Tretyakov Gallery. Tretyakov Gallery: halls and their description
Meeting Tretyakov Gallery dedicated exclusively to national Russian art, to those artists who have 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 survived to this day.
The date of foundation of the Tretyakov Gallery is considered to be 1856, when the young Tretyakov acquired the first works of contemporary Russian artists, setting out to create a collection that could develop into a museum in the future. national art. "For me, truly and ardently loving painting, can't be best wishes how to start a public, accessible repository fine arts bringing many benefits, all pleasure, "the collector wrote in 1860, adding at the same time:" ... I would like to leave national gallery, that is, consisting of paintings by Russian artists".
Years will pass, and the good intentions of the young collector will be brilliantly executed. In 1892, Moscow, and with it the whole of Russia, received a large gift from Tretyakov (about 2 thousand paintings, drawings and sculptures) and already famous gallery true 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 education, has caused lively joy and surprise at the significance of the efforts and sacrifices you have made in his favor."
Together with the collection of Pavel Mikhailovich, the collection of his brother Sergei Mikhailovich, who had died shortly before, was also a collector, but already mainly works Western European artists middle and second half of XIX century. Now these works are in the collections of the State Museum fine arts named after A.S. Pushkin and the State Hermitage.
Who was Pavel Mikhailovich Tretyakov, and what guided him in his actions and undertakings? Tretyakov remained big all his life business man, and in glory 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's "table of ranks". Tretyakov died an eminent, honorary citizen of the city of Moscow, having greatly increased the capital of his ancestors.
N o "... my idea," he will say at the end of the journey, "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 all my life..." As you can see, the idea of public service, typical of his era, understood and interpreted by him in his own way, inspired him.
Retyakov - the collector was in of a certain kind phenomenon. Contemporaries were much surprised by the natural intelligence and impeccable taste of this hereditary merchant. "I must confess," the artist I.N. Kramskoy wrote in 1873, "that this is a man with some kind of diabolical instinct." Nowhere specially studied (the Tretyakov brothers received home education, predominantly practical), he nevertheless had a wide 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. Benois would say 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 enjoyed undeniably the greatest favor and respect of Tretyakov, was forced to remark: “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, 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 a well-deserved and undeniable authority and gave him "privileges" that no other collector had: Tretyakov received the right to be the first to look at new works by artists either directly in their workshops, or at exhibitions, but usually before their public opening.
The visit of Pavel Mikhailovich to the artists was always an exciting event, and not without spiritual trepidation, all of them, venerable and beginners, were waiting for Tretyakov's quiet: "I ask you to take the picture for me." What was the same for everyone public recognition. “I confess to you frankly,” I.E. Repin wrote to P.M. Tretyakov in 1877, “that if you sell it (it was about Repin’s painting “Protodeacon.” - L.I.), then only in your hands, I don’t feel sorry for your gallery, because I say without flattery, I consider it a great honor for myself to see my things there. Often, artists made concessions to Tretyakov, and Tretyakov never bought without bargaining, and reduced their prices for him, thereby providing all possible support to his undertaking. But the support here was mutual.
Artists and art historians have long noticed that, "if P.M. Tretyakov did not appear in due time, he would not surrender completely big idea don't start putting together Russian Art, his fate would have been different: perhaps we would not have known either the "Boyar Morozova", or the "Religious Procession ...", or 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 entered the open and free path, since Tretyakov was the only one (or almost the only one) who supported everything that was new, fresh and efficient in Russian art" (A. Benois).
The scope of the collecting activity and breadth of outlook of P.M. Tretyakov were truly amazing. Every year, starting in 1856, his gallery received dozens, if not hundreds, of works. Tretyakov, despite his prudence, did not stop even at very large expenses, if the interests of his business required it.
He bought the paintings that interested him, despite the noise of criticism and the dissatisfaction of the censorship, as was the case, for example, with V.G. Perov’s “Rural Procession at Easter” or I.E. He bought, even if not everything in the picture corresponded to his own views, but corresponded to the spirit of the time, as was the case with the canvas of the same Repin "The procession in Kursk province", the social severity of which did not quite appeal to the collector. I bought it if very strong and respected authorities like L.N. Tolstoy, who did not recognize religious painting V.M. Vasnetsov. Tretyakov clearly understood that the museum he was creating should not so much correspond to his personal (or someone else's) tastes and sympathies as reflect an objective picture of development domestic art. Perhaps that is why Tretyakov the collector, more than other private collectors, was deprived of taste narrowness and limitation. Each new decade brought new names and new trends to his collection. The tastes of the creator of the museum developed and evolved along with the art itself.
Giving, voluntarily or involuntarily, preference contemporary art, Tretyakov, nevertheless, from the first to the last steps of his collecting activity, stubbornly tracked and generously acquired all the best that was on the then art market from the works of Russian artists who had passed epochs XVIII- the first half of the 19th century and even ancient Russian art. After all, he created, in essence, the first museum in Russia, reflecting the entire progressive course of the development of Russian art. Which does not mean that Tretyakov did not have miscalculations and mistakes at all. So, linking his hopes for the great future of the Russian school with the work of the Wanderers, Tretyakov almost did not acquire the work of artists of the academic Directions XIX century, and their art is still poorly represented in the museum. Tretyakov showed insufficient attention and famous Aivazovsky. At the end of his life, the collector was obviously cautiously looking at the new artistic trends in Russian art of the 1890s. Passionately loving painting, Tretyakov created primarily an art gallery, rarely acquiring sculpture and graphics. A significant replenishment of 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 was acquired by Pavel Mikhailovich Tretyakov was placed in the rooms of his residential building in Lavrushinsky Lane, bought by the Tretyakov family in the early 1850s. But by the end of the 1860s, there were so many paintings that it was impossible to place them all in the rooms.
With the purchase of a large Turkestan series paintings and sketches by V.V. Vereshchagin, the question of the construction special building art gallery was resolved by itself. Construction began in 1872, and in the spring of 1874 the paintings were relocated to the two-story, consisting of two large halls (now halls No. 8, 46, 47, 48), the first room of the Tretyakov Gallery. It was erected according to the project of Tretyakov's son-in-law (sister's husband), architect A.S. residential building, but had a separate entrance for visitors. However fast growth The meeting soon led to the fact that by the end of the 1880s the number of gallery halls had increased to 14. The two-story building of the gallery surrounded the residential building on three sides from the side of the garden up to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in affiliation, public in nature, a museum free of charge and open for almost all days of the week for any visitor, regardless of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.
On the decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its life trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both on the capital allocated by the Duma and on his own. own funds, transferring such acquisitions already as a gift to the "Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov" (that was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898.
After the death of P.M. Tretyakov, the Board of Trustees, elected by the Duma, began to manage the affairs of the gallery.
Its members included different years prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I.N. Grabar. For almost 15 years (1899 - early 1913), Pavel Mikhailovich's daughter, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.
In 1899-1900, the empty residential building of the Tretyakovs was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and vestibules of the 1st floor). In 1902-1904, the entire complex of buildings was united along Lavrushinsky lane by a common facade, built according to the project of V.M. Vasnetsov and giving the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow sights.
At the beginning of the 20th century, the Tretyakov Gallery became one of the major 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, at the initiative of the artist and art historian I.N. Grabar, who at that time was the trustee of the Tretyakov Gallery, its exposition was reformed. If earlier 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.
Type of halls
A new period in the history of the Tretyakov Gallery began after the nationalization of the gallery in 1918, which turned it from municipal property into state property, securing its nationwide 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 by more than five times by the beginning of the 1930s. A number of small Moscow museums joined the gallery, such as the Tsvetkovskaya Gallery, the I.S. Ostroukhov Museum of Icon Painting and Painting, and partly the Rumyantsev Museum. At the same time, a collection of works was withdrawn from the gallery and transferred to other museums. Western European art formed from the collections of S.M. Tretyakov, M.A. Morozov and other donors.
Over the past half century, the Tretyakov Gallery has become not only a huge world-famous museum, but also a major science Center engaged in the storage and restoration, study and promotion of museum values. Researchers galleries are actively involved in the development of questions of the history and theory of Russian art, arrange 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 science. The Tretyakov Gallery has one of the richest specialized libraries in Russia, with more than 200,000 volumes of books on art; a unique photo and slide library; equipped modern technology restoration workshops.
The rapid growth of the collection of the Tretyakov Gallery already in the 1930s raised the question of expanding its premises. Where possible, new halls were added, and residential houses and other buildings adjacent to its territory were rebuilt and included in the gallery complex. By the end of the 1930s, the exposition and service areas were almost doubled, but even 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 (designed by architects A.V. Shchusev and L.V. Rudnev, 1930s), or the construction of a new building in a new place and the transfer of the entire collection of the Tretyakov Gallery to it (the building on Krymsky Val, architect N.P. Sukoyan and others, 1950-1960s). As a result of many discussions, it was decided to keep 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. Korolev (1929-1992). In 1985, the first building was put into operation - a depository, which housed spacious storage facilities for works various kinds arts and restoration workshops; in 1989 - the second, so-called Engineering Building, with rooms for temporary exhibitions, lecture and conference rooms, a children's studio, information and computer and various engineering services. The reconstruction of the main building, which began in 1986, was completed in 1994 and the gallery finally opened to visitors on April 5, 1995.
Over the years of reconstruction, a new concept of the Tretyakov Gallery has developed as a single museum in two territories: in Lavrushinsky Lane, where expositions and storages of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exposition areas of which have been given to art of the 20th century. Exhibitions, both old and new art, are held in both territories. In the process of rebuilding the gallery building in Lavrushinsky Lane new life acquired many historical and architectural monuments located in close proximity to the gallery, now included in its composition. So, restored after the ruin of the 1930s and restored the Church of St. Nicholas in Tolmachi (XVI-XIX centuries) was given the status of a "house church" at the museum, that is, a church and a museum at the same time; in the old city buildings of the 18th and 19th centuries along Lavrushinsky Lane (houses No. 4 and 6) there will be additional museum expositions Russian graphics and ancient Russian art. Projects for the construction of a new exhibition hall at the corner of Lavrushinsky lane and Kadashevskaya embankment.
The current collection of the Tretyakov Gallery has more than 100 thousand works and is divided into several sections: ancient Russian art XII-XVIII centuries - icons, sculpture, small plastic arts, applied art (about 5 thousand exhibits); painting XVIII- the first half of the 19th century, the second half of the 19th century and turn of XIX and XX centuries (about 7 thousand works); Russian graphics of the 18th - early 20th centuries (over 30 thousand works); Russian sculpture XVIII- the beginning of the 20th century (about 1000 exhibits); collection of old antique frames, furniture, applied arts and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located indoors on Krymsky Val.
The State Tretyakov Gallery is one of the largest art museums in Russia and the world, named after the founder, merchant and philanthropist Pavel Tretyakov. P. Tretyakov began collecting paintings in 1850, and 17 years later he opened a gallery, the collection of which consisted of about two thousand works of fine art and several sculptures. In 1893, the collection, previously donated to Moscow, became known as the Moscow City Tretyakov Gallery and was maintained with money bequeathed by the founders.
In 1918, the Tretyakov Gallery was nationalized and became the "state property of the RSFRS", its first directors were the art critic and artist I. Grabar, and then the architect A. Shchusev. Under them, the funds of the Museum grew, several new buildings were added, and new expositions were actively developed.
During the Great Patriotic War, all canvases and sculptures were taken to Novosibirsk and Molotov. The evacuation lasted more than a year, but already on May 17, 1945, the exhibitions were again open to residents and guests of Moscow.
In the following decades, the Museum continuously grew, and today it includes the Gallery on Krymsky Val, the Gallery in Lavrushinsky Lane, the house-museum of V. M. Vasnetsov, the Church of St. Nicholas in Tolmachi and other branches.
The museum's collections include works of art XI-XXI, among which are Russian painting, sculpture, graphics. by the most famous works, stored in the Museum, are considered icons of the XI-XVII centuries, and the face of Vladimirskaya is especially valuable among them. Mother of God, Rublev's "Trinity" and icons painted by Dionysius, Theophan the Greek, Simon Ushakov.
The basis of the collections of the Tretyakov Gallery is Russian painting, most of which dates back to the second half of the 19th century. The collection includes works by Kramskoy, Perov, Vasnetsov, Savrasov, Shishkin, Aivazovsky, Repin, Vereshchagin and other famous Russian artists. In the 20th century, the Gallery was replenished with works by Vrubel, Levitan, Serov, Malevich, Roerich, Benois. During the Soviet period, Deineka, Brodsky, Kukryniksy, Nesterov and others appeared in the expositions. In addition to painting, the Museum stores and exhibits works by Antokolkolsky, Mukhina, Shadr, Konenkov and other famous sculptors.
Currently, the Tretyakov Gallery is developing new expositions and exhibitions, is actively collaborating with many museums in the world and Russia, providing them with collections for temporary exhibitions, and is also carrying out restoration and research work, replenishes funds, develops cultural and educational programs, participates in major museum, film and music festivals.
The Tretyakov Gallery in 1995 was recognized as one of the most valuable cultural objects for its activities in the field of preserving art objects and promoting museum values.
Tretyakov Gallery Address: 119017, Moscow, Lavrushinsky lane, 10
Directions: Metro "Tretyakovskaya" or "Polyanka"
Tretyakov Gallery brief information.
The history of the creation of the Tretyakov Gallery began a long time ago. In 1832, the founder of the famous art museum, Pavel Mikhailovich Tretyakov. He received an excellent education due to the fact that his family was a merchant, and his parents owned a factory, whose income grew every year. Pavel Mikhailovich was always interested in art, although he worked with his father, over time he began to think about how to create a pavilion that would contain paintings by all Russian artists. It was their work that inspired the patron most of all.
At first, the paintings hung in Tretyakov's house, in the process of collecting the collection, extensions began to be made to the house, which in 1870 became available to the general public. When the philanthropist realized that all the canvases simply would not fit in the outbuildings, he ordered the construction of a special building - the Tretyakov Gallery, which opened its doors in 1875 and is located to this day in the oldest quarter of Moscow in Zamoskvorechye. From that moment, the history of the creation of the Tretyakov Gallery began.
In 1892, the collection was donated to Moscow, already then it numbered more than 1,300 paintings by Russian authors, most of whom not only sold their creations to Tretyakov, but were proud that the philanthropist chose them, and were grateful for the help he provided to all those in need. After the death of Pavel Mikhailovich, the Tretyakov Gallery was not abandoned, on the contrary, it began to replenish with new works, and by 1917 it contained more canvases, as well as a collection of icons, maps and other Russian creations.
Paintings from the Tretyakov Gallery: Ivan Shishkin - "Morning in pine forest» V. V. Vereshchagin - "The Apotheosis of War" I. N. Kramskoy - "Unknown" I. E. Repin - "Ivan the Terrible and his son Ivan" Serov Valentin - "Girl with Peaches" V. V. Pukirev - " Unequal marriage» R.F. Pavlovich - "Again deuce" B.K. Pavlovich - "Horsewoman"
The State Tretyakov Gallery is one of the largest museums in the world. Hundreds of thousands of people annually get acquainted with the collection of the Tretyakov Gallery, dedicated exclusively to national Russian art, those artists who have made a great contribution to the history of Russian art
Muscovites call this museum warmly and with love - "Tretyakovka". He is familiar to us and close to early childhood when we started coming there with our parents. Cozy, warm in Moscow, located in a quiet Lavrushinsky lane among the streets and lanes of Zamoskvorechye, ancient region Moscow.
The founder of the Tretyakov Gallery was the Moscow merchant and industrialist Pavel Mikhailovich Tretyakov. At first, everything that was purchased by Pavel Mikhailovich Tretyakov was placed in the rooms of his apartment building in Lavrushinsky Lane, bought by the Tretyakov family in the early 1850s. But by the end of the 1860s, there were so many paintings that it was impossible to place them all in the rooms.
The founding date of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: "The Temptation" by N. G. Schilder and "Clash with Finnish Smugglers" by V. G. Khudyakov, although earlier in 1854-1855 he bought 11 graphic sheets and 9 paintings by old Dutch masters. In 1867, the Moscow City Gallery of Pavel and Sergei Tretyakov was opened to the general public in Zamoskvorechye. Her collection included 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.
P. M. Tretyakov, setting out to create a collection that in the future could develop into a museum of national art. “For me, who truly and ardently love painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts that will bring benefits to many, everyone will enjoy,” wrote P. M. Tretyakov in 1860, adding: "... I would like to leave the national gallery, that is, consisting of paintings by Russian artists." Throughout his life, Tretyakov remained a major business man who did not have special education in the field of painting. Contemporaries were much surprised by the natural intelligence and impeccable taste of this hereditary merchant. Over time, high taste, strict selection, noble intentions brought Tretyakov a well-deserved and undeniable authority and gave him "privileges" that no other collector had: Tretyakov received the right to be the first to look at new works by artists either directly in their studios or at exhibitions, but usually prior to their public opening. P. M. Tretyakov bought the paintings that interested him, regardless of the opinions of critics and the dissatisfaction of the censors. It was with such pictures as "Rustic procession for Easter" by V. G. Perov, "Ivan the Terrible" by I. E. Repin. P. M. Tretyakov clearly understood that the museum he was creating should not so much correspond to his personal tastes and sympathies as reflect an objective picture of the development of Russian art. And Until now, almost everything that was acquired by P. M. Tretyakov constitutes a genuine gold fund not only of the Tretyakov Gallery, but of all Russian art.
In 1892, Pavel Mikhailovich donated his art gallery to the city of Moscow. By that time, the collection included 1287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons.
Pavel Tretyakov until his death was the manager of the gallery. In 1898, a Council was created to manage the gallery, chaired by a trustee, which at the beginning was I. S. Ostroukhov, and since 1913 - I. E. Grabar.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery.
On June 3, 1918, the Tretyakov Gallery was declared "state property of the Russian Federative Soviet Republic" and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum.
In 1926, Academician of Architecture A.V. Shchusev. The following year, the gallery received a neighboring house on Maly Tolmachevsky Lane ( former home merchant Sokolikov). After perestroika, the administration of the Gallery, scientific departments, a library, a department of manuscripts, and graphics funds were located here.
In 1932, the building of the church of St. Nicholas in Tolmachi was transferred to the Gallery, which became a storehouse of painting and sculpture. Later, it was connected to the exposition halls by a two-story building, the upper floor of which was specially designed to display A. A. Ivanov's painting "The Appearance of Christ to the People" (1837-1857). A passage was also built between the halls located on both sides of main staircase. This ensured the continuity of the exposure review.
In 1936, a new two-story building was opened on the north side of the main building - the so-called "Shchusevsky building". These halls were first used for exhibitions, and since 1940 they have been included in the main exhibition route.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the A.A. Ivanova. In 1980, a monument to P. M. Tretyakov, created by the sculptor A.P. Kibalnikov and architect I.E. Rogozhin.
Over the years of reconstruction, a new concept of the Tretyakov Gallery has developed as a single museum on two territories: in Lavrushinsky Lane, where expositions and repositories of old art are concentrated, from ancient times to the early 1910s, and in a building on Krymsky Val, the exposition areas of which are given to art XX century. Exhibitions, both old and new art, are held in both territories.
The current collection of the Tretyakov Gallery has more than 100 thousand works.
With the acquisition of a large Turkestan series of paintings and studies by V.V. Vereshchagin, the question of building a special building for the art gallery was resolved by itself. Construction began in 1872, and in the spring of 1874 the paintings were relocated to the two-story, consisting of two large halls (now halls No. 8, 46, 47, 48), the first room of the Tretyakov Gallery. It was erected according to the project of Tretyakov's son-in-law (sister's husband), architect A.S. Kaminsky in the garden of the Zamoskvoretsky Tretyakov estate and connected to their residential building, but had a separate entrance for visitors. However, the rapid growth of the collection soon led to the fact that by the end of the 1880s the number of halls of the gallery had increased to 14. The two-story building of the gallery surrounded the residential building on three sides from the side of the garden up to Maly Tolmachevsky Lane. With the construction of a special gallery building, the Tretyakov collection was given the status of a real museum, private in affiliation, public in nature, a museum free of charge and open for almost all days of the week for any visitor, regardless of gender or rank. In 1892, Tretyakov donated his museum to the city of Moscow.
By decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed its life trustee. As before, Tretyakov enjoyed almost the sole right to select works, making purchases both with capital allocated by the Duma and with his own funds, transferring such acquisitions already as a gift to the “Moscow City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov” (such was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of expanding the premises, adding 8 more spacious halls to the existing 14 in the 1890s. Pavel Mikhailovich Tretyakov died on December 16, 1898. After the death of P. M. Tretyakov, the Board of Trustees, elected by the Duma, became in charge of the gallery's affairs. In different years, it included prominent Moscow artists and collectors - V.A. Serov, I.S. Ostroukhov, I.E. Tsvetkov, I. N. Grabar. For almost 15 years (1899 - early 1913), Pavel Mikhailovich's daughter, Alexandra Pavlovna Botkina (1867-1959), was a permanent member of the Council.
In 1899-1900, the empty residential building of the Tretyakovs was rebuilt and adapted for the needs of the gallery (now halls No. 1, 3-7 and vestibules of the 1st floor). In 1902-1904, the entire complex of buildings was united along Lavrushinsky Lane with a common facade built according to the project of V.M. Vasnetsov and gave the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow sights
TRANSFER OF THE P.M.TRETYAKOV GALLERY AS A GIFT TO MOSCOW. 1892-1898
In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, died unexpectedly. He left a will in which he asked to attach his paintings to the art collection of his older brother; there were also the following lines in the will: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate an art collection to the city of Moscow and, in view of this, to give ownership to the Moscow City Duma of his part of the house ... where his art collection is located ... then I am part of this house, belonging to me, I give it to the property of the Moscow City Duma, but in order for the Duma to accept the conditions under which my brother will provide her with his donation ... ”The testament could not be fulfilled while the gallery belonged to P.M. Tretyakov.
On August 31, 1892, Pavel Mikhailovich wrote an application to the Moscow City Duma to donate his collection to the city, as well as the collection of Sergei Mikhailovich (along with the house). In September, at its meeting, the Duma officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (son of Sergei Mikhailovich) for the gift, and also decided to petition for the donated collection to be named “City art Gallery Pavel and Sergei Mikhailovich Tretyakov. P. M. Tretyakov was approved as a trustee of the Gallery. Not wanting to participate in the celebrations and listen to thanks, Pavel Mikhailovich went abroad. Soon thank-you addresses, letters, telegrams really rained down. Russian society did not remain indifferent to noble deed Tretyakov. In January 1893, the Moscow City Duma decided to allocate 5,000 rubles annually for the purchase of works of art for the Gallery, in addition to the amounts bequeathed by Sergei Mikhailovich Tretyakov. In August 1893 the Gallery was officially opened to the public (Pavel
Mihailović was forced to close it in 1891 due to the theft of works).
In December 1896, P.M. Tretyakov became an honorary citizen of the city of Moscow, as stated in the verdict of the Moscow City Duma “... For great merit in front of Moscow, which he made the center of the artistic education of Russia, bringing as a gift ancient capital his precious collection of works of Russian art.
After the transfer of the collection to the city, Pavel Mikhailovich did not stop taking care of his Gallery, remaining its trustee until the end of his life. The paintings were bought not only with the money of the city, but also with the funds of Tretyakov, who donated them to the Gallery. In the 1890s, the collection was replenished with works by N.N.Ge, I.E.Repin, A.K.Savrasov, V.A.Serov, N.A.Kasatkin, M.V.Nesterov and other masters. Beginning in 1893, P.M. Tretyakov annually published catalogs of the collection, constantly supplementing and updating them. To do this, he corresponded with artists, their relatives, collectors, extracting valuable information bit by bit, sometimes offering to change the name of the picture. So N.N. Roerich agreed with Pavel Mikhailovich when compiling the catalog of 1898: “... For the language, indeed, better name short, at least such “Slavic town. Messenger". It was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was again expanded, this time with an internal garden, in which Pavel Mikhailovich liked to walk, sacrificing everything for the sake of his beloved brainchild. The organization of the collection of Sergei Mikhailovich, the new re-hangling of paintings took away a lot of strength from Tretyakov. Trade and industrial affairs, participation in many societies, and charity required time and energy. Pavel Mikhailovich took an active part in the activities of the Moscow
Society of Art Lovers, Moscow art society, Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnold School for the Deaf and Dumb, helping not only financially, but also going into all the details educational process, construction and repair of buildings. At the request of I.V. Tsvetaev, Tretyakov also contributed to the creation of the Museum of Fine Arts (now State Museum Fine Arts named after A.S. Pushkin). All the donations of P.M. Tretyakov cannot be listed, it is enough to mention the help of the expedition of N.N. Miklukha-Maclay, numerous scholarships, donations for the needs of the poor. IN last years Pavel Mikhailovich was often unwell. He was also very worried about the illness of his wife, who was stricken with paralysis. In November 1898, Tretyakov went on business to St. Petersburg, returning to Moscow, he felt ill. On December 4, Pavel Mikhailovich Tretyakov died.
Gallery history. State Tretyakov Gallery
MONUMENT TO P.M.TRETYAKOV
Pavel Mikhailovich Tretyakov (1832-1898) was buried at the Danilovsky cemetery next to his parents and brother Sergei, who died in 1892; in 1948 his remains were transferred to the Serafimovskoye cemetery (Novodevichy Convent). Tombstone by sculptor I. Orlov, designed by artist I. Ostroukhov (granite, bronze).
After 1917, a monument-bust to V.I. Lenin was placed on a rectangular pedestal in front of the facade of the Tretyakov Gallery. Some time later, in 1939, a monument was erected on this site, a sculptural image of the Chairman of the Council of Ministers of the USSR. Sculpture S.D. Merkulova 3.5 meters high, depicting Stalin in full growth, made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has a high degree of preservation and is in courtyard the main building of the Tretyakov Gallery (leaning against the wall). On April 29, 1980, on the site of the removed monument to Stalin, a monument was finally erected to the founder of the Tretyakov Gallery, Pavel Tretyakov, a sculpture that still exists today. This is a four-meter granite statue designed by sculptor A.P. Kibalnikov and architect I.E. Rozhin.
THE POST-DEATH JOURNEY OF THE TRETYAKOVS
The Danilovskoye cemetery used to be famous for its special “third estate” flavor, however, it has not been completely lost to this day. The Moscow historian A.T. Saladin stated in 1916: “The Danilovskoye cemetery can be safely called a merchant cemetery, and it could not be otherwise, being close to the merchant Zamoskvorechye. Perhaps, no other Moscow cemetery has such an abundance of merchant monuments as this one.” A lot has changed since then. You can’t find here now the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins ...
Perhaps the most famous merchant burial of the Danilovsky cemetery, and perhaps the whole of Moscow, was the site of Tretyakov Pavel Mikhailovich, Sergei Mikhailovich and their parents. A. T. Saladin left the following description: “On the grave of Sergei Mikhailovich there is a black marble, rather high, but completely simple monument with the inscription: “Sergei Mikhailovich TRETYAKOV was born on January 19, 1834. He died on July 25, 1892.” The monument to Pavel Mikhailovich is a few steps away, under a protective wire grill, it is almost the same, but in a slightly more refined treatment. Caption: “Pavel Mikhailovich TRETYAKOV 15 Dec. 1832 d. Dec 4 1898". However, today all this is not at the Danilovsky cemetery. On January 10, 1948, the remains of both brothers, as well as the wife of P. M. Tretyakov, Vera Nikolaevna, were transferred to the Novodevichy cemetery.
Formally, the reburial was carried out on the initiative of the Committee for Arts under the Council of Ministers of the USSR. Chairman of the Committee M. B. Khrapchenko in a letter to the manager of the trust funeral homes under the Moscow City Council, he motivated his initiative as follows: “Despite the agreement concluded by the administration of the [Tretyakov] Gallery on the protection of these graves and their artistic tombstones, executed by the artist V. M. Vasnetsov, these graves fall into extreme decline. (...) Taking into account the petition of the Directorate of the State Tretyakov Gallery, as well as the request of the next of kin of the founders of the Gallery, the Committee for Arts under the Council of Ministers of the USSR, for its part, petitions for the transfer of the remains of Pavel Mikhailovich, Vera Nikolaevna and Sergei Mikhailovich Tretyakov, as well as their artistic gravestones from the cemetery Danilovsky monastery at the cemetery Novodevichy Convent where the most prominent figures of Russian culture and art are buried.
That the chairman of the commissariat confused the cemeteries of the Danilovsky Monastery and Danilovsky is not so strange - they are still confused, although the first has not existed for more than seventy years. The justification for the need to move the graves sounds strange: in the old place, de they "fall into extreme decline." However, graves that are taken care of will never “fall into decay”, but if they are abandoned, the decline is guaranteed, even if they are at the very Kremlin wall. The urn with the ashes of Mayakovsky stood in the best columbarium in the country then Donskoy cemetery and could not “fall into decline” in any way - nevertheless, it was transferred to Novodevichy anyway.
The underlying reason for all these reburials was, of course, completely different, and, judging by Khrapchenko’s letter, the authorities did not really want to reveal it: a campaign was launched in Moscow to collect and concentrate the remains in the Novodevichy Pantheon famous personalities. Moreover, reburials were made not only from cemeteries subject to liquidation, but in general from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally the second largest after Novodevichy.
Some sources (for example, the encyclopedia "Moscow") indicate that Sergei Mikhailovich Tretyakov still rests at the Danilovsky cemetery. This is wrong. In the archive of the Tretyakov Gallery there is an “Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakov and S. M. Tretyakov from the Danilovsky cemetery at the cemetery of the Novodevichy Convent dated January 11, 1948.” In addition to the act and other papers, the archive also contains several photographs: some depict the moment of exhumation, others were already taken on Novodevichy cemetery at the edge of a freshly dug grave. The photographs leave no room for doubt.
But here's what is curious: in the archives of the neighboring Danilovsky Monastery, among the cards for those buried here, there is also a card of Sergei Mikhailovich Tretyakov. It turns out that the Danilovsky monastery churchyard also claims to be the place of his burial? Of course not. Having the evidence of A. T. Saladin and the above-mentioned Act, this version can be safely discarded, but making the most interesting conclusion: since Sergei Mikhailovich was not buried in the monastery, but the documents were nevertheless “brought to him” there, obviously, the Danilovskoye cemetery was a kind of a branch of the monastery - maybe not always, but for some time.
At the Danilovsky cemetery, the grave of the parents of famous patrons has been preserved. Rather, their monument. To the left of the main path, almost immediately behind the memorial to those who died in the Great Patriotic war, surrounded by fragments of a forged fence that have rusted to the extreme, there is a strong, slightly rickety obelisk, reminiscent of a Russian stove, with the inscription:
Mikhail Zakharovich Tretyakov
Moscow merchant
died 1850 December 2 days.
His life was 49 years, 1 m. and 6 days.
Alexandra Daniilovna Tretyakova
was born in 1812.
died February 7, 1899."
Whether someone's remains lie under the obelisk today - we do not know for sure. It would seem, who could have thought of disturbing the bones of the older Tretyakovs? Ah, apparently it could. The transfer of the founders of the largest art gallery to the elite cemetery is somehow still understandable, but here’s what else their admirers came up with: according to the “guarantee letter” stored in the Tretyakov Gallery archive, Mytishchi Sculpture Factory No. 3 was obliged to produce at the Danilovsky cemetery: “a) Removal of ashes Tretyakov P. M. and his burial at the Novo-Devichy cemetery, b) The removal of the ashes of Tretyakov M. Z. and burial in the grave instead of the ashes of Tretyakov P. M., c) The movement of the monument to Tretyakov M. Z. to the place of the monument to Tretyakov P. M."
The Tretyakovs got it! Both older and younger. By the way, for some reason, not a word is said about Alexandra Daniilovna in the “guarantee letter”. The father, it turns out, was reburied in the place of the son (if they were reburied), but the mother was not? Mystery. So it turns out that it is impossible to say for sure whether the old Tretyakovs are now buried under their “nominal” tombstone.
In the depths of the Danilovsky cemetery, at the very apse of the St. Nicholas Church-chapel, there is a barely noticeable monument - a low column of pink granite. There are buried brothers and sisters of Pavel Mikhailovich and Sergei Mikhailovich, who died almost simultaneously in infancy in 1848 during an epidemic of scarlet fever - Daniil, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family, which no one has ever encroached on.
