The Tretyakov Gallery is the most visited museum in the country. The gallery was founded at the end of the 19th century by famous merchants and philanthropists - Pavel and Sergei Tretyakov, who donated their collections to the city. The gallery is located in the former estate of the Tretyakov brothers on Lavrushinsky Lane. The museum's fund was significantly replenished after the October Revolution of 1917 with collections of wealthy noble and merchant families. The spacious halls of the Tretyakov Gallery display ancient Russian icons and paintings of the Russian school of painting. Moving through the chronologically arranged halls of the museum, you can study in detail Russian fine art from the 17th century to the beginning of the 20th century.

The Tretyakov brothers lost their father when the eldest, Pavel, was seventeen years old, and the youngest, Sergei, was fifteen. They turned out to be entrepreneurs from God. Very soon the brothers expanded the business from ordinary trade in shops to their own large store of linen, paper and woolen goods on the famous merchant street Ilyinka. They organize the trading house “P. and S. Tretyakov brothers.” In the mid-1860s, they acquired the Novo-Kostroma linen manufactory, which they later made one of the best in Russia. Historian of the Moscow merchants P.A. Buryshkin named the Tretyakovs among the five richest merchant families in Moscow

The Tretyakovs were famous donors and philanthropists. Pavel Mikhailovich was a trustee of the Arnold School for the Deaf and Mutes, provided financial assistance to research expeditions, and donated money for the construction of churches. Sometimes Tretyakov's donations exceeded the cost of purchasing paintings. Sergei Mikhailovich actively participated in the public life of Moscow. He was a member of the Moscow City Duma and the mayor. In this position, he did a lot for Moscow. Thanks to Tretyakov, Sokolnicheskaya Grove became the Sokolniki city park: he bought it with his own money.

In 1851, the Tretyakovs purchased an estate in Lavrushinsky Lane from the merchants Shestovs with a two-story mansion decorated with a classic attic and an extensive garden. Alexandra Danilovna was the full-fledged mistress of the house, and the Tretyakov brothers focused on trade. It was an ideal family and business union, rare among merchants. At the same time, the Tretyakovs had different characters. Pavel was reserved, he liked to work and read in solitude, and could spend hours looking at and studying paintings and engravings. Sergei, more sociable and cheerful, was always visible and loved to show off.

One day, Pavel Mikhailovich Tretyakov came to St. Petersburg on company business and ended up in the Hermitage. He was so amazed by the richness of the art collection that he certainly wanted to start collecting. He soon acquired nine paintings by little-known Western artists. “The first two or three mistakes in such a difficult matter as determining the authenticity of old paintings turned him away forever from collecting paintings by old masters,” wrote I.S. Ostroukhov after the death of the collector. “The most authentic painting for me is the one that I personally bought from the artist,” Tretyakov liked to say.” Soon Tretyakov becomes acquainted with the collection of F.I. Pryanishnikov and decides to collect paintings by Russian artists.

In the Tretyakov Gallery, the founding year of the museum is considered to be 1856, when Pavel Mikhailovich Tretyakov acquired the first two paintings “Temptation” by N.G. Schilder and “Clash with Finnish Smugglers” by V.G. Khudyakova. Today they hang side by side in the same room. The condition by which Pavel Mikhailovich selected paintings for his gallery can be found in his words addressed to the artists: “I don’t need rich nature, magnificent composition, spectacular lighting, no miracles, give me at least a dirty puddle, but so that It really was poetry, and there can be poetry in everything, it’s the work of the artist.”

But this does not mean that Tretyakov simply bought all the paintings he liked. He was a bold critic who did not recognize other people's authorities, often made comments to artists, and sometimes sought corrections. Usually Pavel Mikhailovich bought a canvas before the opening of exhibitions, right in the studio, when neither critics, nor spectators, nor journalists had yet seen the painting. Tretyakov had an excellent understanding of art, but this was not enough to choose the best. Pavel Mikhailovich possessed a unique gift of a seer. No authorities could influence his decision. The case described by S.N. is indicative. Durylin in the book “Nesterov in life and work”:

“At the preliminary, closed, vernissage of the XVIII Traveling Exhibition, where a few selected friends of the Wanderers were allowed, Myasoedov led V.V. to “Bartholomew.” Stasova, tribune-apologist of Itinerant Movement, D.V. Grigorovich, secretary of the Society for the Encouragement of Arts, and A.S. Suvorin, editor of the newspaper “Novoye Vremya”. All four judged the picture with the Last Judgment; All four of them agreed that it was harmful... Evil must be uprooted. We went to look for the Moscow silent artist at the exhibition and found him somewhere in the far corner, in front of some painting. Stasov was the first to speak: this painting ended up in the exhibition due to a misunderstanding, it had no place at the Association’s exhibition.

The objectives of the Partnership are known, but Nesterov’s picture does not answer them: harmful mysticism, the absence of the real, this ridiculous circle around the old man’s head... Mistakes are always possible, but they should be corrected. And they, his old friends, decided to ask him to abandon the picture... A lot of smart, convincing things were said. Everyone found a word to brand poor “Bartholomew.” Pavel Mikhailovich listened silently, and then, when the words ran out, he modestly asked them if they had finished; when he learned that they had exhausted all the evidence, he replied: “Thank you for what you said. I bought the painting in Moscow, and if I hadn’t bought it there, I would have bought it here now, after listening to all your accusations.”

Sergei Mikhailovich Tretyakov began collecting his collection fifteen years later than his brother and managed to acquire only about a hundred works. However, his collection was one of a kind, because he was interested in modern Western painting - J.-B. C. Corot, C.-F. Daubigny, F. Miele and others. Pavel Mikhailovich, unlike his brother, who collected paintings for himself, sought to create a publicly accessible museum of national art. Back in 1860 (and he was then only twenty-eight years old), he drew up a will, according to which he bequeathed one hundred and fifty thousand rubles for the establishment of an “art museum” in Moscow. Pavel Mikhailovich persuaded his brother to do the same.

In 1865, Pavel Mikhailovich’s wedding took place with Vera Nikolaevna Mamontova, the cousin of the famous philanthropist Savva Ivanovich Mamontov. The Tretyakovs had six children - four daughters and two sons. Everyone in the family loved each other. Pavel Mikhailovich wrote to his wife: “I sincerely thank God and you from the bottom of my heart that I had the opportunity to make you happy, however, the children have a lot of blame here: without them there would be no complete happiness!” Sergei Mikhailovich married much earlier than his brother, in 1856, but his wife died soon after the birth of their son. Only ten years later, Sergei Mikhailovich entered into a second marriage.

Pavel Mikhailovich adhered to traditional merchant views on raising children. He gave the children an excellent education at home. Of course, artists, musicians and writers, who visited Tretyakov almost every day, played a significant role in the formation of children. In 1887, Pavel Mikhailovich’s son Vanya, everyone’s favorite and his father’s hope, died of scarlet fever complicated by meningitis. Tretyakov painfully endured this bereavement. The second son Mikhail suffered from dementia and could not become a full-fledged heir and continuer of the family business. Daughter Alexandra recalled: “From that time on, my father’s character changed a lot. He became gloomy and silent. Only his grandchildren made the former affection appear in his eyes.”

For a long time, Tretyakov was the only collector of Russian art, at least on such a scale. But in the 1880s he had a more than worthy rival - Emperor Alexander III. There are many legends associated with the confrontation between Tretyakov and the Tsar. Pavel Mikhailovich literally stole paintings from under Alexander’s nose several times by artists who, with all due respect to the august person, preferred Tretyakov. Alexander III, who was called the “peasant king,” became furious if, while visiting traveling exhibitions, he saw on the best paintings the marks “property of P.M. Tretyakov".

But there were cases when representatives of the emperor simply outbid Tretyakov. For example, after the death of Alexander III, his son Nicholas II offered an incredible sum for those times for the painting “The Conquest of Siberia by Ermak” by V.I. Surikov - forty thousand rubles. The newly-minted emperor did not want to skimp in memory of his father, who dreamed of purchasing this painting. Surikov already had an agreement with Pavel Mikhailovich, but he could not refuse such a lucrative deal. Tretyakov simply could not offer more. As a consolation, the artist gave the collector a sketch for the painting, completely free of charge, which still hangs in the museum.

In 1892, Sergei Mikhailovich died. Long before his death, the Tretyakov brothers decide to donate their collections to Moscow. In his will, Sergei Mikhailovich donated to the city half of the house on Lavrushinsky Lane, all the paintings and the amount of one hundred thousand rubles. Pavel Mikhailovich donated his huge collection (more than three thousand works) to Moscow during his lifetime, along with his brother’s collection. In 1893, the Moscow Gallery of Pavel and Sergei Tretyakov was opened, with a collection of Western art hanging next to paintings by Russian artists. On December 4, 1898, Tretyakov died. His last words were: “Take care of the gallery and be healthy.”

After Tretyakov's death, during 1899-1906, the main house was converted into exhibition halls. The façade, designed according to a drawing by V.M. Vasnetsov, became the emblem of the Tretyakov Gallery for many years. The central part of the facade was highlighted by a chic kokoshnik with a relief image of St. George the Victorious - the ancient coat of arms of Moscow. At that time, artists showed interest in the forms of ancient Russian art. Luxuriously decorated portals, lush window frames, bright patterns and other decorations - all this speaks of Vasnetsov’s desire to turn the Tretyakov Gallery into an ancient Russian fairy-tale tower.

In 1913, the artist I.E. became a trustee of the Tretyakov Gallery. Grabar. The reworking of the exhibition began on a scientific principle, as in the best museums in the world. The works of one artist began to hang in a separate room, and the arrangement of paintings became strictly chronological. In 1918, the Tretyakov Gallery was nationalized and transferred to the People's Commissariat of Education. It was at this time that the museum was significantly replenished with huge collections of P.I. and V.A. Kharitonenko, E.V. Borisova-Musatova, A.P. Botkina, V.O. Girshman, M.P. Ryabushinsky and collections from estates near Moscow.

In the 1980s, a grandiose reconstruction of the gallery took place. The project involved “the creation of a large museum complex, including storage facilities, extensive exhibition space, a conference hall through the development of courtyards and the refurbishment of an old building while preserving its historical appearance.” Unfortunately, the new building, built at the intersection of Lavrushinsky and Bolshoi Tolmachevsky lanes, turned out to be alien to the architectural ensemble of the old Tretyakov buildings. The reconstruction resulted in the actual destruction of the monument. The new corner building turned out to be outside the traditional connections with the surroundings.

As a result of reconstruction, the exhibition area of ​​the Tretyakov Gallery increased by one and a half times. In 1998, the first permanent exhibition of twentieth-century art, built according to historical, chronological and monographic principles, opened in the new building of the museum on Krymsky Val. The museum's collection now numbers about one hundred and fifty thousand works. Pavel Mikhailovich's collection has increased more than fifty times. The Tretyakov Gallery is a huge educational and cultural center engaged in scientific, restoration, educational, publishing, popularization and other activities.

In one of the letters to the artist Vasily Vasilyevich Vereshchagin P.M. Tretyakov wrote: “Your indignation against Moscow is understandable, I myself would have been indignant and would have long ago given up my goal of collecting works of art if I had only our generation in mind, but believe me, Moscow is no worse than St. Petersburg: Moscow is only simpler and seemingly more ignorant . Why is St. Petersburg better than Moscow? In the future, Moscow will be of great, enormous importance (of course, we will not live to see that).” Pavel Mikhailovich Tretkov was a true patriot and noblest man. And then he turned out to be a real seer.

Every time we come to the gallery, we remember its great creator, not only because there is a monument to Tretyakov in front of the entrance (a wonderful monument, by the way). Pavel Mikhailovich is not just a collector, the founder of the museum, he, along with artists, created Russian fine art, and Tretyakov’s role here is objectively greater than the role of any of them. I.E. Repin (and he knew a lot about this) once said: “Tretyakov brought his work to grandiose, unprecedented proportions and carried on his shoulders the question of the existence of an entire Russian school of painting.”

History of the Tretyakov Gallery

The State Tretyakov Gallery is one of the largest museums in the world. Her popularity is almost legendary. To see its treasures, hundreds of thousands of people come every year to the quiet Lavrushinsky Lane, which is located in one of the oldest districts of Moscow, Zamoskvorechye.

The Tretyakov Gallery's collection is dedicated exclusively to national Russian art, to those artists who contributed to the history of Russian art or who were closely associated with it. This is how the gallery was conceived by its founder, Moscow merchant and industrialist Pavel Mikhailovich Tretyakov (1832-1898), and this is how it has remained to this day.

The founding date of the Tretyakov Gallery is considered to be 1856, when the young Tretyakov acquired the first works by contemporary Russian artists, setting out to create a collection that in the future could develop into a museum of national art. “For me, who truly and ardently loves painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts, bringing benefit to many and pleasure to all,” the collector wrote in 1860, adding: “I would like leave the national gallery, that is, consisting of paintings by Russian artists."

Years will pass, and the good intentions of the young collector will be brilliantly fulfilled. In 1892, Moscow, and with it the whole of Russia, received as a gift from Tretyakov a large (about 2 thousand paintings, drawings and sculptures) and already famous gallery of genuine masterpieces of national art. And grateful Russia, in the person of its leading artists, will declare to the donor: “The news of your donation has long spread around Russia and in everyone who cares about the interests of Russian enlightenment, it has aroused lively joy and surprise at the significance of the efforts and sacrifices you have made in its favor.”

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Along with the collection of Pavel Mikhailovich, the collection of his brother Sergei Mikhailovich, who died shortly before, was also a collector of works by Western European artists of the mid and second half of the 19th century. He was also a collector of works in the 1880s. Now these works are in the collections of the State Museum of Fine Arts named after A.S. Pushkin and the State Hermitage.

Who was Pavel Mikhailovich Tretyakov and what guided him in his actions and endeavors? All his life Tretyakov remained a major business man, and in fame and in obscurity he was a worthy successor to the trading business of his grandfather - a Moscow merchant of the 3rd guild, the lowest in the merchant “table of ranks”. Tretyakov died a distinguished, honorary citizen of the city of Moscow, having greatly increased the capital of his ancestors.

But “my idea,” he will say at the end of the journey, “was from a very young age to make money so that what was acquired from society would also be returned to society (the people) in some useful institutions; this thought did not leave me throughout my entire life. " As we see, the idea of ​​public service, typical of his era, understood and interpreted in his own way, inspired him.

Tretyakov the collector was something of a phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. “I must admit,” wrote the artist I.N. Kramskoy in 1873, “that this is a man with some kind of devilish instinct.” Having not studied anywhere specifically (the Tretyakov brothers received a home education, mostly of a practical nature), he nevertheless possessed broad knowledge, especially in the field of literature, painting, theater and music. “Tretyakov was a scientist by nature and knowledge,” the artist and critic A.N. said in 1902 in his “History of Russian Art.” Benoit.

Tretyakov never worked with "prompters". Being closely acquainted with a huge number of artists, writers, musicians and very friendly with many, Tretyakov willingly listened to their advice and comments, but he always acted in his own way and, as a rule, did not change his decisions. He did not tolerate interference in his affairs. Kramskoy, who undeniably enjoyed Tretyakov’s greatest favor and respect, was forced to remark: “I have known him for a long time and have long been convinced that no one has influence on Tretyakov either in the choice of paintings or in his personal opinions. If there were artists who believed, that he could be influenced, they had to then renounce their delusion.” Over time, high taste, strict selection and, of course, nobility of intentions brought Tretyakov well-deserved and undeniable authority and gave him “privileges” that no other collector had: Tretyakov received the right to be the first to view new works of artists either directly in their studios, or at exhibitions, but, as a rule, before their public opening.

Pavel Mikhailovich’s visit to the artists was always an exciting event, and not without trepidation, all of them, venerable and beginners, waited from Tretyakov for his quiet: “I ask you to consider the painting for me.” Which was tantamount to public recognition for everyone. “I confess to you frankly,” I.E. Repin wrote to P.M. Tretyakov in 1877, “that if we sell it (we were talking about Repin’s painting “Protodeacon.” - L.I.), then only into your hands, I don’t mind going to your gallery, because I say without flattery, I consider it a great honor for me to see my things there.” Artists often made concessions to Tretyakov, but Tretyakov never bought without haggling, and lowered their prices for him, thereby providing all possible support for his endeavor. But the support here was mutual.

Artists and art historians have long noted that “if P.M. Tretyakov had not appeared in his time, if he had not given himself entirely to a big idea, if he had not begun to piece together Russian Art, his fate would have been different: perhaps we would not have known "Boyaryna Morozova", not "The Procession of the Cross," nor all those large and small paintings that now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: " Without his help, Russian painting would never have taken an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art" (A. Benois).

The scope of collecting activity and the breadth of P.M.’s horizons. Tretyakov were truly amazing. Every year, starting in 1856, dozens or even hundreds of works were received at his gallery. Tretyakov, despite his prudence, did not stop even at very large expenses if the interests of his business required it.

He bought paintings that interested him, despite the noise of criticism and dissatisfaction from censorship, as was the case, for example, with “Rural Procession at Easter” by V.G. Perov or with “Ivan the Terrible” by I.E. Repina. He bought it even if not everything in the painting corresponded to his own views, but corresponded to the spirit of the time, as was the case with Repin’s painting “Religious Procession in the Kursk Province,” the social acuity of which did not quite appeal to the collector. I bought it if very strong and respected authorities like L.N. were against it. Tolstoy, who did not recognize religious painting by V.M. Vasnetsova. Tretyakov clearly understood that the museum he created should not so much correspond to his personal (or someone else’s) tastes and sympathies, but rather reflect an objective picture of the development of Russian art. Perhaps this is why Tretyakov the collector, more than other private collectors, was devoid of narrowness of taste and limitations. Each new decade brought new names and new trends to his collection. The tastes of the museum's founder developed and evolved along with the art itself.

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Giving, wittingly or unwittingly, preference to contemporary art, Tretyakov, nevertheless, from the first to the last steps of his collecting activity, persistently monitored and generously acquired all the best that was on the art market of that time from the works of Russian artists of the past eras of the 18th - first half of the 19th centuries and even ancient Russian art. After all, he created, in essence, the first museum in Russia, reflecting the entire progressive development of Russian art. Which does not mean that Tretyakov had no miscalculations and mistakes at all. Thus, pinning his hopes for the great future of the Russian school on the work of the Peredvizhniki, Tretyakov almost did not acquire works by academic artists of the 19th century, and their art is still poorly represented in the museum. Tretyakov also showed insufficient attention to the famous Aivazovsky. At the end of his life, the collector clearly looked warily at the new artistic trends in Russian art of the 1890s. Passionately loving painting, Tretyakov created primarily an art gallery, less often acquiring sculpture and graphics. A significant addition to these sections in the Tretyakov Gallery occurred after the death of its creator. And until now, almost everything that was acquired by P.M. Tretyakov, constitutes a genuine gold fund not only of the Tretyakov Gallery, but of all Russian art.

At first, everything that Pavel Mikhailovich Tretyakov acquired was housed in the rooms of his residential building on Lavrushinsky Lane, purchased by the Tretyakov family in the early 1850s. But by the end of the 1860s there were so many paintings that there was no way to place them all in the rooms.

With the acquisition of a large Turkestan series of paintings and sketches by V.V. Vereshchagin, the question of constructing a special art gallery building was resolved by itself. In 1872, construction began, and in the spring of 1874, the paintings were moved into the two-story first room of the Tretyakov Gallery, consisting of two large halls (now halls No. 8, 46, 47, 48). It was erected according to the design of Tretyakov’s son-in-law (sister’s husband), architect A.S. Kaminsky in the garden of the Tretyakovs’ Zamoskvoretsk estate and was 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 gallery rooms had increased to 14. The two-story gallery building surrounded the residential building on three sides from the garden all the way to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in its affiliation, public in nature, a museum free of charge and open almost all days of the week to any visitor without distinction of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.

By decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its lifelong trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own funds, transferring such acquisitions as a gift to the “Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov” (this was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P.M. Tretyakov, the affairs of the gallery began to be in charge of the Board of Trustees, elected by the Duma.

Over the years, its members 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), the daughter of Pavel Mikhailovich, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.

In 1899-1900, the Tretyakovs' empty residential building was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and the 1st floor lobbies). In 1902-1904, the entire complex of buildings was united along Lavrushinsky Lane with a common facade, built according to the design of V.M. Vasnetsov and gave the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow attractions

At the beginning of the 20th century, the Tretyakov Gallery became one of the largest museums not only in Russia, but also in Europe. It is actively replenished with works of both new and old Russian art. In 1913-1918, on the initiative of the artist and art historian I.N. Grabar, who was a trustee of the Tretyakov Gallery in those years, its exhibition is being reformed. If previously new acquisitions were exhibited separately and not mixed with the main collection of P.M. Tretyakov, now the hanging of all works is subject to the general historical-chronological and monographic principle, which is observed to this day.

A new period in the history of the Tretyakov Gallery began after the nationalization of the gallery in 1918, which transformed it from municipal property into state property, securing its national significance.

In connection with the nationalization of private collections and the process of centralization of museum collections, the number of exhibits in the Tretyakov Gallery increased more than fivefold by the beginning of the 1930s. A number of small Moscow museums, such as the Tsvetkovskaya Gallery, the Museum of Iconography and Painting of I.S., joined the gallery. Ostroukhov, partly Rumyantsev Museum. At the same time, the collection of works of Western European art, formed from the collections of S.M., was removed from the gallery and transferred to other museums. Tretyakova, M.A. Morozov and other donors.

Over the past half century, the Tretyakov Gallery has turned not only into a huge world-famous museum, but also into a major scientific center engaged in the storage and restoration, study and promotion of museum values. The gallery's scientific staff actively participate in the development of issues of history and theory of Russian art, organize numerous exhibitions both in our country and abroad, give lectures, conduct excursions, carry out extensive restoration and expert work, and introduce new forms of museum computer informatics. The Tretyakov Gallery has one of the richest specialized libraries in Russia, numbering more than 200 thousand volumes of books on art; one-of-a-kind photo and slide library; restoration workshops equipped with modern technology.

The rapid growth of the Tretyakov Gallery's collection already in the 1930s raised the issue of expanding its premises. Where possible, new halls were added, residential buildings and other buildings adjacent to its territory were rebuilt and included in the gallery complex. By the end of the 1930s, the exhibition and service areas were almost doubled, but this was not enough for the rapidly growing and developing museum. Projects for the reconstruction of the Tretyakov Gallery began to be developed, which included either the demolition of all buildings adjacent to the gallery and its expansion up to the Obvodny Canal embankment (project by architects A.V. Shchusev and L.V. Rudnev, 1930s), or the construction of a new building in a new location and transferring the entire collection of the Tretyakov Gallery to it (building on Krymsky Val, architect N.P. Sukoyan and others, 1950-1960s). As a result of many discussions, it was decided to preserve the historical premises in Lavrushinsky Lane behind the Tretyakov Gallery. In the early 1980s, its reconstruction and expansion began with the active support of the director of the Tretyakov Gallery O.K. Queen (1929-1992). In 1985, the first building, the depository, came into operation, housing spacious storage facilities for works of various types of art and restoration workshops; in 1989 - the second, the so-called Engineering building, with premises for temporary exhibitions, lecture and conference rooms, a children's studio, information and computer and various types of engineering services. Reconstruction of the main building, which began in 1986, was completed in 1994 and the gallery finally opened to the public on April 5, 1995.

Over the years of reconstruction, a new concept of the Tretyakov Gallery has emerged as a single museum on two territories: in Lavrushinsky Lane, where exhibitions and repositories of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exhibition areas of which are devoted to art XX century. Exhibitions of both old and new art are held in both territories. In the process of rebuilding the gallery building on Lavrushinsky Lane, many historical and architectural monuments located in close proximity to the gallery, now included in its composition, found new life. Thus, the Church of St. Nicholas in Tolmachi (XVI-XIX centuries), restored after the destruction of the 1930s and restored, was given the status of a “house church” at the museum, that is, a church and a museum at the same time; in the ancient city buildings of the 18th and 19th centuries along Lavrushinsky Lane (houses No. 4 and 6) additional museum exhibitions of Russian graphics and ancient Russian art will be located. Projects are being developed to build a new exhibition hall on the corner of Lavrushinsky Lane and Kadashevskaya Embankment.

The current collection of the Tretyakov Gallery numbers more than 100 thousand works and is divided into several sections: ancient Russian art of the 12th-18th centuries - icons, sculpture, small sculptures, applied art (about 5 thousand exhibits); painting from the 18th century - the first half of the 19th century, the second half of the 19th century and the turn of the 19th and 20th centuries (about 7 thousand works); Russian graphics of the 18th - early 20th centuries (over 30 thousand works); Russian sculpture of the 18th - early 20th centuries (approx. 1000 exhibits); a collection of old antique frames, furniture, applied art and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in premises on Krymsky Val.

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Introduction

The State Tretyakov Gallery is one of the largest museums in the world. Her popularity is almost legendary. To see its treasures, hundreds of thousands of people come every year to the quiet Lavrushinsky Lane, which is located in one of the oldest districts of Moscow, Zamoskvorechye. The Tretyakov Gallery's collection is dedicated exclusively to national Russian art, to those artists who contributed to the history of Russian art or who were closely associated with it. This is how the gallery was conceived by its founder, Moscow merchant and industrialist Pavel Mikhailovich Tretyakov 1832-1898, and this is how it has remained to this day.

Pavel Mikhailovich Tretyakov

Pavel Tretyakov was born on December 15 (27), 1832 in Moscow, into a merchant family. He was educated at home and began a career in commerce, working with his father. Developing the family business, Pavel, together with his brother Sergei, built paper spinning factories that employed several thousand people. P. M. Tretyakov’s fortune at the time of his death was estimated at 3.8 million rubles.

Pavel Mikhailovich did not marry for a long time. Only in August 1865 did his wedding take place with Vera Nikolaevna Mamontova, cousin of the famous philanthropist Savva Ivanovich Mamontov. In 1866, the eldest daughter Vera (1866-1940) was born, then Alexandra (1867-1959), Lyubov (1870-1928), Mikhail (1871-1912), Maria (1875-1952), Ivan (1878 --1887). In 1887, Ivan, everyone’s favorite and his father’s hope, died of scarlet fever complicated by meningitis. Pavel Mikhailovich's grief knew no bounds. The eldest son, Mikhail, was born sick, weak-minded and never brought joy to his parents.

In the 1850s, Pavel Tretyakov began collecting a collection of Russian art, which almost from the very beginning he intended to give to the city. It is believed that he acquired his first paintings in 1856 - these were the works “Temptation” by N. G. Schilder and “Skirmish with Finnish Smugglers” (1853) by V. G. Khudyakov. Then the collection was replenished with paintings by I. P. Trutnev, A. K. Savrasov, K. A. Trutovsky, F. A. Bruni, L. F. Lagorio and other masters. Already in 1860, the philanthropist drew up a will, which stated: “For me, who truly and ardently loves painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts, bringing benefit to many and pleasure to all.”

In the 1860s, Tretyakov acquired the paintings “The Prisoners’ Halt” by V. I. Jacobi, “The Last Spring” by M. P. Klodt, “Grandmother’s Tales” by V. M. Maksimov and others. Pavel Mikhailovich highly appreciated the work of V. G. Perov, to whom he wrote in October 1860: “Take care of yourself for the service of art and for your friends.” In the 1860s, such works by Perov as “Rural Procession at Easter”, “Troika” and “Amateur” were acquired; Subsequently, Tretyakov continued to acquire paintings by Perov, commissioned portraits from him, and actively participated in organizing a posthumous exhibition of the artist’s works.

In 1864, the first painting based on the plot of Russian history appeared in the collection - “Princess Tarakanova” by K. D. Flavitsky. At the end of the 1860s, Pavel Mikhailovich commissioned F.A. Bronnikov to paint a work that later became Vera Nikolaevna Tretyakova’s favorite painting, “The Pythagorean Hymn to the Rising Sun.”

In 1874, Tretyakov built a building for the collected collection - a gallery, which in 1881 was open to the public. In 1892, Tretyakov transferred his collection, along with the gallery building, to the ownership of the Moscow City Duma. A year later, this institution received the name “City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov.” Pavel Tretyakov was appointed a lifelong trustee of the gallery and received the title of Honorary Citizen of Moscow. Shareholder of the Moscow Merchant Bank.

By the end of his life, Tretyakov received the title of commerce advisor, was a member of the Moscow branch of the Council of Trade and Manufactures, and also a full member of the St. Petersburg Academy of Arts (since 1893). He died on December 4 (16), 1898 in Moscow. His last words to his relatives were: “Take care of the gallery and be healthy.” He was buried at the Danilovsky cemetery in Moscow next to his parents and brother Sergei, who died in 1892. In 1948, the ashes of the Tretyakov brothers were reburied at the Novodevichy cemetery.

Tretyakov gallery history art Russian

Gallery history

Pavel Tretyakov began collecting his collection of paintings in the mid-1850s. The year of foundation of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: “Temptation” by N. G. Schilder and “Skirmish 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 on Lavrushinsky Lane in Zamoskvorechye, in the house that the Tretyakov family bought in 1851. The collection in the gallery included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.

In August 1892, Pavel Mikhailovich donated his art gallery to the city of Moscow. By this time, the collection included 1,287 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. On August 15, 1893, the official opening of the museum took place under the name “Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov.”

Since the growth of the collection constantly exceeded the exhibition capabilities of the Gallery, new premises were gradually added to the residential part of the mansion, necessary for storing and displaying works of art. Similar extensions were made in 1873, 1882, 1885, 1892 and finally in 1902-1904, when the famous facade appeared, designed by the architect V. N. Bashkirov based on the drawings of the artist V. M. Vasnetsov. The construction was managed by the architect A. M. Kalmykov. This facade became the emblem of the Tretyakov Gallery.

On January 16, 1913, Ilya Repin’s painting “Ivan the Terrible and his son Ivan on November 16, 1581”, located in the Tretyakov Gallery, was damaged by a vandal’s knife. The artist had to virtually recreate the faces of those depicted. The curator of the Tretyakov Gallery E. M. Khruslov, having learned about the damage to the painting, threw himself under the train.

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 Grabar’s activity was the reforms that turned the Tretyakov Gallery into a European-style museum with an exhibition organized according to a chronological principle. In early December 1913, on the fifteenth anniversary of the death of the Gallery's founder, the reformed museum was opened to the public.

On June 3, 1918, the Council of People's Commissars issued a Decree that declared the Tretyakov Gallery the state property of the Russian Federative Soviet Republic. From that moment on, the museum began to be called the State Tretyakov Gallery. After nationalization, Igor Emmanuilovich Grabarm was appointed director of the Gallery. During the first years of Soviet power, the Gallery's collection increased significantly, which again raised the question of expanding its space. With his active participation, the State Museum Fund was created in the same year, which until 1927 remained one of the most important sources of replenishment of the museum’s collection.

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 Sokolikov house). After reconstruction in 1928, it turned into an office building that housed the Gallery's administration, scientific departments, library, manuscript department, and graphic collections. This building was connected to the Gallery by a special extension. In 1928, heating and ventilation were radically re-equipped. In 1929, the Gallery was electrified (previously it was open to visitors only during the daytime).

In 1929, the Church of St. Nicholas in Tolmachi was closed, and in 1932 its building was transferred to the Gallery and became a repository of paintings and sculpture. Later it was connected to the exhibition halls by a newly built two-story building, the upper floor of which was specially designed for exhibiting the painting by A.A. Ivanov “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 view. As a result of these changes, the exhibition area of ​​the museum increased and work began on creating a new concept for displaying works.

In 1936, the construction of a new two-story building on the northern side of the main building was completed - the so-called “Shusevsky building”, whose spacious halls were first used for exhibitions, and since 1940 have been included in the main exhibition route.

From the first days of the Great Patriotic War, dismantling of the exhibition began in the Gallery - like other museums in Moscow, it was preparing for evacuation. The canvases were rolled onto wooden shafts, covered with tissue paper, and placed in boxes lined with waterproof material. In mid-summer 1941, a train of 17 carriages departed from Moscow and delivered the collection to Novosibirsk. The evacuation of works of art continued until September 1942; part of the exhibition was evacuated to the city of Molotov. Only on May 17, 1945, the Gallery was reopened in Moscow. .

The Gallery building was noticeably damaged by bombing during the Great Patriotic War (1941-1945): two high-explosive bombs that fell as a result of a German air raid in several places destroyed the glass roof covering, the interfloor covering of some halls, and the main passages were damaged.

The restoration of the Gallery began already in 1942 and by 1944, 40 of the 52 halls had been renovated, which made it possible to return exhibits from evacuation. In honor of the 100th anniversary of the Tretyakov Gallery, celebrated in 1956, the A.A. Ivanov Hall was completed. By this time the collection consisted of more than 35,000 works of art.

By the mid-1980s, the increased number of visitors, excursions, and school groups could hardly fit into the museum’s halls. The need to expand the exhibition area once again arose. This issue was taken up by Yu.K. Korolev (1929-1992), who headed the Tretyakov Gallery for a decade and a half (1980-1992).

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.

Later, in 1985-1994, the administrative building was built on 2 floors according to the design of the architect A.L. Bernstein and was equal in height to the exhibition halls.

In 1986, 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, housing a conference room, information and computing center, children's studio and exhibition halls. In 1992-1994, they hosted an exhibition of masterpieces from the Gallery’s collection. Most of the engineering systems and services were concentrated in this building, which is why it was called the Engineering Building.

A fundamental feature of the reconstruction plan was the inclusion of the Church of St. Nicholas in Tolmachi (an architectural monument of the 17th century) into the museum ensemble after its restoration and consecration. The temple was approved as a house church-museum at the Tretyakov Gallery.

From 1986 to 1995, the Tretyakov Gallery on Lavrushinsky Lane was closed to visitors due to major reconstruction. The only exhibition area of ​​the museum for this decade was the building on Krymsky Val, 10, which in 1985 was merged with the Tretyakov Gallery.

Construction on Lavrushinsky Lane took almost ten long years: from 1985 to 1995.

Nowadays, the Tretyakov Gallery building complex, located between Lavrushinsky and Maly Tolmachevsky lanes, is a favorite place not only for Muscovites, but also for many guests of the capital.

Composition of the All-Russian Museum Association "State Tretyakov Gallery". Gallery Managers

· Tretyakov Gallery in Lavrushinsky Lane, 10

· Museum-Church of St. Nicholas in Tolmachi

· Tretyakov Gallery on Krymsky Val, 10

· Museum-workshop of A. S. Golubkina

· House-museum of V. M. Vasnetsov

· Museum-apartment of A. M. Vasnetsov

· House-Museum of P. D. Korin.

In 1985, the State Art Gallery, located on Krymsky Val, 10, was merged with the Tretyakov Gallery into a single museum complex under the general name “State Tretyakov Gallery”. Now the building houses the updated permanent exhibition “Art of the 20th Century”.

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

Gallery Managers

· Tregulova, Zelfira Ismailovna (2015-present)

· Lebedeva, Irina Vladimirovna (2009--2015)

· Rodionov, Valentin Alekseevich (1993--2009)

· Korolev, Yuri Konstantinovich (1980--1992)

· Lebedev, Polikarp Ivanovich (1954--1979)

· Zamoshkin, Alexander Ivanovich (1941--1951)

· Lebedev, Polikarp Ivanovich (1939--1941)

· Christie, Mikhail Nikolaevich (1930--1939)

· Shchusev, Alexey Viktorovich (1926--1929)

Shchekotov, Nikolai Mikhailovich (1925-1926)

· Grabar, Igor Emmanuilovich (1913--1925)

· Ostroukhov, Ilya Semenovich (1905 - 1913)

Faith in the school of Russian painting

Tretyakov's enormous historical merit is his unshakable faith in the triumph of the Russian national school of painting - a faith that arose in the late 50s of the last century and carried through his entire life, through all the difficulties and trials. It is safe to say that in the triumph of Russian painting that came at the end of the 19th century, P.M. Tretyakov’s personal merit was exceptionally great and invaluable.

Tretyakov’s letters preserve evidence of this ardent faith of his. Here's one of them. In a letter to the artist Rizzoni dated February 18, 1865, he wrote: “In the last letter to you, my expression may seem incomprehensible: “Then we would talk with non-believers” - I will explain it to you: many positively do not want to believe in the good future of the Russian art and they assure that if sometimes our artist writes a good thing, it is somehow by accident, and that he will then increase the number of mediocrities. You know, I have a different opinion, otherwise I would not have collected a collection of Russian paintings, but sometimes I could not help but agree with the facts presented; and every success, every step forward is very dear to me, and I would be very happy if I waited for a holiday on our street.” And about a month later, returning to the same thought, Tretyakov writes: “I somehow involuntarily believe in my hope: our Russian school will not be the last - it was indeed a cloudy time, and for quite a long time, but now the fog is clearing.”

This faith of Tretyakov was not a blind premonition; it was based on thoughtful observation of the development of Russian painting, on a deep, subtle understanding of national ideals being formed on a democratic basis.

So, back in 1857, P.M. Tretyakov wrote to the landscape artist A.G. Goravsky: “About my landscape, I humbly ask you to leave it and write me a new one someday instead. I don’t need rich nature, no magnificent composition, no spectacular lighting, no miracles.” Instead, Tretyakov asked to depict simple nature, even the most inconspicuous, “so that there is truth in it, poetry, and there can be poetry in everything, this is the work of the artist.”

This note expresses the same aesthetic principle of the formation of the gallery, which arose as a result of thinking through the ways of development of Russian national painting, guessing its progressive trends long before the appearance of Savrasov’s painting “The Rooks Have Arrived”, the landscapes of Vasiliev, Levitan, Sery, Ostroukhov and Nesterov - artists who managed to a truthful depiction of Russian nature to convey its inherent poetry and charm.

Tretyakov the collector was something of a phenomenon. Contemporaries were quite surprised at the natural intelligence and impeccable taste of this hereditary merchant. “I must admit,” wrote the artist I. N. Kramskoy in 1873, “that this is a man with some kind of devilish instinct.” Having never studied anywhere, he nevertheless possessed broad knowledge, especially in the fields of literature, painting, theater and music. “Tretyakov was a scientist by nature and knowledge,” the artist and critic A. N. Benois said in 1902 in his “History of Russian Art.”

Tretyakov never worked with "prompters". Being closely acquainted with a huge number of artists, writers, musicians and very friendly with many, Tretyakov willingly listened to their advice and comments, but he always acted in his own way and, as a rule, did not change his decisions. He did not tolerate interference in his affairs. Kramskoy, who undeniably enjoyed Tretyakov’s greatest favor and respect, was forced to note: “I have known him for a long time and have long been convinced that no one has influence on Tretyakov, both in the choice of paintings and in his personal opinions... If there were artists, those who believed that it was possible to influence him, they had to then abandon their delusion." Over time, high taste, strict selection and, of course, nobility of intentions brought Tretyakov well-deserved and undeniable authority and gave him “privileges” that no other collector had: Tretyakov received the right to be the first to view new works of artists either directly in their studios, or at exhibitions, but, as a rule, before their public opening.

Pavel Mikhailovich’s visit to the artists was always an exciting event, and not without trepidation, all of them, venerable and beginners, waited from Tretyakov for his quiet: “I ask you to consider the painting for me.” Which was tantamount to public recognition for everyone. “I confess to you frankly,” I. E. Repin wrote to P. M. Tretyakov in 1877, “that if we sell it (we were talking about Repin’s painting “Protodeacon.” - L. I.), then only into your hands, I don’t mind going to your gallery, because I say without flattery, I consider it a great honor for me to see my things there.” Artists often made concessions to Tretyakov, but Tretyakov never bought without haggling, and lowered their prices for him, thereby providing all possible support for his endeavor. But the support here was mutual.

Artists and art historians have long noticed that “if P. M. Tretyakov had not appeared in his time, if he had not given himself entirely to a big idea, if he had not begun to put together Russian Art, his fate would have been different: perhaps we would not have known “Boyarina Morozova”, nor “Procession. . . ", nor all those large and small paintings that now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: ". . . Without his help, Russian painting would never have taken an open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and practical in Russian art" (A. Benois)

Gallery today

In April 1995, an updated exhibition of classical Russian art opened for visitors in the main building on Lavrushinsky Lane. The exhibition area has increased. In the reconstructed main building of the Tretyakov Gallery, it became possible to significantly expand the exhibition of ancient Russian art, to allocate halls for sculpture of the 18th - first half of the 19th centuries and the turn of the 19th - 20th centuries.

Graphics that require a special lighting regime are now exhibited in specially equipped halls; a “Treasury” has appeared, where you can see works of applied ancient Russian art, miniatures, and icons in precious frames.

The construction of the courtyards made it possible to create new halls for paintings by the greatest masters of painting of the 19th century - K.P. Bryullov, A.A. Ivanov, I.N. Kramskoy, A.I. Kuindzhi. The largest of them was specially designed for the huge decorative panel “Princess of Dreams” by M.A. Vrubel (1896).

Back in 1953, I.E. Repin’s five-meter canvas “Reception of the volost elders by Alexander III in the Peter’s Palace in Moscow” (1886), created according to the “highest” order, was transferred from the Grand Palace of the Moscow Kremlin to the Tretyakov Gallery. It was also included in the new exhibition.

In order to show the art of the 20th century as fully as possible, corresponding to the scale and level of the museum’s collection, it was decided to divide the exhibition into two buildings and in the Gallery building, located on Krymsky Val, to create a general exhibition of art of the 20th century, from the avant-garde to the latest movements.

On December 16, 1998, on the 100th anniversary of the death of P.M. Tretyakov, the first permanent exhibition of art of the twentieth century, built according to historical, chronological and monographic principles, opened on Krymsky Val. For the first time, it became possible to see the work of major artists as a whole, unbroken for the period before 1917 and after. In the anniversary year of 2006-2007, viewers were offered a new version of the exhibition.

The main emphasis is now on the variety of stylistic trends in painting in the first half of the twentieth century. Non-objectivity and neoclassicism of the 1910s, monumentalism and chamber lyricism of the 1920s, socialist realism and post-avant-garde painting of the 1930s form an expressive contrast and enrich the understanding of the artistic process and the evolution of masters in Soviet times. For the first time, works by Russian artists abroad are shown alongside the works of Soviet artists of the 1930s - 1950s. In addition to traditional exhibits, the new exhibition includes reconstructions. Viewers can see the famous counter-reliefs of V.E. Tatlin, “spatial objects” of the constructivists, that have not survived to this day; The image of the 20s is complemented by photographs of A. Rodchenko.

The exhibition activities of the Gallery are becoming more and more diverse and interesting. Every year, exhibitions are organized that arouse great public interest, including the exhibitions “Revived Treasures of Russia” (1995), “To the 150th Anniversary of I.E. Tsvetkov” (1995), “Treasures of Museums of the Moscow Region” (1996), “ Unforgettable Russia. Russia and Russians through the eyes of British artists. XVIII - first half of the XIX century" (1997), "M. Larionov - N. Goncharova. Masterpieces from the Parisian heritage. Painting" (1999), "K.P. Bryullov. To the 200th anniversary of his birth" (2000), "Western European art of the 16th-18th centuries from the collection of the Tula Museum of Fine Arts" (2000), "Let's return the museum to Grozny" (2002), works by N.N. Sapunov (2003) , “Prophet and dreamer. M.A.Vrubel, V.E.Borisov-Musatov. Graphics" (2005).

Works from the Gallery's collection are regularly exhibited at both international and domestic exhibitions in different cities.

Since the mid-1990s, the Tretyakov Gallery has been conducting serious research work to prepare and publish a consolidated catalog of the collection. This is a scientific and most complete multi-volume publication representing the entire collection of the Gallery.

The Tretyakov Gallery carries out extensive publishing and popularization work: books, albums, and other printed materials are published. In 2004, an innovative department of multimedia and Internet projects was created, working to create a modern website for the Tretyakov Gallery and publish electronic catalogs of exhibitions.

The Tretyakov Gallery's collection now includes more than 170 thousand works.

Conclusion

Turning to the situation in modern Russia, it is difficult to imagine a person who could do something like create a gallery. And the point is not even that this, as many will say, is “not really necessary,” but that now is simply a different time, different problems, different tasks that need to be solved. Although this statement is not indisputable.

In terms of cultural heritage, scientific and technological progress every day reveals to us more and more new forms and results of human activity in the field of culture and art. And we, in our time, need to take care of them, preserve and increase them, at the same time not forgetting about the past, in order to leave to our descendants our vision of the world, our life, as did a truly great man - Pavel Mikhailovich Tretyakov.

Bibliography

1. Botkina, A.P. Pavel Mikhailovich Tretyakov / A.P. Botkin - M: State Tretyakov Gallery, 1951. - 310 p.

2. [Electronic resource] - Access mode: http://www.tretyakovgallery.ru/ - Access date: 10/30/2015

3. [Electronic resource] - Access mode: https://ru.wikipedia.org/wiki/State_Tretyakov_Gallery - Access date: 10/29/2015.

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The State Tretyakov Gallery, the national gallery of Russian painting, is an art museum of world significance. The very formation of the Gallery was at the same time the process of the formation of Russian national art, moreover, Russian national self-awareness. The very fact of the existence of this amazing gallery turned out to be a powerful incentive for artists, contributing to the creation of works addressed to the people, imbued with the truth of life and a sense of beauty.

In 1918 V.I. Lenin, signing the decree on the nationalization of the Gallery, gave it the name of the State Tretyakov Gallery, thereby appreciating the merit of the founder of the Gallery, Pavel Mikhailovich Tretyakov.

The year of foundation of the Tretyakov Gallery is considered to be 1856. It was then that Pavel Mikhailovich acquired the first two paintings by Russian artists: “Temptation” by N.G. Schilder and “Clash with Finnish Smugglers” by V.G. Khudyakova. Earlier in 1854 - 1855 P.M. Tretyakov bought 11 graphic sheets and 9 paintings by old Dutch masters. These paintings decorated the rooms in Tolmachi. When Pavel Mikhailovich began collecting paintings by Russian artists, he first hung them in his office. Over time, when it became crowded, the paintings were hung in the dining room, then in the living room. He sent the old Dutchmen to Ilyinsky Lane, where his mother had lived since 1865. When the first gallery was built and the paintings from the living rooms were hung in a new place, the Dutch returned to the empty walls and remained there until the end of Pavel Mikhailovich’s life. It is difficult to say whether all these paintings were originals. Subsequently, Pavel Mikhailovich said that, having bought them, he immediately realized that he had too little knowledge and experience to risk buying unmistakably works by old Western masters, and decided to purchase only paintings by Russian artists from exhibitions or from the authors themselves. In 1853, a description of the Pryanishnikov Gallery appeared. Pavel Mikhailovich could not help but become interested in this meeting and, of course, having seen it, he could not help but be carried away by the desire to follow Pryanishnikov’s example. But Pryanishnikov collected works by his contemporaries, our oldest and best masters. Young Pavel Mikhailovich was unable to do this at that time, and he began collecting from his contemporaries.

Pavel Mikhailovich calls Schilder’s “Temptation” the beginning of his collection, the first painting by Russian artists. He lists this acquisition in the catalog as 1856. Based on Schilder's letter, a different date can be established (July 1858). This difference in dates can be explained by assuming that the painting was just begun or even in sketch when Pavel Mikhailovich saw it for the first time, and that it was completed by the artist for Pavel Mikhailovich. Apparently, Pavel Mikhailovich noted the name of the artist Schilder, since this was the first artist to whom he made an order.

According to documentary data, Pavel Mikhailovich’s first purchase was Khudyakov’s painting “Finnish Smugglers.” The painting was painted in 1853, and he bought it in 1856, after visiting Khudyakov’s studio in St. Petersburg. During his stay in St. Petersburg in 1856, Pavel Tretyakov ordered paintings from several artists: N.G. Schilder, N.E. Sverchkov, I.I. Sokolov, A.S. Bogomolov-Romanovich, A.G. Goravsky.

In the spring of 1856, Pavel Mikhailovich met Khudyakov and the Goravsky brothers, Apollinaris and Ippolit, in St. Petersburg. Since 1857, several artists have been visiting the Tretyakovs; they become close and enthusiastic friends of the whole family. The Muscovites were Nevrev, Trutnev, who after some time moved to St. Petersburg, and Khudyakov, who settled in Moscow after traveling abroad. Among the visitors were the Goravskys, K.A. Trutovsky, L.F. Lagorio.

At the end of the 1850s, the paintings “Cherry Picking” by I.I. appeared in his collection. Sokolova, “The Peddler” by V.I. Jacobi, “View in the vicinity of Oranienbaum” A.K. Savrasova, “The Sick Musician” by M.P. Klodt. Probably, even then Tretyakov planned to create a museum where the national Russian school of painting would be presented.

Pavel Mikhailovich began purchasing from Trutovsky in 1859. Tretyakov gets the famous “Round Dance,” one of Trutovsky’s best works. On the acquisition of “The Dying Musician” by M.P. Nothing was found in Klodt's letters. The painting was painted in 1859 and was probably purchased at the same time.

In the 1860s, Tretyakov acquired the paintings “The Prisoners’ Halt” by V.I. Jacobi, “The Last Spring” by M.P. Klodt, “Grandma’s Dreams” by V.M. Maksimov and others. Pavel Mikhailovich highly appreciated the work of V.G. Perov, to whom he wrote in October 1860: “Take care of yourself for the service of art and for your friends.” In the 1860s, such works by Perov as “Rural Procession at Easter”, “Troika” and “Amateur” were acquired; Subsequently, Tretyakov continued to acquire paintings by Perov, commissioned portraits from him, and actively participated in organizing a posthumous exhibition of the artist’s works.

In 1862, Bogolyubov sent Pavel Mikhailovich the “Ipatiev Monastery”.

At the same time, Perov’s “Rural Procession at Easter” and Pukirev’s “Unequal Marriage” came to Pavel Mikhailovich Tretyakov.

In 1864, the first painting based on the plot of Russian history appeared in the collection - “Princess Tarakanova” by K.D. Flavitsky. At the end of the 1860s, Pavel Mikhailovich orders F.A. Bronnikov’s work, which later became Vera Nikolaevna Tretyakova’s favorite painting, is “The Pythagoreans’ Hymn to the Rising Sun.”

P.M. Tretyakov loved nature and subtly understood it, so the acquisition of landscapes was always not accidental. In the 1860s, paintings by L.F. appeared in his collection. Lagorio, A.P. Bogolyubova, M.K. Klodt, I.I. Shishkina. Ordering A.G. Goravsky execution of the landscape, P.M. Tretyakov wrote: “I don’t need rich nature, no magnificent composition, no spectacular lighting, no miracles, give me even a dirty puddle, but so that there is truth in it, poetry, and there can be poetry in everything, this is the work of the artist.”

The portrait gallery occupied a special place in Tretyakov’s collection. In the 1860s, a portrait of the Italian archaeologist M.A. was acquired in Italy. Lunches by K.P. Bryullov, a little later portraits of architects A.M. Gornostaeva, I.A. Monighetti, poet V.A. Zhukovsky and others, also by Bryullov. In the same years, a portrait of V.A. was received. Dental work by V.A. Tropinina. Pavel Mikhailovich's idea of ​​collecting portraits of outstanding people in the field of art and science developed especially strongly from 1869 to 1870. Before this, portraits were acquired, for the most part, as works of great artists that interested him. Now Pavel Mikhailovich Tretyakov decided to create a portrait gallery of outstanding figures of Russian culture - composers, writers, artists. He began not only to buy already created works, but also to order portraits. So, V.G. Perov, at the request of P.M. Tretyakov, painted portraits of A.N. Ostrovsky, F.M. Dostoevsky, A.N. Maykova, M.P. Pogodina, V.I. Dalia, I.S. Turgenev; I.N. Kramskoy - portraits of L.N. Tolstoy, M.E. Saltykova-Shchedrina, S.T. Aksakov and N.A. Nekrasova.

In 1870, Pavel Mikhailovich was lucky enough to receive a portrait of Gogol, painted from life by F.A. Moller. In the same year, Perov painted a portrait of N.G. for Tretyakov. Rubinstein and in 1871 - A.N. Ostrovsky; Kramskoy wrote Shevchenko, Vasiliev, Antokolsky and M.K. Klodt.

In 1872, Pavel Mikhailovich received a whole series of portraits of writers painted by Perov: Dostoevsky, Maikov, Turgenev, Dal, Pogodin.

In portraits of Turgenev, Pavel Mikhailovich sought a similarity, one that would convey Turgenev as he himself saw and understood him. He met him, was familiar with him, and not a single portrait completely satisfied him. He wanted Turgenev to be written by Gun, who lived in Paris at the same time as the writer, but this did not happen - Gun did not dare to write him. Turgenev was painted by Perov after all, although Pavel Mikhailovich did not want to have so many portraits by one brush.

Orders for portraits were often associated with great unrest for Pavel Mikhailovich: either the portraits did not work out, or the originals did not agree to pose, or even worse - people got sick and died.

In 1869, Tretyakov asked A.A. Fet to petition L.N. Tolstoy agreed to pose. On October 25, Afanasy Afanasievich informed Pavel Mikhailovich that Tolstoy positively and definitely refused. Four years have passed. Pavel Mikhailovich finds out that I.N. Kramskoy lives five miles from Tolstoy’s estate, in the estate where he is going to paint the painting “Inspection of an Old House.” Pavel Tretyakov asks Kramskoy to use all efforts to obtain Lev Nikolaevich’s consent. And in a letter dated September 5, Kramskoy writes to Pavel Mikhailovich about the consent of Lev Nikolaevich Tolstoy.

Pavel Mikhailovich highly appreciated the talent of I.N. Kramskoy, with whom he became especially close in 1876. At this time, the artist lived with Tretyakov in a house on Lavrushinsky Lane, where he painted a portrait of Vera Nikolaevna Tretyakova. Taking advantage of the illness and forced inaction of the always busy Tretyakov, the artist began to paint his portrait. Since then, family friendship began. The rapprochement was facilitated by common artistic views and a conviction in the social, civic mission of art. At this time, Tretyakov became a sincere supporter of the newly established Association of Traveling Art Exhibitions (TPHV). Pavel Mikhailovich attends all exhibitions of the TPHV, provides material and moral support to the Peredvizhniki artists. From now on, most of the paintings for the gallery are bought at TPHV exhibitions or even before them, directly from the artists’ studios. In the 1870s, paintings “Christ in the Desert” by I.N. appeared in the Tretyakov collection. Kramskoy, “Pine Forest” by I.I. Shishkina, “Wet Meadow” by F.A. Vasilyeva, “The Rooks Have Arrived” by A.K. Savrasov, “Peter I interrogates Tsarevich Alexei Petrovich” N.N. Ge and others.

After Dostoevsky’s advice, conveyed by Perov, that there should be a portrait of Tyutchev, Pavel Mikhailovich probably had this in mind, especially since he himself valued Tyutchev very highly. In 1873, Pavel Mikhailovich was in a hurry. There was a rumor about Tyutchev's illness. Repin did not have time to paint a portrait of Fyodor Ivanovich. Tyutchev for Pavel Mikhailovich was made in 1876 by Aleksandrovsky from a photograph.

At the second Traveling Exhibition, Tretyakov purchased the painting “The Mouth of the Neva” by Bogolyubov, for which he thanked Kramskoy for pointing out. Perov's works belonging to him were also exhibited there - portraits of Turgenev, Dahl, Pogodin, Dostoevsky and Maykov; Myasoedov - “Zemstvo is having lunch”, Klodt - “On the arable land”, “Stream in the forest” and “Noon” - Shishkin.

The name of Vereshchagin first sounded loudly in 1868, when he, having gone as an artist during the expedition of General Kaufman, distinguished himself and received George. In 1869, Kaufman returned to St. Petersburg, and on the initiative of Vereshchagin, a nationwide exhibition was organized with zoological and mineralogical collections, with paintings and sketches by Vereshchagin. Although there are no traces of Pavel Mikhailovich visiting this exhibition, one must think that he did not miss it. But there were no items purchased on it.

In the autumn of 1872, Pavel Mikhailovich visited Vereshchagin's workshop in Munich, from which he came out an ardent admirer of his talent.

In the spring of 1874, Vereshchagin organized an exhibition of his works completed after the Turkestan campaign and travel through Central Asia. From the very beginning, Pavel Mikhailovich wanted to acquire the entire collection without fragmentation, place it in Moscow, in a separate gallery, conveniently arrange it (with overhead lighting) on ​​a large street and constantly open to the public. Having overcome various obstacles, Tretyakov bought the paintings for a very high price - 92,000 rubles in order to donate everything to the Moscow School of Painting, Sculpture and Architecture, but the school council rejected the gift due to the lack of premises and funds for its construction. Pavel Mikhailovich decided to transfer the collection to the Moscow Society of Art Lovers on the condition that it be open for inspection. The society had to find funds for this within three years, which was not possible, and Vereshchagin’s Turkestan series returned to Tretyakov, who by that time had a collection of the artist’s sketches executed in India.

Pavel Mikhailovich placed the purchased paintings in his house on Lavrushinsky Lane. There wasn't enough space. In 1872, construction began on the first two museum halls proper; they were ready in 1874. The halls communicated with the living quarters. The construction work was supervised by the husband of one of Tretyakov’s sisters, architect A.S. Kaminsky. Turkestan series V.V. Vereshchagin made me think about a new perestroika. In 1882, after her return to the gallery, 6 new rooms were added. In the 1880s, the Tretyakov collection expanded significantly.

Paintings by V.I. were purchased. Surikov “The Morning of the Streltsy Execution”, “Menshikov in Berezovo”, “Boyaryna Morozova”; works by I.E. Repin “Religious Procession in the Kursk Province”, “They Didn’t Expect”, “Tsar Ivan the Terrible and His Son Ivan”; works by V.M. Vasnetsov “After the massacre of Igor Svyatoslavovich with the Polovtsy”, I.I. Shishkina “Morning in a pine forest”, I.N. Kramskoy “Inconsolable Grief”, N.A. Yaroshenko “Life Everywhere” and others. Paintings by V.D. appear in the gallery. Polenova, I.I. Levitan, A.M. Vasnetsova, I.S. Ostroukhova. In 1885, 7 more halls were added to the house in Lavrushinsky. By this time, Pavel Mikhailovich, when choosing works, was already completely relying on his own taste, despite the objections and sometimes the indignation of famous artists. In 1888 he buys a painting by V.A. Serov's "Girl Illuminated by the Sun", which was received ambiguously by the public. In the late 1880s and early 1890s, the gallery also received paintings by the young M.V., unappreciated by some experts. Nesterov “The Hermit” and “Vision to the Youth Bartholomew”, as well as “After the Rain. Ples" I.I. Levitan. Once again the exhibition space had to be expanded, and in 1892 another 6 halls were added.

1892 was a significant year for the gallery; this year Pavel Mikhailovich Tretyakov donated it to the city of Moscow.

Address: Moscow, Lavrushinsky lane, 10
Date of foundation 1856
Coordinates: 55°44"29.0"N 37°37"12.9"E

The famous gallery exhibits more than 180 thousand works of Russian art. The world of paintings by Russian artists fascinates and attracts many guests. Schoolchildren, students, employees and pensioners come to the Tretyakov Gallery to see ancient icons, mosaics, landscapes, portraits and historical paintings. According to statistics, more than one and a half million visitors visit one of the most famous museums in Moscow every year.

View of the entrance to the Tretyakov Gallery on Lavrushinsky Lane. In the center is a monument to Pavel Tretyakov

Founder of the museum

Pavel Tretyakov was born in 1832 into the family of a Moscow merchant. He was the eldest of 12 children and was raised with his younger brother Sergei. As adults, the brothers founded several paper spinning factories and managed to earn a large fortune, which was estimated at a huge sum of 3.8 million rubles at that time.

Few people know, but at first Tretyakov became interested in collecting paintings by Western European masters. He had no experience, made random acquisitions and over the course of several years bought several paintings and graphic works by Dutch artists. The novice collector immediately faced the problem of determining the authenticity of old paintings. He quickly realized how many fakes there were on the art market and decided to buy works from the artists themselves. The founder of the gallery followed this rule until his death.

Hall No. 9 - “Horsewoman” - 1832 (Karl Bryullov)

In the middle of the 19th century, Pavel became interested in collecting paintings by Russian painters. The first paintings purchased were works by artists Schilder and Khudyakov. In 1851, he became the owner of a spacious house, purchased specifically for the growing museum.

After 16 years, the Tretyakov brothers opened a private collection of paintings for the Moscow public. By this time, the gallery had more than 1,200 paintings, 471 graphic works, several sculptures and many icons. In addition, over 80 works by foreign artists were exhibited here.

Hall No. 26 - “Bogatyrs” - 1881 - 1898 (Viktor Vasnetsov)

At the end of the summer of 1892, after his brother died, Pavel turned to the Moscow City Duma and donated the collection to the city. He was awarded the title of honorary resident and appointed a life trustee of the museum.

Tretyakov helped Russian painters a lot. He commissioned talented artists to paint canvases on historical themes and portraits of prominent Russians. Sometimes the patron of the arts paid for the painters’ travel to the desired location. Tretyakov died at the age of 65 in 1898.

Hall No. 28 - “Boyaryna Morozova” - 1884 - 1887 (V. I. Surikov)

Gallery history

The art collection of paintings was maintained at the expense of Tretyakov’s bequeathed capital - 125,000 rubles. Another 5,000 was paid annually by the state. New paintings were purchased using interest from the patron's money.

The gallery was located in a house purchased by the Tretyakovs in 1851. However, the collection was constantly growing, and there was not enough space for it. The museum building was rebuilt several times. At the beginning of the last century, it had an expressive facade, designed by the architect Vasily Nikolaevich Bashkirov according to sketches created by the artist Vasily Vasnetsov. Today, the beautiful facade in the pseudo-Russian style has become one of the recognizable symbols of the Moscow museum.

Hall No. 25 - “Morning in a pine forest” - 1889 (Ivan Shishkin, Konstantin Savitsky)

In 1913, painter Igor Grabar was elected trustee of the art collection. Soon after the revolution, the collection received the status of a state museum. Grabar introduced the arrangement of paintings chronologically and created a fund, thanks to which it was possible to replenish museum collections.

In the 1920s, the gallery was headed by the famous architect Alexei Shchusev. The museum received another building, and the administration, scientific library and collections of graphic works were located there.

Hall No. 27 - “Apotheosis of War” - 1871 (Vasily Vereshchagin)

In the 1930s, an active anti-religious campaign was carried out in the country. Local authorities closed monasteries and churches, seized their property and arrested priests. Under the slogans of the fight against religion, the St. Nicholas Church in Tolmachi was closed. The vacated religious building was not empty for long, and it was transferred to the museum as a storeroom for storing paintings and sculptures.

Later, the church was connected to the museum halls by a two-story building, and a huge canvas “The Appearance of Christ to the People,” painted by the artist Ivanov, began to be displayed here. Then a new “Shusevsky” building appeared. At first, exhibitions were held there, but since 1940, new halls have been included in the main museum route.

Icons in the Tretyakov Gallery

At the beginning of the war, when the Nazis were rushing to the capital of the country, the gallery began to be dismantled. All the canvases were carefully removed from the frames, rolled onto wooden rollers, and, arranged with paper, packed into boxes. In July 1941, they were loaded onto a train and taken to Novosibirsk. Part of the gallery was sent to Molotov - present-day Perm.

The opening of the museum took place after Victory Day. The exhibition was completely restored to its original location, and, fortunately, none of the paintings were lost or damaged.

Hall No. 10 - “The Appearance of Christ to the People” - 1837–1857 (Alexander Ivanov)

For the 100th anniversary of the opening of the museum, a hall was erected for the works of the famous Russian painter Ivanov. And in 1980, a monument to Pavel Tretyakov by sculptor Alexander Pavlovich Kibalnikov and architect Igor Evgenievich Rozhin appeared in front of the museum building.

By the 1980s, more than 55 thousand paintings were stored here. The number of visitors grew so much that the building urgently needed to be expanded. Perestroika took several years. The museum received new premises for the storage of paintings, the depository and the work of restorers. Later, a new building appeared near the main building, which was called “Engineering”.

Hall No. 19 - “Rainbow” - 1873 (Ivan Aivazovsky)

All art museums in the world are engaged in protecting paintings from vandals, and the gallery in Moscow is no exception. In January 1913, a disaster happened here. An unbalanced viewer attacked the famous painting by Ilya Repin and cut it. The painting depicting the Russian sovereign Ivan IV the Terrible and his son was severely damaged. The museum curator Khruslov, having learned about the attack, committed suicide out of despair. The author and other artists participated in the restoration of the painting, and the faces of the characters were recreated.

In the spring of 2018, another tragedy occurred with the same picture. A drunken vandal broke the glass that protected the canvas and damaged its central part in three places. Later he was unable to clearly explain what he had done.

“The siege of Pskov by the Polish king Stefan Batory in 1581” - 1839-1843 (Karl Bryullov)

One of the most revered Russian icons, the Mother of God of Vladimir, is kept behind airtight glass in the gallery. This relic is more than ten centuries old. According to legend, the famous icon protected Muscovites and saved the city from the invasion of the troops of Khan Mehmet Giray. Since the paint layer began to peel off over time, restorers carried out restoration work, but did not touch the faces of the Mother of God and Jesus.

Museum complex

In addition to the main building in Lavrushensky Lane, the Tretyakov Gallery owns a large exhibition complex at Krymsky Val, 10. It exhibits works by famous artists of the 20th-21st centuries. The Tretyakov Gallery also oversees several memorial museums of artists and sculptors in the city.

Hall No. 17 - “Troika” (“Workshop apprentices carrying water”) - 1866 (Vasily Perov)

The museum complex is open and welcomes Muscovites and tourists all year round. A gallery is not only large and small halls with paintings. Lectures, film screenings, concerts, performances and creative meetings with artists are held here.

The gallery doors are open to guests on Tuesday, Wednesday and Sunday from 10:00 to 18:00, and on Thursday, Friday and Saturday from 10:00 to 21:00. Please note that museum ticket offices stop selling tickets one hour before closing. Visitors under 18 years of age are admitted to the gallery free of charge. Tickets to the exhibitions are valid for a month, but are available on a first-come, first-served basis.

Hall No. 3 - “Portrait of Peter III” - 1762 (Antropov A.P.)

The exhibitions can be viewed independently or as part of excursion groups. For convenience, visitors can use free mobile audio guides.

Professional guides conduct sightseeing and thematic excursions through the halls. During them, tourists are told about the history of the creation of individual paintings, introduced to ancient Russian art, masterpieces of painting of the 18th and 19th centuries, the work of Peredvizhniki artists and the Russian avant-garde.

Hall No. 26 - “After the massacre of Igor Svyatoslavich with the Polovtsians” - 1880 (Valentin Baygildin)

How to get there

The main building is located in the central part of the city, in Lavrushinsky Lane, 10. It is easily accessible on foot from the Tretyakovskaya and Novokuznetskaya metro stations.