Handicraft Museum. Handicraft Museum - All-Russian Museum of Decorative, Applied and Folk Art Morozov S.T

An interesting building, reminiscent of an old Russian tower, was built at the very beginning of the 20th century by the architect S. U. Solovyov, commissioned by Sergei Timofeevich Morozov, brother of Savva Timofeevich. At the heart of the house are the old chambers of the 17th century, which belonged to an associate of Peter I, the steward Avton Golovin. Moved in after construction was completed. Handicraft Museum, founded by Sergey Morozov back in 1885.

In the 17th-18th centuries, the area between Bolshaya Nikitskaya and Tverskaya streets was a district of the aristocracy, and here, in Leontievsky (and then Sheremetevsky) lane, there were two-story stone chambers of an associate of Emperor Peter I, stolnik Avton Golovin.

In 1871, the ancient building was acquired by Anatoly Ivanovich Mamontov, brother of the famous businessman and philanthropist Savva Mamontov. Under him, a publishing house and a printing house were opened here, where, in particular, children's books were printed with illustrations by famous artists - V. Vasnetsov, V. Serov, S. Malyutin. The building of the printing house - a modern house number 5 on Leontievsky Lane - was built according to the project of the architect V. A. Hartman.

At the very beginning of the 20th century, one large property was divided into two, and its right part (house No. 7) passed to the famous industrialist, collector, Sergey Timofeevich Morozov. Morozov was a great connoisseur of folk craft, which for centuries predetermined the history of this house. It is thanks to this that the building acquired the appearance that we know today. According to the project of the architect S. U. Solovyov, the old chambers were rebuilt in the manner of ancient Russian towers, and donated by Morozov to the Handicraft Museum, which was founded in 1885 and was located at that time on Bolshaya Nikitskaya Street. Many works of art came here, including carved spinning wheels, yokes, sculptures of birds and animals. Thus began a long history of collecting carvings. By the way, it was in the Handicraft Museum in 1898 that the first Russian beauty matryoshka was born, on which the artist Sergey Malyutin worked.

In 1911, at the initiative of Sergei Timofeevich, the architects A. E. Erichson and V. N. Bashkirov added an additional volume to the building with an “Old Russian” porch, where a shop selling handicrafts was opened.

The architectural features of the building are interesting: the entrance is an unusual porch with barrel columns, and the roof of the building is crowned with a weather vane with a toy image. The visiting card of the museum is the vestibule, decorated with a ceramic fireplace, made according to the sketches of M. A. Vrubel.

By the beginning of the 1910s, the Handicraft Museum took the lead in the preservation and development of art crafts throughout Russia, and participated in the organization of exhibitions and fairs.

Today the building houses the Museum of Folk Crafts. Its fund includes about fifty thousand exhibits; peasant carving, painting on metal, wood, stone and bone are presented here. Everyone can get acquainted with folk clothes embroidered with lace, products of urban and industrial art, a collection of modern domestic art crafts and much more.

Museum-workshop of D.A. Nalbandyan was created by the Moscow government on the basis of a collection donated by the artist to the city at the end of 1992. In 1956, Dmitry Nalbandyan moved to an apartment in the building 8/2 on Gorky (Tverskaya) Street. The windows of the second building overlooked the Moscow City Council building and Sovetskaya (Tverskaya) Square with a monument to the founder of the city, Yuri Dolgoruky, opened in 1954. Demyan Bedny, Ilya Ehrenburg, Mikhail Romm lived in this house, in 1958 a bookstore No. 100 of the trading house of the book "Moscow" was opened here. It was decided to give the last floors of the house to artists - Kukryniksy, Nikolai Zhukov, Fyodor Konstantinov, Vladimir Minaev, Dmitry Nalbandyan ... Today, in the collection of the museum-workshop, a structural unit of the Manege Museum and Exhibition Association, more than 1500 works by the artist: paintings, sketches, drawings, photographs, personal items. Dmitry Nalbandian was born in 1906 in Tiflis. After graduating from the Academy of Arts of Georgia in the classes of Yevgeny Lansere and Yeghishe Tatevosyan, in 1931 Nalbandyan came to Moscow: he worked as a cartoonist at Krokodil, as an animator at Mosfilm, and as a poster artist at Izogiz. In 1934, an event occurred that largely determined the fate of the artist - in the Kremlin he met with Sergo Ordzhonikidze, a friend of his father Arkady Nalbandyan, who was killed by the Mensheviks in Georgia. Ordzhonikidze introduces Nalbandyan to Sergei Kirov and introduces him into the circle of the party elite. Soon, Nalbandyan painted his first large canvas, “Speech by S.M. Kirov at the 17th Congress of the All-Union Communist Party of Bolsheviks" - the painting is exhibited at the State Museum of Fine Arts, published in the newspapers Pravda and Izvestia, replicated in reproductions ... Already later, Nalbandyan will become a member of the Moscow Union of Soviet Artists and a member of the Academy of Arts, will receive the Stalin Prize for the portrait of Stalin and Leninskaya for the images of Leniniana. For the Soviet viewer, Nalbandian was the “first brush” of the Politburo, a classic of socialist realism, a portrait chronicler of the era, the author of invented and staged paintings: “Vladimir Mayakovsky in Georgia (Baghdadi) in 1927”, “V.I. Lenin and A.M. Gorky among fishermen on the island of Capri. 1908", "Vernatun (Mighty bunch). A group portrait of outstanding figures of Armenian culture, familiar to many from reproductions in the Ogonyok magazine. Nalbandyan's landscapes and still lifes are much less known, although they are the ones who speak of him as an "impressionist of the Korovin type", capable of conveying the mood with a quick and light brush. Nalbandian the graphic artist is even less known. His drawings - and this is a gallery of the first persons of politics and art: Lenin, Stalin, Khrushchev, Brezhnev, Chernenko ... Saryan, Roerich, Van Cliburn, Kataev, Leonov ... - with a clear exception, were made from life and today they represent amazing documents of the time. In the early 1990s, Nalbandian bequeathed part of his collection of works to the city on the condition that they not leave the walls of his workshop. And today the Museum of D.A. Nalbandyan recreates the space of life and work of the artist of the Soviet era as it was then.

One of them - an associate of Peter the Great Autonomous Golovin, who served in the rank of steward - owned two-story chambers built of stone in Sheremetevsky Lane (now - Leontievsky Lane, 7).

In 1871, the building became the property of Anatoly Mamontov, who was the brother of Savva Mamontov, an entrepreneur and philanthropist. Under the new owner, a publishing house was opened on the property, as well as a printing house. For the latter, they even built a special room designed by the architect V.A. Hartman (today - Leontievsky lane, house 5).

Mamontov's publishing house was engaged in the production of children's books, the pages of which were illustrated by such artists as Viktor Vasnetsov, Valentin Serov and Sergey Malyutin.

At the beginning of the 20th century, the property was divided into two parts, and the right plot with the current house No. 7 in Leontievsky Lane became the property of the industrialist and collector S.T. Morozov.

Sergei Timofeevich was a passionate connoisseur of handicrafts. It was this passion of his that predetermined the history and fate of the ancient building.

First of all, Morozov ordered a project for the reconstruction of the house to the famous architect S.U. Solovyov. The ancient chambers were given the appearance of an old Russian tower. This image has survived unchanged to this day.

The next step of Sergei Timofeevich was the transfer of the renovated building as a gift to the Handicraft Museum, which at that time was located on Bolshaya Nikitskaya Street and had its history since 1885. It is interesting to know that it was in it, in 1898, that the beautiful matryoshka doll was first presented to the general public, painted by the artist Sergei Milyutin.

New halls began to fill with new masterpieces of folk art. Visitors could see carved spinning wheels and yokes, as well as sculptures of various birds and animals.

In 1911, the building in Leontievsky Lane, house 7 grew with an additional volume, where a store was opened, offering visitors to the Handicraft Museum various products and handicrafts of Russian folk crafts.

A few words about the architecture of the extension.

It was erected on the initiative of S.T. Morozov, and the project was executed by architects Adolf Erichson and Vasily Bashkirov. The entrance is decorated in the form of a porch in the "Old Russian" style with its characteristic barrel-columns. The roof of the building is crowned with a weather vane, decorated with a toy image. In the lobby, a ceramic fireplace strikes with its beauty, a sketch of which was made by the artist Mikhail Vrubel.

The handicraft museum has made a huge contribution to the preservation and development of Russian art crafts. Since the 1910s, its employees not only participated in various exhibitions and fairs, but also organized them.

Today, in the building at 7 Leontievsky Lane, the Matryoshka Museum and the Museum of Folk Art are located. The collection of the latter includes about 50,000 exhibits, including woodcarving, painting on metal, stone, wood and bone, lace folk clothes, and other handicrafts.

Museum of Folk Art named after S.T. Morozova (MNI) is one of the oldest museums in Moscow. It was founded in 1885. Initially, it was called the Commercial and Industrial Museum of Handicrafts of the Moscow Provincial Zemstvo, then it became the Museum of Folk Art at the Research Institute of Art Industry (NIIKhP), which was created on the basis of the museum itself. The museum moved to its current building in September 1903. For more than a century of history, museum areas have been significantly reduced. As a result, the Museum of Folk Art, which in 1999 became a department of the All-Russian Museum of Decorative, Applied and Folk Art (VMDPNI), occupies only part of the building, previously wholly owned by the museum. This is a brick two-story building with an attic and rectangular halls on the first and second floors.

This building was added in 1911 to the main part of the museum. The building was purchased from A.I. Mamontov specially for the Handicraft Museum and rebuilt in the pseudo-Russian style by the industrialist and philanthropist Sergei Timofeevich Morozov. In 1911 S.T. Morozov, on the site of the old garden, made an extension for a museum and a handicraft store. The project of this part of the building with pseudo-Russian style facades was made by architects V.N. Bashkirov and A.E. Erichson.

On the ground floor of the extension there was a shop for handicrafts (folk art) crafts, and on the second floor there was an exposition. I had to buy pockets for stands on the side.

When the Museum of Folk Art became a department of VMDPNI, architects-restorers carried out a thorough study of the building. There was a question about the preservation of the ceiling painting in the hall on the first floor. Previously, it was known that the painting was made in the late 1930s. There was evidence that the entire hall was covered with paintings, but the painting remained only on the ceiling.

The study showed that the overall composition stylistically consists of two types of painting: grisaille, imitating brass casting in the spirit of Roman grotesques, and polychrome, in color and pattern of floral ornament, tending to folk paintings. Grotesque patterns are painted on a sticky light-ocher background in brown and yellow-ocher tones.

Here, 6-7 tones are used in accordance with the rules of painting in the grisaille technique, in this case, imitating reliefs. On the light background of the frieze, stylized palmettes, stems and leaves of acanthus are filled with grisaille. The frieze itself is decorated along the edges with a chain of small beads imitating classical plaster moldings. On the sides of the grisaille are depicted rectilinear narrow garlands of short green twigs, leaves, as well as large light, carmine and scarlet buds, reminiscent of rose flowers.

At the points where the chandeliers are attached, the picturesque frieze is interrupted by round rosettes with a blue inner field bordered by polychrome flower garlands. The four corner rosettes are larger than those on the sides of the rectangle.

The central rosette of the ceiling is composed of pictorial elements, similar in style to the frieze painting, but with a slightly different pattern. The center is a five-pointed large star of bright blue color, bordered along the contour by a chain of picturesque beads and having concave sides. Around the place where the chandelier is attached is a grisaille rosette imitating white stucco. Between the elliptical petals of the rosette, picturesque stylized plant motifs of branches and leaves are placed. Each of the five segments-petals, filled with grisaille, ends at the edges with a bouquet of roses in multicolor execution. The frieze and the central rosette are painted with tempera and glue paints.

The ornaments are painted with tempera, the background fragments of the painting are painted with adhesive paint. All images in tempera are filled with dense painting - body technique.

The ceiling plafond with a bright painting around the perimeter of the frieze looks inconsistent with the surface of the walls, painted in dark gray tones with oil paint. The painting of the plafond clearly contrasts with the gloomy painting of the walls.

An article by L.N. Goncharova, dedicated to the participation of craftsmen in the painting of public buildings in the 1930s. In an appendix to it, the author cites an unpublished, preserved in the manuscript list of works made by masters of folk arts and crafts, which was compiled by a museum employee - the famous artist E.G. Telyakovsky.

According to the materials of the article by E.G. Telyakovsky, written in 1939, the ceiling was painted in the same year by artists V.D. PuzanovMolev, K.V. Kosterin, A.I. Novoselov, Beztemyannikov - famous miniaturists from Kholuy.

The murals date back to the time when masters of folk arts and crafts tried to reorient themselves from chamber miniature painting, and in some cases from icon painting, to making monumental pictorial decorations of a secular nature.

When studying the literature, it became clear that the walls, the upper piers between the large arched windows in the hall on the first floor were also covered with murals, which were later painted over with dull gray oil paint, or maybe they were knocked down together with plaster.

The hall has a rectangular layout. Total area - 291 sq. m, ceiling height - more than five meters. On three walls - northern, western and southern - there are large windows with arched completion of openings overlooking Leontievsky lane, the courtyard and the passage that separates the neighboring land ownership. Obviously, the alleged painting in narrow piers alternated with large window openings, and each wall had a complete composition. And together they were united by a common color, similar plant motifs, size and rhythm.

It was decided to conduct a trial opening in the thickness of the paint layers in order to search for preserved painting fragments. It turned out that under a thick layer of paint on all the walls there is one way or another preserved painting. It became clear that its restoration and reconstruction is quite real. The general design of the hall was determined: the brightness of the ceiling and the multi-colored richness of the picturesque decor created, together with the exposition of works of folk crafts, the general mood of the holiday.

Previously, and it was thought that always, in this intricate house in the pseudo-Russian style there was a Museum of handicrafts. And it so happened that this museum was the only one nearby that I had not been to. In those days, this street was called Stanislavsky Street. 20 years ago, in 1994, the street was given back its previous name - Leontievsky Lane. And just now I decided to see the exposition of this museum. A huge disappointment awaited me - only one sign remained from the museum. I could not believe it and wandered around this building for a long time in search of some secret entrance. Finally, a security guard came out of the carved wooden doors and explained that the museum had not been here for a long time. The famous collection of the famous philanthropist Morozov was transferred to the All-Russian Museum of Decorative and Applied Arts, dispersed and mostly lost. This is such a sad story, but I read that in 1994, 50 years after Morozov's death, a number of government decisions were made to recreate the Morozov heritage in the form of a Museum of Folk Art and preserve it in a historic building in Leontievsky Lane.

1. The history of the creation of this museum is as follows. In the XVII-XVIII centuries, the place between the current Tverskaya and Bolshaya Nikitskaya streets was an aristocratic area. The two-storied chambers, built of stone in Sheremetyevsky Lane (now Leontievsky Lane, 7), were owned by the steward of Peter the Great A. Golovin. In 1871, the building became the property of Anatoly Mamontov, who was the brother of the entrepreneur and philanthropist Savva Mamontov.

2. Under the new owner, a publishing house was opened on the property, as well as a printing house, for which a special room was built according to the project of the architect V.A. Hartman (today Leontievsky lane, house 5). Mamontov's publishing house was engaged in the production of children's books, the pages of which were illustrated by such artists as Viktor Vasnetsov, Valentin Serov and Sergey Malyutin.

3. At the beginning of the 20th century, the property was divided into two parts, and the right plot with the current house No. 7 became the property of the industrialist and collector S.T. Morozov. Sergei Timofeevich was a great connoisseur of folk crafts and decided to create a museum of folk crafts in this house. He ordered a project for the reconstruction of the house to the famous architect S.U. Solovyov. The ancient chambers were given the appearance of an old Russian tower.

4. This appearance has survived to this day.

5. Morozov's next step was to donate the building to the Handicraft Museum, which had previously been located on Bolshaya Nikitskaya Street and had been leading its history since 1885. The basis of the collection was the exhibits of the handicraft department of the Commercial and Industrial Exhibition of 1882 in Moscow, art crafts of the late XIX - early XX centuries. The new museum began to replenish with masterpieces of folk art. In 1911, the building was enlarged with an additional building, where a store with various handicrafts of Russian folk crafts was opened.

4. The annex was erected on the initiative of S.T. Morozov, and the project was prepared by architects Adolf Erichson and Vasily Bashkirov. The entrance was decorated in the form of a porch with barrel columns.

6. A weather vane depicting "Bogorodsk blacksmiths" was installed on the roof of the building. According to stories, a ceramic fireplace made according to Vrubel's sketch has been preserved in the lobby. It was impossible to get inside the premises.

7. After the October Revolution, the handicraft museum was renamed the Museum of Folk Art. Under various names, the museum continued to work on the development of folk crafts. Sergey Timofeevich himself was left at the Museum as a handicraft consultant, but in 1925 he emigrated to France. S.T. Morozov died in 1944 and was buried in the Saint-Genevieve-des-Bois cemetery in Paris.

8. The handicraft museum has made a huge contribution to the preservation and development of Russian art crafts. Since the 1910s, its employees not only participated in various exhibitions and fairs, but also organized them. Here is a memorial plaque at the entrance.

9. But the museum at Leontievsky lane, house number 7 has not been around for 15 years.

10. The plate once again reminds that the object is protected by the state.

16. Passage to the courtyard of the estate.

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18. This is the view in the backyard. I have no words! Nearby, close to the historic building, there is some kind of construction going on.

19. Gallery connecting the two buildings of the house number 7 - the former Museum of handicrafts.

20. Some incomprehensible, obviously later, structures on the roof.

22. And now, for some reason, in the historical building of the Museum of handicrafts there is an ensemble "Birch". This is such a strange and very sad story.

23. In the two-volume "Architectural Monuments of Moscow", publishing house "Iskusstvo", 1989, two photographs of this house are given. The first shows the façade of the XVIII building. From the book - "At the beginning of the 19th century, a vestibule, pantries and cellars were located on the first floor, and only in the second - living quarters."

24. "In 1900, the estate was bought by S.T. Morozov with the aim of establishing a Handicraft Museum in the main house, rebuilt for this in 1902-1903 by S.U. Solovyov. Part of the house from the side of the courtyard was built on, and the facade along street was dismantled and erected along a new line with decoration in the neo-Russian style.

25. "In 1911, V.N. Bashkirov added a retail space to the museum building, which housed a shop for the sale of handicrafts." This can be seen on the first floor plan. It looks like there is some construction work going on right at the site of the extension behind the green shelter!