departments, a library, a department of manuscripts, and graphics funds were located here.
In 1932, the building of the church of St. Nicholas in Tolmachi was transferred to the Gallery, which became a storehouse of painting and sculpture. Later, it was connected to the exposition halls by a two-story building, the upper floor of which was specially designed to display A. A. Ivanov's painting "The Appearance of Christ to the People" (1837-1857). A passage was also built between the halls located on both sides of the main staircase. This ensured the continuity of the exposure review.
In 1936, a new two-story building was opened on the north side of the main building - the so-called "Shchusevsky building". These halls were first used for exhibitions, and since 1940 they have been included in the main exhibition route.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the A.A. Ivanova. In 1980, a monument to P. M. Tretyakov, created by the sculptor A.P. Kibalnikov and architect I.E. Rogozhin.
Over the years of reconstruction, a new concept of the Tretyakov Gallery has developed as a single museum on two territories: in Lavrushinsky Lane, where expositions and repositories of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exposition areas of which are given over to the art of the 20th century. Exhibitions, both old and new art, are held in both territories.
The current collection of the Tretyakov Gallery has more than 100 thousand works.
In the famous list art museums peace State Tretyakov Gallery occupies one of the highest places. Today, its collection includes more than 180 thousand exhibits, including paintings, sculpture and jewelry. The exhibited masterpieces were created during the historical period dating back to the 11th-20th centuries. The building that houses the main collection was built in 1906 and is today included in the register of objects. cultural heritage Russian Federation.
More than one and a half million people visit the museum every year.
History of the gallery
May 22, 1856 philanthropist and successful industrialist Pavel Tretyakov bought a painting by Vasily Khudyakov "Clash with Finnish smugglers". This day is considered the founding date of the museum, which Tretyakov and his brother had planned to create a long time ago. He dreamed of presenting the work of Russian artists to people. Soon the collection was replenished with the canvases “The Procession at Easter” by V. Perov, “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof” by N. Ge and many others. The collection grew and multiplied, and Tretyakov decided to show the paintings to the audience. In 1867 he opened the first gallery in his own estate in Lavrushinsky Lane. At that time, the collection included 1276 paintings, almost five hundred drawings, a small collection of sculptures and several dozen works by foreign artists.
Tretyakov supported many little-known masters and, thanks to his patronage, became famous Vasnetsov and Makovsky. By purchasing paintings objectionable to the authorities, the founder of the gallery inspired painters to freedom of thought and courage in relation to censors.
The Tretyakov Gallery became a national museum at the end of the 19th century, and from that moment on, anyone could visit it and absolutely free of charge. In 1892, after the death of his brother, Pavel Tretyakov donated the collection to the city. This is how an art gallery appears in Moscow, which eventually becomes one of the largest collections of works of art on the planet.
When the Tretyakovs just started collecting paintings, their collection was housed in the rooms of the mansion where the brothers lived. But in 1860 they decided to build a separate building to store the collection, which by that time had grown into a solid art collection. The two-story extension to the Tretyakov mansion received a separate entrance for visitors, and the paintings - two spacious halls.
New paintings continued to arrive, and the gallery expanded and completed. After the death of the owners, the mansion was reconstructed, and at the beginning of the 20th century it was combined with the halls of the gallery. The facade in the form of an old tower was designed by the artist Vasnetsov.
Golden Fund of the Tretyakov Gallery
You will see the oldest exhibits of the museum in the collection of iconography of the XII-XVII centuries. For example, image of the Vladimir Icon of the Mother of God, brought at the beginning of the XII century from Constantinople. After the persecution of the Russian Orthodox Church during the formation of Soviet power, the icon ended up in a museum.
Rublevskaya "Trinity"- another worldwide famous masterpiece Russian icon painting. The author created it in memory of Sergei Radonezhsky in the first third of the 15th century.
Master Dionysius- no less famous icon painter, and his work "Metropolitan Alexei", written at the end of the 15th century, is also on the list of the most valuable exhibits of the Tretyakov collection.
The now unknown masters of the Mikhailovsky Golden-Domed Monastery at the beginning of the 12th century made mosaic depicting St. Demetrius of Thessalonica. In their work, they used matte colored stones and gold smalt. The work is exhibited in the department of Russian icon painting.
Among the many canvases of the State Tretyakov Gallery, visitors are usually given special attention to the most famous paintings.
XVIII century is represented by works Dmitry Levitsky, Vladimir Borovikovsky and Fedor Rokotov. Most notable works this era - portraits of Gavriil Golovkin, a former associate of Peter I, and Empress Elizabeth Petrovna. The first was written by Ivan Nikitin, and the queen was painted by Georg Groot.
The 19th century that replaced the world gave the world new artists represented in the museum especially widely:
Outstanding Masterpiece I. Kramskoy "Stranger" depicts a young woman riding in an open carriage along Nevsky Prospekt. Neither in the artist's letters nor in his diaries is there even a hint of the model's personality, and her name remains a mystery at all times.
- "Princess Tarakanova" by Konstantin Flavitsky depicts the death of an adventurer who posed as the daughter of Empress Elizabeth Petrovna and sister of Pugachev. After exposure, the woman was thrown into the casemates Peter and Paul Fortress where, as legend has it, she died in a flood. The painting was painted by Flavitsky in 1864. Critic Stasov called it "the most brilliant creation of Russian painting."
Another amazingly beautiful female portrait exhibited in the Tretyakov Gallery - "Peach Girl". The painting depicts the daughter of Savva Mamontov, but attracts viewers to the canvas V. Serov completely different. The work is permeated with amazing light and filled with freshness that does not disappear over time.
The textbook landscape is called the work A. Savrasova "The Rooks Have Arrived". Critics consider the painting an important stage in the development of landscape painting in Russia. Despite the unpretentiousness of the plot, the picture seems especially close to the heart of any Russian person.
- "Moonlit night on Capri" depicts the seascape of the Gulf of Naples. Its author is a famous Russian marine painter I. Aivazovsky, painter of the Main Naval Staff and author of amazing works dedicated to the sea.
There is an opinion that "Hunters in Retreat" were written V. Perov based on the stories of I. Turgenev. Story composition, presented by the author to the viewer, depicts three landowners who stopped to rest after a successful hunt. Perov managed to depict the characters and their environment so vividly that the viewer becomes an unwitting participant in the hunters' conversation.
- "Unequal marriage" by V. Pukirev, as his contemporaries claimed, was written by the artist at the time of his own torment: Pukirev's beloved girl was married by calculation. The picture is made with great love, and the moods of the characters are masterfully conveyed. You can also see the artist's self-portrait on the canvas - he stands behind the bride, arms crossed over his chest.
Three more famous paintings of the XIX century. in the Tretyakov Gallery invariably gather enthusiastic spectators near them:
Painting "Ivan the Terrible and his son Ivan on November 16, 1581" by Ilya Repin better known to the public under the title "Ivan the Terrible kills his son." The artist depicts the moment that came a couple of seconds after the fatal blow that the tsar inflicted on Tsarevich Ivan. The tyrant mad with grief and the failed heir accepting his fate with meekness are written out so skillfully that the picture still evokes the brightest feelings and emotions in the audience.
- "The Appearance of Christ to the People" A. Ivanov wrote for about 20 years. While working, he created several hundred sketches and called the plot of his canvas "worldwide". Ivanov believed that he portrayed a moment in time that played a decisive role in the fate of all mankind. The huge canvas is exhibited in a separate room built for it in the 30s of the last century.
- "Bogatyrs" Vasnetsov depict three heroes of Russian epics on mighty horses in military armor. They inspect the surroundings and with all their appearance demonstrate their readiness to defend the Russian land from enemies. According to the author, he sought "to mark the continuity of the heroic past of the Russian people with its great future."
The twentieth century is represented by the works of Petrov-Vodkin, Benois, Krymov, Chagall, Konchalovsky, Korovin, as well as sculptures by Vera Mukhina. The authors of the Soviet period, whose paintings were honored to take their place on the walls of the Tretyakov Gallery - Isaak Brodsky, the Kukryniksy team, Tatyana Yablonskaya, Evgeny Vuchetich and many others.
Branches of the Tretyakov Gallery
The main building of the gallery is located at: Lavrushinsky lane, 10. It presents the permanent exhibition of the museum and periodically acquaints visitors with temporary exhibitions. Recently, the Engineering Building was added to the main building, where collections of regional museums are presented to residents and guests of the capital. In addition, the Tretyakov Gallery has several branches:
- New Tretyakov Gallery on Krymsky Val was built near the place where P. Tretyakov, who founded the museum, was born. The branch demonstrates works in a modern style, written in the XX-XI centuries.
