Gathering pathology. Alexey Roschin, social psychologist
1. ...If you do not do as I said, then I will be forced to leave your tribe immediately and will never appear here again.
1. If you do not do as I said, then I will be forced to leave your tribe immediately and will never appear here again.
2. The dwellings of the Indians were made of wood, stood on stilts and had nothing in common with the house-like and animal skin-covered wigwams of the Indians who once inhabited North and South America.
3. Independence and autonomy in making vital decisions did not always lead her to doing the right thing, she made several fatal mistakes in her life, which we will dwell on later.
4. As you can see, the task is quite feasible, and you will only have to repeat the task so that I can be convinced that you have successfully mastered the knowledge that I have presented to you.
5. -But what about the gun, I can't leave it at the apartment.
After thinking for a while, she suggested:
- Let's put it in my wallet.
6. Thirty minutes later ... Christina drove up, wearing a white blouse with a deep neckline, a black skirt, and shoes of the same color.
7. ...Will you help us catch him [the agent]. At you have the opportunity to mitigate your punishment if you help us.
Answer
Life ancient man directly dependent on the tribe in which collective labor was established. Everyone lived in common dwellings, because it was easier to survive that way. Having united in a community, they could pass on experience from older generations to younger ones, who, in turn, learned to hunt, make various tools of labor from wood and stone. Skills and knowledge have been passed down from generation to generation for many centuries.
Every student should know the history of their ancestors. They can draw knowledge from textbooks that describe the life of ancient people. Grade 5 provides an opportunity to get acquainted with the first people and learn the features of their life.
First fire
Man has always been interested in the fight against natural elements. The conquest of fire was the first step towards the survival of mankind. Ancient people first became acquainted with fire, seeing volcanic eruptions and forest fires. People were not afraid of the scale of the disasters that befell them, but on the contrary, they wanted to use fire for their own benefit. Therefore, they learned to extract it artificially. Getting a fire was a rather laborious process, so it was carefully protected and preserved. Ancient people made fire in the following way. They took a dry plank, made a hole in it and twisted the stick in it until smoke appeared, followed by fire in the dry leaves near the hole.
Weapons and tools
The history of the life of ancient people has Interesting Facts. Scientists have found interesting finds: labor and many objects household items. They surprise with their ingenuity. All items are made by ancient craftsmen from improvised materials: wood, bone and stone. The main tools of labor were objects made of stone. With their help, wood and bone were subsequently processed. Many tribes made war clubs, arrows, spears and knives from stone for protection. Deer and whale bones were used to make axes for making boats from a single tree trunk. The process of making one boat with such a tool could take up to three years. Dog bone needles were used to sew shoes and clothes.
Features of cooking
The life of an ancient man could not do without cooking. The first people made household items mainly from bushes and branches, leather, bamboo, wood, coconut shells, birch bark, and so on. Food was cooked in wooden troughs into which red-hot stones were thrown. In more late period people learned how to make dishes from clay. This marked the beginning of the real cooking of food. Spoons were analogous to river and sea shells, and forks were ordinary wooden sticks.
Fishing, hunting and gathering
In communities, fishing, hunting and gathering were an integral part of the life of ancient people. This type of food production belongs to the appropriating form of economy. In ancient times, people were engaged in collecting fruits, bird eggs, larvae, snails, root crops, and so on. Mostly it was the work of the women of the tribe. Men got the role of hunters and fishermen. While hunting, they undertook various methods: traps, traps, paddocks and raids. The purpose of the hunt was to obtain food and other means of subsistence, namely: horns, tendons, feathers, fat, bones and skins. In catching fish, sticks with sharp stone tips were used, and later they began to weave nets.
raising livestock
The appropriating form of economy was replaced by the producing form. One main one can be distinguished - cattle breeding. ancient people changed over time, from nomads they turned into settled ones, they stopped striving to leave the places of their settlements, settled in them forever. Therefore, the domestication and breeding of animals became possible. Cattle breeding originated from hunting. The first were sheep, goats and pigs, later cattle and horses. Accordingly, an indispensable pet was a dog that guarded the house and was an ally in the hunt.
Agriculture
Women played a leading role in the development of agriculture, as they were engaged in gathering. The life of an ancient man changed radically when he mastered this type of food production. Trees were cut down with axes from stone, then burned. Thus, space was freed up in flattering areas. A digging stick with a sharp tip was an impromptu chopper. The first people dug the earth with it. Later, a shovel was invented - a stick with a flat end, and a hoe - an ordinary bough with a process to which a sharp stone, bone tip or animal horn was tied. Throughout the world, ancient people grew in the fields those plants that were inherent in their habitat. Corn, potatoes and pumpkins were grown in America, rice in Indochina, wheat in Asia, cabbage in Europe, and so on.
crafts
Over time, the life of an ancient man forced him to master various crafts. They developed according to the conditions of the area where the first people lived and the availability of nearby raw materials. The earliest of them are considered: woodwork, pottery, leather dressing, weaving, processing of skins and bark. There is a conjecture that pottery arose during the process of weaving vessels by women. They began to smear them with clay or squeeze out depressions for liquids in the pieces of clay themselves.
Spiritual life
The spiritual life of ancient man is seen in cultural heritage ancient egypt. This great civilization has left a significant mark in the history of all mankind. Religious motifs permeated all the works of the Egyptians. The first people believed that human earthly existence is only a transition to this stage. This stage was not considered so important. From birth, people were preparing to leave for a more perfect other world. The reflection of the spiritual life of Ancient Egypt is reflected in painting and other forms of art.
Human life in the art of ancient Egypt
Extraordinary and bright painting flourished in the state. The Egyptians were deeply religious people, so their whole life consisted of rituals, which can be seen in the themes of their paintings and drawings. Most of the paintings are devoted to higher mystical creatures, glorification of the dead, religious rites and priests. To this day, the finds of these works are true examples of art.
Paintings by Egyptian artists were performed in accordance with strict frames. It was customary to depict the figures of gods, people and animals strictly in full face, and their faces in profile. It looks like some kind of mystical scheme. Painting among the Egyptians served as decoration of religious buildings, tombs and buildings where noble citizens lived. Monumentality is also characteristic of the painting of Ancient Egypt. In the temples of their gods, Egyptian artists created images that sometimes reached enormous sizes.
The painting of Ancient Egypt has a unique style that is unique to it, incomparable with any other.
The ancient civilization of the first people captivates with its versatility and depth. This period is milestone in the development of all mankind.
Pavel Mikhailovich Tretyakov (1832-1898) - Russian businessman, philanthropist, collector of works of Russian visual arts, founder of the Tretyakov Gallery
The Tretyakov Gallery is 150 years old
Tatyana Yudenkova
Relentless Service
To the history of P.M. Tretyakov's collection
One cannot love one's neighbor without sacrificing one's labor to him.
F.M.Dostoevsky
Mikhail Zakharovich Tretyakov, father of the Tretyakov brothers, founders of the Tretyakov Gallery, came from a poor merchant family. In his spiritual testament, shortly before his death, he wrote: "Since the image of my trade is known to my sons, I hope that they will follow all my rules that I tried to inspire them" 1 . His sons elder Pavel (1832–1898) and younger Sergei (1834–1892) continued their father's work. From a variety of trade in shops (linen, bread, firewood) in the Old Gostiny Dvor, they very soon moved on to serious business.
Since 1860, the Tretyakovs owned a store located in Moscow in the Kitaigorodsky quarter opposite the Stock Exchange on Ilyinka Street - "a wide, shiny street of capitalists and bankers" 2 , where they traded in both Russian and foreign goods, mainly fabrics. Since the mid 1860s. they owned the Novo-Kostroma linen manufactory. And by the end of XIIn the tenth century, they occupied one of the first places in Russia among manufacturers. The Tretyakovs owned tenement houses in Moscow and Kostroma and large land plots in the Kostroma province. Their fortune was obtained by labor, and you cannot call it easy. Nevertheless, they are among the largest donors in Moscow and Russia 3 .
Pavel and Sergei Tretyakov, like many representatives of the third estate, were actively involved in charitable activities. Wealth implied responsibility and demanded an account. The "corrupting power" of money was directed to good deeds. Over time, charity becomes a class voluntary obligation, a feature of the commercial and industrial environment, an important sign time. P.M. Tretyakov since 1863 became a trustee at the “institution for deaf and dumb children” (later the Arnold School) 4 . P.M. Tretyakov’s donations grew from year to year, sometimes they covered the cost of buying paintings. Among the "irregular" and various donations, I would like to name: financial assistance in the research expedition of N.N.Miklukho-Maclay in the South Seas in 1876-1877, construction of the Temple of the Resurrection in Tokyo (Japan) and much more.
Large donations were rarely made during the life of the donor, as a rule, they were made according to a spiritual testament. The Tretyakov brothers were acquainted with each other's wills. The issue of merging the collections and donating them to the city of Moscow was resolved long before the actual transfer. The sudden death of his younger brother Sergei hastened the unification of the collections of the Tretyakov brothers and the transition of the gallery into the ownership of the city in 1892. In this sense, the lifetime gift of Pavel Mikhailovich Tretyakov is a rare exception. He became a trustee of the Moscow City art gallery brothers Pavel and Sergei Tretyakov, continuing to expand the collection until the last days of his life. At the time of Pavel Tretyakov's death, the collection of Pavel and Sergei Tretyakov, according to the catalog of 1898, included more than 3,300 works 5 .
The union of Pavel and Sergei Tretyakov can rightly be called ideal, this happens extremely rarely in history. “It is not often that the names of two brothers are so closely related to each other. During their lifetime, they were united by true kindred love and friendship. They live in eternity as the creators of the gallery named after Pavel and Sergei Tretyakov,” 6 wrote the historian of the Moscow merchant class P.A. Buryshkin. The Tretyakov brothers were impeccable business partners, they were connected not only by a common cause (about 200 letters from Sergei to Pavel are stored in the OR of the State Tretyakov Gallery), but by the closeness of interests, they managed to maintain respect and trust in each other until the end of their days. When the name of one of the brothers sounded, the other was invisibly present. Having gone through life together, as they say "hand in hand", each of them left his mark on the history of Russian artistic culture and the history of his hometown.
S.M. Tretyakov 7 was more active than his elder brother in the socio-political life of the city, rotated in government circles, participated as a vowel of the Moscow City Duma in many bills, was the Moscow mayor, etc. He began to collect later than his brother - in the early 1870s, he was mainly interested in modern Western painting, especially French, which was valued more than the works of the Russian school. His collection, not so numerous (consisted of 84 works of painting and graphics), was in a mansion on Prechistensky Boulevard and was Open only to acquaintances and "by recommendation". He was attracted by such eminent artists as Corot, Daubigny, Courbet, Bastien-Lepage, Millet, Fortuny, Knaus and many others. others ( most of paintings are now kept in the Pushkin Museum). Sergey Tretyakov created, in the words of I.E. Grabar, a “one-of-a-kind” gallery Western European art, which has become a kind of place of pilgrimage for lovers Western art 8 .
Pavel Mikhailovich, unlike his younger brother Sergei Mikhailovich, consciously devoted himself to the creation of a museum of Russian art. The expanding collection constantly demanded an increase in exhibition space: to residential building halls 9 were attached, and the house turned into a gallery; since 1874 the gallery has been open to a wide range of acquaintances, since 1881 - to the public. It is noteworthy that until the early 1880s, Pavel Tretyakov was known to a wide audience as “the brother of our Moscow mayor”, i.e. Sergei Mikhailovich. Later, his name, according to Repin, was recognized by the entire educated world.
The young Pavel Tretyakov made his first purchases in the 1850s. on the Sukharevsky market, first showing interest in old engravings, books, small Dutch genre paintings. He soon acquired nine works by obscure Western artists. “The first two or three mistakes in such difficult task as a definition of the authenticity of old paintings, forever turned him away from collecting 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,” the deceased used to say.
During the years of the formation of Tretyakov's personality, there were close ties between the Moscow merchants and the Slavophiles. Moscow since the 1850s. becomes the focus of the movement for the revival of national culture, the keeper of traditions, being an example of Russian identity. At the same time, Moscow is the capital of the Russian merchants, mastering new areas of life: the economy, trade, education, construction, charity, including the implementation of achievements European culture. These two most important vectors of development, fortunately, did not become mutually exclusive, but, on the contrary, complement each other. The "professor-merchant" coalition is a characteristic sign of Moscow life in the 1850s. - subsequently turned into a phenomenon of an all-Russian scale, which determined the originality national culture second half XIX - early XX century 12. If in the 1850s I.F. Mamontov (father of Savva Mamontov) is closely connected with the leaders of Slavophilism - S.T. Aksakov, F.V. Chizhov, M.P. Pogodin, with the “economic Slavophile” V.A. decades in the next generation, the Mamontovs, Morozovs, Ryabushinskys, who became the largest merchant families, continued the line of revival national tradition. It should be noted, however, in Lately V historical science there has been an overcoming of the antithesis "Westernism - Slavophilism". On the contrary, their joint efforts - researchers now believe - determined the originality of the national Russian culture and Russian thought in the European series 13 .
In line with these processes - the birth of Tretyakov's plan to create a museum of Russian art. Of course, Tretyakov was not the first in this field. The initial collections devoted to Russian art were the collection of P.P. Svinin, which did not last long, and the collection of State Councilor F.I. Pryanishnikov, sold by the owner to the state and forming the basis of the Moscow Rumyantsev Museum. Acquaintance of Tretyakov in 1854 in St. Petersburg with the collection of the latter is usually regarded as one of the important impulses towards the creation of the gallery.
A serious decision that gave purposefulness to his life for many years, Tretyakov announced in his will, drawn up when he left for his first trip to Europe in May 1860. The young merchant, who was not yet 28 years old, announced his intention to inherit the capital inherited from the priest , to divide among relatives, and to direct the capital acquired by him in the course of trading affairs to create affordableall "art museum, consisting of paintings by Russian artists", i.e. museum of the Russian national school, realizing the need to found it in Moscow, "in the heart of Russia".
The testament ended with a request to brother Sergei “to understand the meaning of desire, not to ridicule it, to understand that<…>for me, true and fiery loving painting (hereinafter, the emphasis is on auth. - T.Yu.), can't be best wishes how to start a public repository accessible to all fine arts bringing benefit to many, pleasure to all.
This decision sounded mature civil position person: the earned capital is determined for the creation of a museum of Russian painting. However, what should have been solved, according to the young collector, by the efforts of like-minded art lovers, Tretyakov completely lays on his own shoulders, making an attempt to solve the problem on his own.
Many researchers are surprised by the “miracle phenomenon” of Pavel Tretyakov, because acquaintance with his biography only confirms that “the idea<…>gallery was determined neither by the genetic program nor by the fundamental general<…>education, no special exalted atmosphere in the house, no beneficial influence of relatives<…>" 15 .
On May 22 (May 10 according to the old style), 1856, P. M. Tretyakov received the painting “Clash with Finnish smugglers” (1853) he had acquired and a receipt for receiving a deposit from the artist V. G. Khudyakov. This painting was the first acquisition of a novice collector 16 , it marked the beginning of a future collection, and May 22, 1856 - the date of foundation of the Tretyakov Gallery.
Having voluntarily placed himself at the disposal of a lofty goal, Pavel Mikhailovich has been consistently pursuing it for more than forty years, enriching it with new ideas at every stage. Everything in it seems justified by a single thought - the creation of a museum of national art. “... I direct my forces to one point of this close to me business. If I'm not doing enough on this point, I'm ready to stretch it, but not to scatter it in different directions, 17 - wrote Tretyakov, refusing material assistance to the Association of the Wanderers.
If we trace the early acquisitions of the still inexperienced collector of the late 1850s - 1860s, it turns out that most of them were awarded various awards - from a silver medal to the title of professor of historical painting. Among the first purchases, canvases on the themes of modern life, popular at the time of formation, prevail. household genre 1850s–1860s At the same time, Tretyakov decided on the first orders for artists.
In 1861, Tretyakov uttered words that became textbooks: “... I don’t need rich nature, or magnificent composition, or spectacular lighting, no miracles - give me at least a dirty puddle, so that there is truth in it, poetry, poetry in everything can be, this is the work of the artist" 18 . The attraction to the poetic and truthful beginning in art passes through the whole life of P.M. Tretyakov, being a kind of his aesthetic ideal, to which, according to the collector, artists should strive. Tretyakov himself is aware that each of them is looking for his own independent path, and for now he can only choose. But when buying, he boldly criticizes the work of his contemporaries, making comments and seeking amendments.
Along with the growth of the collection, the views of the collector naturally change. Near the end of the 1860s. the first shifts are taking place. He is no longer tied to academic evaluation, he is free to choose, relies on his artistic taste and begins to acquire paintings according to his view of the development of contemporary art. He is looking for works that reveal the true face of the artist: “... just give me your magical water,” Tretyakov addresses I.K. Aivazovsky in 1868, “one that would perfectly convey your incomparable talent” 19 . And from the beginning of the 1870s. Tretyakov's contacts with St. Petersburg and Moscow artists are so great and extensive that in 1871 he buys a good part of the paintings before the opening of the 1st traveling exhibition, in other words, reveals the "worthy" directly in the artist's studio. From now on, the acquisitions that Tretyakov makes are made only at his choice and until public recognition, i.e. before the painting appeared at the exhibition, before it was discussed in the press, before the very first critical reviews. “I ask you,” Tretyakov addresses Vasiliev, who lived in Yalta, “not to sell paintings there, so that I can choose” 20 .
From the end of the 1860s. Tretyakov begins to create portrait gallery eminent people of Russia. He began to consistently order portraits from artists, mainly those with whom he was in close contact (from the late 1860s - to Perov, in the middle - late 1870s - to Kramskoy, in the early 1880s - to Repin), but not only. Making orders for portrait painters, he shows firmness and determination, most of all he is concerned with the truthful characterization of the model. He helps to collect memories and select photographs, he cares about the form in which the depicted will appear. “You see that I am incorrigible, and, despite my fiasco, I go with my views and advice 21,” he explained to Repin. In letters, he evaluates, criticizes, demands and looks for something new, participating together with the executors of orders in the addition of a portrait form that would correspond to his ideas. At the same time, he buys works by old masters, adding to the collection, including a separate line of self-portraits of artists.
During his long collecting activity, he was sometimes visited by doubts. At times he saw defeat: “Am I doing the right thing?” 22 - wondered Tretyakov. But some indefatigable engine, a kind perpetum mobile that lived in him brought him back to action. “... with me in the course of 22 years there were three times such moments,” he wrote to Kramskoy in 1878, “that I was ready to quit the business I had begun. I am not sure that such a moment will not happen in the future; Of course, I will try to overcome this feeling again, but what if I don’t overcome it? 23. He firmly believed in the feasibility of the plan and remained unshakable in decision. As early as 1865, Tretyakov declared his hope for a “good future for Russian art,” confessing to the artist A.A. Russian paintings" 24 . "Our Russian school will not be the last," 25 he wrote to Rizzoni, hoping that the "cloudy time" in Russian art was over and "the fog was clearing up."
Ten years later, he would declare to Vereshchagin with even greater conviction that “he would have abandoned his goal of collecting works of art long ago if he had only our generation in mind” 26 . “In the future, Moscow will be of great, enormous importance (of course, we will not live to see it), and one should not regret that your collection has ended up here: in Russia, here is the most decent place for it,” 27 Tretyakov wrote to Vereshchagin. His thoughts in many respects have points of contact with the ideas of the Slavophiles. In their journalistic and literary works, the thoughts were often heard that everything that is being done in Russia is being done for its future: “None of us will live to see the harvest” (I.S. Aksakov) 28; “Our progress will be slow, and only our children will benefit from the labors of our contemporaries” (A.S. Khomyakov) 29 . best share for the next generations, they argued. " advanced people cannot be the engines of their era, they move the next one, because the people of their time are not yet ready” 30, - said I.S. Aksakov in 1858. The topic - Tretyakov and Slavophilism - is one of interesting problems, not yet disclosed by experts. It is far from accidental that next to the name of Tretyakov, the names of leading Slavophiles - V.A. Kokorev, F.A. Chizhov, I.S. Aksakov, Yu.F. solving political issues or the development of the identity of the Russian nation. With many of them, Tretyakov, being a member of a number of public organizations, met, was familiar with, communicated closely with some, was in correspondence.
In this regard, the topic Russian becomes a separate research problem, especially in relation to the collection of paintings. Tretyakov was one of the first who began to collect modern Russian paintings, and interest in the Russian theme, in the Russian plot, is natural. Already in the early 1860s, i.e. at the beginning of the journey, Tretyakov repeatedly asked his correspondent artists, who helped him select paintings for the collection, to look for him “a good landscape drawing, genre,” each time adding, “and better if Russian» 31 . And he frankly admitted: "... I would not want a Venetian look, they are all very tired, I'd rather wait" 32 (1863). In the same years, another shade appears in Tretyakov's artistic sympathies. “The most capital thing is “Princess Tarakanova in the dungeon” by K.D. Flavitsky, a work doing honor to the Russian school and the more that made in Russia, and not abroad ... ”33 - wrote Tretyakov, emphasizing the origin of the painting, which became the first work on the topic national history acquired in 1867
The attraction to Russian problems in art is not lost in the future. “It would be more interesting for me to have a Russian plot of Gun” 34, Tretyakov addressed Kramskoy in 1875, refusing the genre performed by the artist abroad. But this, of course, does not mean that he looked at his collection in a limited way, to the detriment of other vectors of development of painting, encouraging one art and belittling another. In one of the letters in the late 1870s. Tretyakov called the artist A.D. Litovchenko and the “mazurik Makovsky” (meaning K.E. Makovsky) “an alien element” in Russian art, and already in the 1880s. he acquired their works (albeit on a plot from Russian history and from Russian life). Then he bought the works of the so-called foreigners, i.e. painters who lived abroad for a long time (Yu.Ya. Leman, “The Lady of the Times of the Directory”, etc.) 35 , motivating this as follows: “I myself am very against foreign Russians, but you try to replenish them in many ways so that you can have a complete understanding of all Russians artists" 36 . In the 1880s he strives for objectivity and completeness of the reflection of the processes taking place in contemporary art: Russian artists living in Europe are part of the national culture, which should be represented in the collection. The position of a mature Tretyakov is the position of a person who equally respects and cognizes Russian and European culture, weighing them against each other, but giving preference without hesitation to the first. “Isn’t there something else wonderful from Russian paintings?” 37 - he asks Repin in 1886. Criticizing in a letter to a Moscow collector modern Art, Chistyakov declared that it was busy either "serving" in front of foreigners, or "crude cleverness in its own way ... Both are unbearable" 38 . Tretyakov replied to his correspondent, whose opinion he especially valued: “What you write about contemporary art, I fully agree with much. If I acquire things that contradict this, it is because I set out to assemble the Russian school, as it is in its consistent course” 39 . Tretyakov's words, uttered in 1879, become programmatic, defining the essence of his collecting activity.
The next step in the formation of the gallery was Tretyakov's awareness of the new quality of the collection and the transition from the history of the development of Russian artists to reflect the specifics of the development of Russian painting. Tretyakov's taste is changing along with the expansion of the tasks of the collection, which has consistently turned into a museum domestic art.
Replenishing and expanding the gallery, he was guided primarily by his own view on the development of art, trusted intuition and did not depend on the opinions of others. “... I was extremely grateful,” wrote Tretyakov to Repin, “if they told me what to take, and then it’s my business to think about what to do” 40 . At the same time, he knew how to listen to third-party opinion. Tretyakov's letter to L.N. Tolstoy is indicative, explaining the reasons why he did not acquire Ge's painting "What is Truth?". “I didn’t understand her,” Tretyakov honestly admitted. -... I can’t, as you wish, prove to you that you are mistaken, because I’m not sure that I’m not mistaken myself ... but your opinion is so great and significant that I must ... now acquire a picture and save it until the time when can be exposed" 41 . (A censorship was imposed on the painting.) “I am not ashamed of my lack of understanding,” he wrote further, “because otherwise I would be lying” 42 . Tretyakov was not afraid to frankly admit his own mistakes, he was extremely self-critical, especially when it came to his acquisitions. Of course, he had favorite artists and favorite paintings. Thus, for example, Tretyakov believed that "... in the future the works of Repin will take the first place" 43 , in the collection by 1898 there were more than fifty of his paintings and graphic works; he loved Vasnetsov, but once, according to the memoirs of M.V. Nesterov, he refused to accept his Alyonushka as a gift 44 . “The Savior of Kramskoy (“Christ in the Desert.” - T.Yu.) I really liked it ... that's why I was in a hurry to buy it, but many people don't really like it, and some don't at all. I think this is the most best picture in our school lately - maybe I'm wrong" 45 .
Tretyakov treated himself strictly. "Mistakes artistic kind, - he wrote to Repin, - i.e. skipping what you need or taking what you don't need happen to me very often; I know this very well, why I will never consider myself an expert, and I will not” 46 . More than once he resisted the title of "expert", perhaps out of modesty, perhaps it was easier to admit the mistakes made, which are inevitable in such a matter. He allowed "weak numbers" in his meeting. Therefore, he spoke about the need to carry out replacements in the gallery, calling them "purges". When he nevertheless decided to get rid of this or that picture, he acted extremely cautiously: “I remove superfluous things very carefully” 47 . “Who is really right,” the wise Tretyakov never tired of repeating, “only time will tell!” 48. Only time can act as a true judge - he believed. And in this statement, his position approaches that of an art historian.
Tretyakov, in a sense, looked at artistic process as a researcher, somewhat detached. He was not interested in momentary disputes and intrigues, did not care about the artist's belonging to one or another direction in art. He was primarily occupied with talented works, versatile representing the process of development of domestic art. At the time of the confrontation between the Wanderers and the Academy of Arts, he took a position, as they say, "above the fight." “I don’t see much grace in the fight against the Academy, this also takes time, and there is so little of it,” Tretyakov wrote to Kramskoy in 1879. “A close circle of the best artists and good people, diligence and complete freedom and independence - this is grace! 49 He was more worried about something else: not to miss anything important and significant for his congregation.
From the end of the 1870s. he purposefully looks for works that are “interesting in content”, “important for the Russian school”, which would complement the “existing copies” 50 of this or that master in his collection. “... it is better to give complete freedom to observers than to emphasize any plot or content” 51, he reflected on the completeness of artistic expression, considering the most important achievement of art to be freedom from artistic intentionality, in other words, tendentiousness, which was imposed on art by certain circles, including Stasov. The picture has value in itself, individual works at the same time characterize the movement of painting as a whole. "My personal opinion is that pictorial art it is impossible not to recognize the painting itself as the main thing ... - Tretyakov wrote to Tolstoy in 1890, - of course, a high content would be better, i.e. it would be highly desirable ... In a different landscape there may be more content than in a complex plot picture. All this is a matter of opinion, personal attitude, how can one argue? And how do you know who is right? 52 .
He frankly judges works, does not hesitate to give advice to artists, however, sometimes he can apologize for interfering in other people's affairs, and immediately finds an excuse for himself: “what should I do when they are so close to me!” 53
At first glance, the logic of the collector in the motivation of acquisitions is not always traced. So one day he confessed that he “obviously bought a bad thing, which is very curious. Then he got rid of it” 54 (about the portrait of the poet Ya.P. Polonsky by Zhodeyko, 1875). In 1878, he acquired, as Tretyakov himself put it, "under compulsion" 55 Myasoedov's painting Drought, which was praised by everyone, but no one bought it, and then the collector bought it so that the artist would not fall into creative apathy. In such acquisitions, he saw further development its goal is to support artists, not so much material as moral. In 1884, acquiring Repin’s painting “They Didn’t Wait,” he emphasized his interest in the opinion of the public: “There are many advantages in your painting, but there are also disadvantages; I am not interested in its content, but it seems to have a very strong effect on the public. And vice versa, despite the fact that “the picture of Litovchenko (“Tsar Alexei Mikhailovich ...” - T.Yu.) is not successful either with artists or with the public" 57 - he nevertheless acquires it. In 1892, he explained to Repin his refusal to purchase a number of the artist's works by "inconvenience with the masses in the room" 58 . And he did not acquire the painting “L.N. Tolstoy at work” by Repin “consciously”, not believing in its sincerity, it seemed to him that the writer was posing.
Meanwhile, the composition of the collection speaks for itself, testifying primarily to the collector's inherent fresh, original artistic feeling developed over the years. Years passed, “white spots” were discovered, gaps and gaps were eliminated, and what was not purchased on time was bought. He chose works of various properties. Artists, critics, the public might not like them, and they did not always meet his personal tastes, but, in his opinion, they should have been in the gallery, because in one way or another they reflected the evolution of Russian art. The expression "like - dislike" is inapplicable to the choice of Tretyakov. His choice was primarily to justify the need for the presence of each acquired work in the gallery. “He (Tretyakov. - T.Yu.) he himself told me, - Ge said in his speech at the congress of artists in 1894, - that he not only acquires those things that he likes, but even those that he personally does not like, but he considers it an obligation not to exclude them from school to which they belong. In the early 1900s A.P. Botkina, who completed the gallery after the death of her father, wrote: “... you can’t buy only the most excellent things. Dad bought wider” 60 .
In the 1880s–1890s he fearlessly acquired controversial things, shocking public opinion, causing discussions in the art world, i.e. acquired in spite of: everyone scolded Surikov's "Boyar Morozova", many did not accept Repin's works. Tretyakov's acquisitions were not affected by the censorship ban imposed on a number of paintings ("Rural procession” Perov, “Ivan the Terrible” by Repin, “What is truth?” Ge). This also manifested a kind of independence of the Moscow merchant from the St. Petersburg officials. Usually, researchers recall the history of the receipt of "The Girl Illuminated by the Sun" by V.A. Serov and "The Vision of the Young Bartholomew" by M.V. Nesterov. These paintings met with perhaps the sharpest criticism among the older generation of the Wanderers 61 . In the 1890s Tretyakov acquired the works of the young Wanderers N.A. Kasatkin, S.V. Ivanov, as well as works in which new searches for art at the turn of the century were outlined, among them paintings by artists A.P. Ryabushkin, F.A. Malyavin, some works by the World of Art artists A. N. Benois and K. A. Somov. Once Tretyakov honestly admitted that he did not understand the art of M.A. Vrubel 62 , nevertheless he accepted his graphic sketch “Walking on the Waters” as a gift; the same happened with the "passionate cycle" of paintings by N.N.Ge, which, after the death of the artist, was donated to the gallery. But also in the 1870s. Tretyakov bought works that did not find approval among people involved in art. So, in 1879, the acquisition of the painting "Princess Sophia" by Repin did not meet with the understanding of V.V. Stasov, M.P. Mussorgsky, P.P. Chistyakov, etc. In a number of cases, Tretyakov expressed dissatisfaction with the picture, individual details or the image as a whole, but even then the picture could become his property. When acquiring, he shared a person with whom he had to communicate, sometimes sort things out, resolve and overcome conflict situations, and the artist, in whom he appreciated talent, originality, determining its significance for art, etc. “As an artist, I love and respect him terribly,” he wrote about Vereshchagin, “but as a person I don’t know at all, that is, I don’t know in him what a person is loved for” 63. By the way, Tretyakov never bought the entire collections that were on sale, but only selectively, according to his ideas (the collection of V.A. Kokorev, N.D. Bykov).
One often hears that Tretyakov, forming his collection of contemporary art, acquired mainly the Wanderers. In the 1880s this was pointed out by contemporaries: “...a “patriotic trickle” passes through the entire collection,” wrote P. Boborykin, “the collection reveals the collector’s sympathy for certain group artists,<…>which has been called "literary" more than once. Ostroukhov later continued this thought: “Tretyakov ... was too often accused of his “addiction” to the Wanderers in his time. What was to be done? In the 1870s-1880s, the Wanderers united almost all outstanding talents Russia" 64 . In the first years of Soviet power, A. Efros stated this categorically: "The tastes of the 1880s - the dominance of realism - created P. M. Tretyakov" 65 . IN Soviet time the theme "Tretyakov - the collector of the Wanderers" acquired clear contours and turned into a stamp.
It is clear that in the years vigorous activity Tretyakov, it was the Wanderers who determined the main direction of Russian art. According to the memoirs of contemporaries, their exhibitions were the most lively and interesting. However, with equal interest, Tretyakov attended the student exhibitions of the MUZHVZ, where he managed to find future talents, he drew attention and acquired the early I.I. Levitan (“Autumn Day. Sokolniki”), S.I. Svetoslavsky, etc., on The MOLKh exhibition opened the young V.A. Serov (“The Girl Illuminated by the Sun”). When in St. Petersburg, he never missed the exhibitions of the Imperial Academy of Arts, where he also acquired paintings by artists of the academic circle that he liked (among them landscapes by Y.Yu. Klever, A.I. Meshchersky, former members of the association opposing the Wanderers, brothers P. and A. Svedomsky etc). For him, belonging to the Wanderers or another camp, in fact, did not matter much, first of all, the aesthetic value of the work was important to him. “This thing, in my opinion, is quite artistic!” 66, - Tretyakov thanked Kramskoy for reporting on the painting by A.P. Bogolyubov “The Mouth of the Neva” (1872). Or - in 1875, visiting a traveling exhibition, he called "pathetic" the works of his favorite artist V.G. Perov, "bad" - the itinerant artists S.N. Ammosov, L.L. Kamenev.
In the 1870s Tretyakov had almost no competitors in terms of acquisitions. On the contrary, he rejoiced if the picture fell "in good hands 67, because “you can't capture everything,” he said. His position was stable, his authority was extremely high. If a sensitive situation arose, then it was resolved easily: most of the artists were on his side, they made concessions to him. In 1880, when Grand Duke Vladimir Alexandrovich wished to purchase Vasnetsov’s painting “After the Battle ...”, Tretyakov immediately became aware of this, and he, ahead of the Grand Duke, acquired the painting from the exhibition at a price slightly lower than the one that was offered to the representative of the imperial house. There are stories about how Alexander III and his brother, Grand Duke Vladimir Alexandrovich, president of the Imperial Academy of Arts, were annoyed at exhibitions at the sight of paintings marked as the property of Tretyakov.
Since the mid 1880s. the emperor is trying to intercept Tretyakov's initiative. The Moscow collector has a serious competitor in the face of the sovereign. “The tsar ordered everything to be changed, everyone to be expelled, the Wanderers to be called ...” 68 - I.I. Tolstoy, conference secretary of the Imperial Academy of Arts, retold the words of the emperor. Throughout the 1880s. and until his death, the tsar actively collects contemporary Russian artists, adding to his collection of domestic, French and Danish art. Alexander III , like Tretyakov, regularly visited traveling exhibitions even before they opened. Apparently, it is no coincidence that in the minds of artists in the 1890s. the figures of the sovereign and the Moscow merchant are connected. "Tretyakov, like the sovereign, left, leaving many disappointed in their hopes" 69 . In these words of M.V. Nesterov, uttered in 1893, it is important to compare the two collectors, a kind of “equalization” of the emperor and the merchant, whose interests intersected in the field of Russian art.
A number of works at the turn of the 1880s-1890s, which Tretyakov wanted to acquire, were bought by Alexander III for the Russian Museum being created. Among them are “Christ and the Sinner” by Polenov, “The Cossacks” by Repin, “The Conquest of Siberia by Yermak” by Surikov. It seems that these facts caused at least a deep annoyance of the Moscow collector.
From the very beginning of his collecting activity, Tretyakov believed that since artists knew the high goal they had chosen to serve society with their collection, they should always meet the collector halfway, in other words, they were obliged to reduce the prices of their paintings. “You understand correctly how it really is, the desire to bargain, i.e. motive and necessary for me, since all savings go to the same purpose. But do you know that none of the artists understand this? 70 - Tretyakov complained to Stasov in 1889. Tretyakov did not like being called rich, reacted painfully sharply and categorically: Dervizakh, many in Moscow are richer than my brother, and my means are six times less than my brother; but I don't envy anyone, and I work because I can't help but work” 71 .
He repeatedly emphasized the specialness of his position. “Give in to me, it doesn’t matter to anyone else, some artists give it to me for free, since it’s not for me, for the Russian Society,” 72 he proudly declared to Vereshchagin in 1887. Bargaining with artists, the collector himself did not feel remorse, on the contrary , he was sure that one should not mix the assessment of the artistic merit of a work and the price assigned for it 73 - these are unrelated positions. Memoirists often cite Tretyakov's favorite question: "Will there be any concessions?" Sometimes he was delicate, sometimes persistent, assertive, he bargained desperately, seeking to reduce the price almost by half.
“Money is not a good thing,” Tretyakov once said to his daughter, “causing abnormal relationships” 74 . He took reproaches of throwing money very seriously: “... I would be less willing than anyone to throw money,” he wrote to Repin in 1883, “and I shouldn’t even dare to do it ... Everything that I spend and sometimes throw on the pictures - it constantly seems to me necessary. Offering his price for the painting “They didn’t expect” Repin, he seemed to justify himself: “I offer not because I would find it unfair to pay more, but because I need to moderate my expenses for building the collection! becomes unbearable! And forward you will not hear such insane expenses as Vereshchagin’s” 76 . It was hard for Tretyakov to acquire the Indian series by V.V. unexpected side: he is emotional, does not control himself, worries.
“My idea was from the very young years to make money so that what is acquired from society would also return to society (the people) in some useful institutions; This thought never left me in my whole life ... " 78 - this is Tretyakov's cherished thought.
It turns out to be one of a kind, stands out from merchant environment not immediately, turning from a collector, of which there were many at that time, into the owner of the largest collection national painting, connoisseur, museum worker, custodian, collector, customer, who made a significant contribution to the assertion of the intrinsic value of Russian art. It grows along with the collection, its taste is formed as the collection grows, and one can continue - as Russian art develops. He is the creator of the gallery and, in a sense, of the art in it. His needs and interests agree with the needs of Russian art of this time. He acquires something that does not contradict his ideas about what is proper, what is characteristic, what is innovative, which ultimately represents the main stages of Russian art even today. He acts like a tireless and restless explorer, he strives to move forward and expand. Development involves experimentation. The boundaries between artistic and non-artistic are conditional, Tretyakov once reflected. He quickly realized that public opinion is changeable, today they scold, tomorrow they sing hymns, everyone says different things, they don’t argue about tastes. The emergence of new artistic meanings is tested by time. The poetic and the prose change places in the unified field of art. He aspired to become above his own and others in Russian culture, because. I saw my task in reflecting the entire course of Russian painting. Those who wrote about Tretyakov, following Grabar, often asserted that Tretyakov acquired "all the best and most talented." However, the collection itself contradicts this - Tretyakov collected versatile, chose characteristic, typical, including ordinary, but indicative of the development of the Russian school. He respects and accepts modern development art, understands the irreducibility of works of art to a single and general. In art, he knows how to appreciate the individual, which has the quality of originality. Collected together, the works reflect the "spirit" of the times.
“After the fulfillment of all that I have planned” is the most important thought that permeates all the deeds and actions of a person and passes through his whole life. The planned is so grandiose and great that by the end of his life it began to overlap all the other concerns of Tretyakov. The formal status of the Moscow City Art Gallery of the brothers Pavel and Sergei Tretyakov acquired after its donation to Moscow in 1892. However, real recognition came much earlier. Becoming a trustee, Tretyakov became even stricter about the gallery - increased responsibility. Since 1893, the gallery began to receive gifts from artists and owners of paintings, which did not stop even after the death of the collector, so great was the importance of the gallery in the life of Moscow and Russia.
1 OR GTG. F.1. Unit 4705.
2 Moscow. Guide. M., 1915. P.157.
3 Ulyanova G.N. Charity of Moscow entrepreneurs. 1860–1914 M., 1999. S. 256-259.
4 The seriousness of P.M. Tretyakov’s participation in the affairs of the Arnold School is evidenced by the following fact: after his death, the directorate of the school appealed to the Moscow City Duma with a request to take over the school, since the death of the chairman of the school’s trustee committee P.M. existence (CIAM. F.179. Op. 21. Item 1827. Part 1. L.6).
5 Despite the fact that in the last lifetime catalog compiled by P.M. Tretyakov in 1898, there are 1622 works of Russian painting, 593 graphic works, 12 sculptures and 84 works of Western European painting and graphics, in reality there were much more works in the gallery. According to the calculations of Art. researcher of the State Tretyakov Gallery O.G. Ptitsyna, the graphic part, collected by P.M. Tretyakov, consisted of more than 1600 units instead of those indicated in the catalog - 593 works. The total number of paintings and drawings left by Tretyakov after his death (including a collection of 62 icons that came to the gallery after Tretyakov's death) is more than 3,300 items.
6 Buryshkin P.A. Moscow Kupecheskaya. Memories. M., 2002. S. 113-114.
7cm . about him: Nenarokomova I.S. The owner of the mansion on Prechistensky Boulevard //Panorama of the Arts. M., 1989. Issue. 12. S. 353-372; Nenarokomova I.S. Mayor S.M. Tretyakov // Our heritage. 1997. No. 43. pp. 89-97; Priymak N.L. Sergei Mikhailovich Tretyakov - philanthropist, collector, public figure// Tretyakov Gallery. 2004. No. 3 (04). pp. 62-73.
8 Grabar I.E. In memory of P.M. Tretyakov // Exhibition in memory of the twenty-fifth anniversary of the death of Pavel Mikhailovich Tretyakov. 1898-1923 / The State Tretyakov Gallery. M., 1923.
9 Gallery additions: 1872–1874; 1882; 1885; 1892; 1897.
10 Repin I.E. Letters. Correspondence with P.M. Tretyakov. 1873–1898 M.; L., 1946. P. 155.
11 TsGALI. F.822. Op. 1. Unit 49. L.5.
12 Arenzon E.R. Mammoths in Abramtsevo. Sources and incentives for artistic activity. M., 1988. P.30.
13 Tsimbaev N."Europeanism" as a category of national consciousness // Style of life - style of art. The development of the national-romantic direction of the Art Nouveau style in European art centers of the second half of the 10th century I X - early XX century. Russia, England, Germany, Sweden, Finland. M., 2000. S. 354, 362.
14 State Tretyakov Gallery. History essays. 1856–1917 L., 1981. S.302.
15 Aronov A.A. The golden age of Russian patronage. M., 1995. P.84.
16 Previously, it was believed that the beginning of the collection in 1856 was laid by two works: the named work of V. G. Khudyakov and the painting “Temptation” by N. G. Schilder. However, as a result of additional study of archival materials and exhibition catalogs, N.L. Priymak and N.N. Mamontova, the date of creation and entry into the Tretyakov collection of Schilder's painting has been changed. From now on, the painting is dated 1857, its receipt - 1858.
17 Correspondence of I.N. Kramskoy. I.N.Kramskoy and P.M.Tretyakov. 1869–1887 pp. 231-232.
18 Letters from artists to Pavel Mikhailovich Tretyakov. 1856–1869 M., 1960. T.1. P.303.
19 OR GTG. F.1. Unit 4751. L.98.
20 OR GTG. F.1. Unit 13. L.1.
21 Repin I.E.Letters. Correspondence with P.M. Tretyakov… P.41.
22 Correspondence of L.N. Tolstoy with P.M. Tretyakov / Publ. M. Babenchikova // Literary heritage. T. 37-38. L.N. Tolstoy. II . Unpublished correspondence. III. M., 1939. S.255.
23 Correspondence of I.N. Kramskoy ... S.232.
24 Letters from artists… Vol.1. P.325.
25 OR GTG. F. 1. Unit. ridge 4751. L. 81.
26 Vereshchagin V.V. Correspondence of V.V. Vereshchagin and P.M. Tretyakov. 1874–1898 M., 1963. P.28.
27 Ibid. P.29.
28 Aksakov I.S. Works. In 8 vol. M., 1886. V.8. P.252.
29 Khomyakov A.S. Full coll. op. In 8 t. M., 1900. T.1. P.69.
30 Aksakov K.S., Aksakov I.S. Literary criticism. M., 1995. S.298.
31 Letters from artists… Vol.1. P.318.
32 Ibid.
33 Ibid., vol. 1, p. 324
34 Correspondence of I.N. Kramskoy ... P.112.
35 Ibid. pp. 247-248.
36 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.71.
37 Ibid. P.113.
38 Chistyakov P.P. Letters. Notebooks. Memories. 1832–1919 M., 1953. P.96.
39 Ibid. P.97.
40 Repin I.E.
41 Correspondence of L.N. Tolstoy with P.M. Tretyakov // Decree. pp. 255-256.
42 Ibid. P.262.
43 Ibid. P.256.
44 Nesterov M.V. Letters. M., 1988. P. 157.
45 OR GTG. F.1. Unit 19. L.2.
46 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.155.
47 Correspondence of P.M. Tretyakov and V.V. Stasov. 1874–1897 M.; L., 1949. S. 192.
48 Ibid. P.123.
49 Correspondence of I.N. Kramskoy ... S.249.
50 Correspondence of I.N. Kramskoy ... P.129.
51 Ibid. P.182.
52 Correspondence of L.N. Tolstoy with P.M. Tretyakov // Op.. P.256.
53 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.38.
54 Correspondence of I.N. Kramskoy ... P.126.
55 However, then, after some time, the picture "left" from the collection; it is not listed in the inventory of 1893.
56 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.84.
57 Ibid. P.113.
58 Ibid. P.155.
59 Cit. By: Nekrasov N.V. On the tasks of collecting P.M. Tretyakov (on the 25th anniversary of his death) // Kazan Museum Bulletin. 1924. No. 1. pp. 78-86.
60 State Tretyakov Gallery. Essays on history ... P.196.
61 Goldstein S.N. P.M. Tretyakov and his collecting activities // State Tretyakov Gallery: Essays on History ... P.86.
62 Konstantin Korovin remembers ... M., 1990. S. 63, 512.
63 Correspondence of P.M. Tretyakov and V.V. Stasov ... P.31.
64 Iovleva L.I. Tretyakov Gallery in 1899-1913 // State Tretyakov Gallery: Essays on History ... P.210.
65 Efros A. Petersburg and Moscow collecting: (Parallels) // Among collectors. 1921. No. 4. P.18.
66 Correspondence of I.N. Kramskoy ... P.55.
67 Ibid. P.148.
68 Savinov A.N. Academy of Arts and Association of Travelers art exhibitions// Collection scientific papers Institute of Painting, Sculpture and Architecture named after I.E. Repin. L., 1972. S.23.
69 Nesterov M.V. Letters… P.104.
70 Correspondence of P.M. Tretyakov and V.V. Stasov… P.130.
71 Correspondence of I.N. Kramskoy ... P.174.
72 OR GTG. F.1. Unit 66.
73 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.133.
74 OR GTG. F.48. Unit 813.
75 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.69.
76 Repin I.E. Letters. Correspondence with P.M. Tretyakov… P.93.
77 Cit. By: Botkina A.P. P.M. Tretyakov in life and art. M., 1995. P. 177.
78 OR GTG. F.48. Unit 813.
The building of the Tretyakov Gallery and a monument to its founder Pavel Mikhailovich Tretyakov. May 22, 1856 is considered to be the founding date of the Tretyakov Gallery.
Further, short excerpts from the book "Pavel Mikhailovich Tretyakov in Life and Art", compiled according to the memoirs of Tretyakov's daughter Alexandra Pavlovna Botkina.
Pavel Mikhailovich Tretyakov descended from an old but poor merchant family. His great-grandfather Elisey Martynovich, from the merchants of the city of Maly Yaroslavets, arrived in 1774 as a seventy-year-old old man in Moscow with his family - his wife Vasilisa Trifonovna, the daughter of the Maloyaroslavets merchant Trifon Bychkov, and two sons - Zakhar and Osip. We did not manage to find out anything about Pavel Mikhailovich's earlier ancestors, since the archives of the city of Maly Yaroslavets contain files and documents only starting from 1812. Everything that was before burned down, probably during Napoleon's retreat from Russia...
Pavel Mikhailovich Tretyakov. Photo 1856 at the age of 24 - in the year of the beginning of collecting.
Pavel Mikhailovich, although full of humor, was very serious in business and enjoyed the great confidence of his father (Mikhail Zakharovich). In 1847, Mikhail Zakharovich writes: “All obligations and documents are known to both the wife and the eldest son, they are carefully entered in the book, which are written by me, and some by Pavlova’s filial hand.” And my son Paul was fifteen years old.
The younger brother is Sergei Mikhailovich Tretyakov. Photo. 1856 (aged 22)
Sergey was lively and frivolous, he liked to dress up. Once he somehow bought himself, without asking permission, smart shoes, for which he was hit by his father.
The Tretyakov youth visited the theaters, that their mother loved the theaters, there is no doubt. They themselves mention it. Pavel Mikhailovich first spoke about other types of art in letters to his mother: he describes his first trip to St. Petersburg:
...a few words about my life: from 8 o'clock to 7 o'clock I drink tea, travel around the city, have lunch and finally at 7 o'clock at the theater. Theater! What kind of theaters are here. What artistic talents, music, etc...
I was twice in Art Academy, in the Kazan Cathedral, in the Church of the Annunciation, in the Roman Catholic Church, in the circus, in the passage, etc....
Comparing St. Petersburg with Moscow, one cannot believe that these two capitals were of the same state ...
...The other day I was in the Hermitage; saw several thousand pictures; paintings by great artists, such as: Raphael, Rubens, Vanderwerf, Poussin, Murillo, S. Rosa, etc., etc. I saw an uncountable number of statues and busts. Ranging from clumsy Egyptian obelisks to superb mythological works by contemporary artists. I saw hundreds of tables, vases, other sculptural things made of such stones, which I had no idea about before.
19 s / m went with V. V. along the Neva (note, along the Neva) in Peter and Paul Fortress. Heard once Italian opera and saw Karatygin twice more. Was also in Alex.-Nevsk. monastery...
... As for the business of trade, there is someone to work without me, as many as two; and if something has accumulated for me, do not worry, I will do everything. Last days conducted decently; daily traveled around Gostiny Dvor, was in public library, in the Rumyantsev Museum, in the Mining Museum, three times at a private exhibition of paintings ...
This trip, apparently, played a decisive role in the life of Pavel Mikhailovich.
In the next two years, young people from the new merchant milieu begin to group around the Tretyakov brothers (Pavel and Sergei).
December 15, 1853 A.A. Medyntsev, the poet of their circle, writes congratulations to Pavel Mikhailovich on his birthday and name day. The greeting contains the following lines:
Honest Father Archimandrite,
Loving sincerely home life,
He will drive away the mist of foggy days
At the Sukharev Tower Market
Or in a small circle of friends ...
The mention of the Sukharev Tower market is not accidental: during these years, Pavel Mikhailovich went to Sukharevka and bought prints and books. In his pocket book for 1853, we read the entry - "purchase of paintings." This is clearly not an oil painting. The prices prove this: 8 rubles, 3 rubles, 75 rubles for 8 pieces. But he goes often, in July he was there five times...
But the very next year, Pavel Mikhailovich buys oil paintings. In October 1854, in a pocket book, he again writes - "purchase of paintings." This time he bought nine paintings for nine hundred rubles ... these nine paintings, bought by Pavel Mikhailovich, were his first purchase of paintings by old Dutch artists ...
In the spring of 1856, Pavel Mikhailovich met in St. Petersburg with (artists) Khudyakov and the Goravsky brothers, Apollinarius and Ippolit. From one meeting with Apollinary Goravsky, they felt affection for each other, and Pavel Mikhailovich invited him to visit Moscow ...
Apollinaris (Goravsky) writes to Pavel Mikhailovich:
“If I had known that everyone at home was healthy, I would not have left Moscow, we would have had time to examine everything with you. art galleries and at least two or three extra weeks would be spent with you. Believe me, I have become so accustomed to your family and am indebted to it that gratitude will forever remain in my soul and I will have a true disposition and eternal memory ... I sent a letter to the brothers' building the same afternoon. You, please, do not spoil them and do not take them into the house so often, and so you already do a lot of all sorts of pleasure for them.
Since 1857, several artists have been visiting the Tretyakovs, they become close and enthusiastic friends of the whole family.
Very often visited Pavel Mikhailovich V.G. Khudyakov, when he lived in Moscow. Their relationship can only be judged from Khudyakov's letters from St. Petersburg. Of course, Pavel Mikhailovich appreciated him as an artist, appreciated his judgment and taste, trusted him with his plans...
In general, Pavel Mikhailovich, when he felt sympathy for someone, expressed it in letters so warmly and affectionately that, looking at his card with a strict, slightly gloomy expression, one cannot believe that this person is writing these letters. And besides, he was trusting and went towards every manifestation of disposition ...
(As already noted) the first purchase of Pavel Mikhailovich was a collection of paintings by the old Dutch. These pictures decorated the rooms in Tolmachy.
House of the Tretyakovs in Tolmachi. Photography from the 90s
When Pavel Mikhailovich began to collect paintings by Russian artists, he hung them first in his office downstairs. Over time, when it became crowded, the paintings were hung in the dining room, then in the living room. He sent the old Dutch to Ilyinsky Lane, where his mother had lived since 1865. When the first gallery was built and the paintings from the living rooms were moved to a new place, the Dutch returned to the empty walls and remained there until the end of Pavel Mikhailovich's life. Whether all these paintings were originals is difficult to say. Subsequently, Pavel Mikhailovich said that, having bought them, he immediately realized that he had too little knowledge and experience to risk buying unmistakable works of old Western masters, and decided to acquire only paintings by Russian artists from exhibitions or from the authors themselves.
In 1853, a description of Pryanishnikov's gallery appeared. Pavel Mikhailovich could not help but be interested in this meeting and, of course, when he saw it, he could not help but be carried away by the desire to follow the example of Pryanishnikov. But Pryanishnikov, who could have been the father of Pavel Mikhailovich, collected the works of his contemporaries, our oldest the best craftsmen. Young Paul Mikhailovich at that time would have been beyond his powers, and he began collecting from his contemporaries.
The beginning of his collection, the first picture of Russian artists, Pavel Mikhailovich calls Schilder's "Temptation". He marks this acquisition in the catalog as 1856...
Schilder Nikolai Gustavovich. Temptation.
According to documentary data, the first purchase of Pavel Mikhailovich is Khudyakov's painting "Finland Smugglers". The painting was painted in 1853, he bought it in 1856, visiting Khudyakov's workshop in St. Petersburg. May 10 (probably according to the old style) a receipt is marked for receiving a deposit. On May 14, Khudyakov received the rest of the money.
Khudyakov Vasily Grigorievich Skirmish with Finnish smugglers
“The incident that gave me the pleasant pleasure of meeting you, I hope, will be a sure guarantee for the future, when, perhaps, I will have to return from foreign lands; and it will always be very pleasant for me to correspond with an amateur, with a young man who sympathizes with everything elegant and beautiful.
Friendly mutual services are established. Pavel Mikhailovich tries to attract artists to cooperate in collecting paintings and for this he helps them sell their things, becomes an intermediary between them and lovers ....
The collection of Pavel Mikhailovich, which originated in 1856, grew rapidly.
In 1872, a decision was made to build a gallery. 
Project of the facade of the Tretyakov Gallery
Sketch of the facade of the Tretyakov Gallery
Since 1860, Tretyakov had the intention to make his collection public property - he made a will, which stated:
“For me, who truly and ardently love painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts, bringing benefit to many, all pleasure”
Some of the early acquisitions of P.A. Tretyakov: 
Halt of prisoners "V. I. Jacobi
"Grandmother's Tales" by V. M. Maksimov
"Rural religious procession at Easter" Perov
Alexey Savrasov. View in the vicinity of Oranienbaum
In 1867, the Moscow City Gallery of Pavel and Sergei Tretyakov was opened to the general public in Zamoskvorechye. In August 1892, Pavel Mikhailovich donated his art gallery to the city of Moscow. By that time, the collection included 1287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons.
This is how the gallery hall looked shortly after the transfer of the collection to the city in 1892. The photo allows us to judge the original plan of the exposition.
Paintings by artists of the 18th century in hall No. 2 of the Tretyakov Gallery. 1898
Exposition of the City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov. Memorial Hall of Sergei Mikhailovich Tretyakov, who died in 1892.
Sergei Mikhailovich Tretyakov was also an avid collector of paintings. In his will, he wrote:
From the works of art that are in my house on Prechistensky Boulevard, I ask my brother Pavel Mikhailovich Tretyakov to take to join his collection ... everything that he finds necessary, so that the works of art he has taken receive the same purpose that he will give to his collection.
For Kramskoy's painting " Moonlight night» the second wife of S. M. Tretyakova, Elena Andreevna, posed for the artist
Portrait of P.M. Tretyakov by Ilya Repin, State Tretyakov Gallery, 1883
Tretyakov Pavel Mikhailovich died on December 4, 1898.
From book:
The man was gone, but his deeds remained, which grew magnificently. The crown of his life, the “National People's Gallery”, which he dreamed of creating from a young age. Passed by him fifty years ago from hand to hand to his homeland, significantly increasing its collections in Soviet years, she became famous all over the world and glorified And immortalized his name - THE STATE TRETYAKOV GALLERY.
It is only necessary to add that one hundred and sixty years have passed since the creation of the Tretyakov Gallery...
