Where is the exhibition of masterpieces of the Vatican. Vatican Art Gallery: the main treasures of the Pinakothek that everyone should see

I'm telling...
My wife and I bought tickets in advance via the Internet for November 25, entry at 11:30. We arrived in 10 minutes, stood for a while with the same “ticket holders” and all together went inside on time. Then wandered through the halls as much as necessary. Other citizens stood in the morning in a very long line, from which they let in portions of 10 people every half hour.

The exposition is organized very well. Pictures are correctly hung, on a good background. Signatures deserve special praise - in large letters, so it is very convenient for people with low vision: you can read everything without glasses.

The exhibition occupies three halls, and in one of them - the third - there are only eight works by a hitherto unknown master: Donato Creti. I will talk about them at the very end.

So the main and most interesting part of the exhibition fit in two very small halls. And that's good: it's not tiring. The audience is mostly middle-aged and elderly, many with sticks and crutches... This is the very beloved Soviet intelligentsia, to which I myself belong, and to whom I have the warmest and most respectful feelings. They are - the keepers and keepers of culture, tradition, morality and life in general. Those scum that, as I read, hold or recently held a sabbath called the "Congress of Russian Intelligentsia" do not go here. For them, hated and insulted by them, but serving and serving them, the authorities organize separate “closed” screenings by invitation cards. But God be with them! The end of them is vile and not far off... (I consider my political fuse to be completely spent on this: let's go to the exhibition!)

Photography is prohibited and is monitored closely. But a lot has already been posted on the Internet, which I used.

There are 16 works in the first hall. The exposition opens with Christ Blessing, XII century.

With all obviousness, this is a Byzantine letter, a Byzantine school, etc. Attributed as "Roman school". But we know where all these schools came from in the 12th century...

The second oldest work is "Saint Francis" (Margaritone d'Arezzo).

Then - five works of the XIV-XV centuries by different masters.

Let's look at them up close.

"Jesus before Pilate" (Pietro Lorenzetti):

"Christmas" (Mariotto di Nardo):

"Christmas and the Annunciation to the Shepherds" (Giovanni di Paolo) - charming in its fabulousness:

"Saint Nicholas calms the storm and saves the ship" (Gentile da Fabriano):

“Scenes from the life of Nicholas the Wonderworker (Fra Angelico) attract attention with an unexpectedly joyful and bright color (which, however, this photograph does not convey):

In Carlo Crivelli's Lamentation, to my complete surprise, I saw almost all the pictorial techniques that the Pre-Raphaelites had so effectively adopted. It will be interesting to know - did it occur to others?

The central place in the first room is rightfully occupied by the Lamentation of Christ by Giovanni Bellini. This is, of course, a masterpiece:

I note that in the entire exposition of works that I unconditionally considered "genuine masterpieces" - not so much. Despite the sometimes great names...

Further, if we continue to examine the first room “in the sun”, Ercole de Roberti’s oblong work “The Miracles of St. Vincenzo Ferrara” hangs, which is distinguished by the liveliness of the plot with many characters and high decorativeness in general.

Here is an enlarged fragment.

Then (and, in fact, this is the first thing that catches your eye at the entrance) angels by Melozzo da Forli will look at us: two playing the lute, one playing the viol:

These angels are by no means incorporeal. Yes, and asexual - also difficult. Very lively, quivering, emotional, let's face it: exciting faces, lips, eyes ... It is no coincidence that these angels are replicated in hundreds of handicrafts (postcards, magnets, etc.) for tourists visiting Rome.

The exposition of the first hall ends with two small works by Perugino, one of which I unconditionally refer to the coloristic masterpieces: “Saint Justina” (until recently considered “Saint Flavia”). Again I will say that the photo does not convey the fullness of the shades. However, this phrase applies to all illustrations:

The second work of Perugino: "Saint Placido":

We pass into the second room. It contains a dozen and a half more works.

And among them, too, there are genuine masterpieces. A little - but there is. (Not referring to anything as "genuine masterpieces", I am not just subjective: I am also influenced by momentary moods, vagaries of the weather, fluctuations in prices for rare metals, political news, visitors who happen to be nearby ... In general, you should not take my notations seriously.)

I will list, however, all the works - in the order in which they appear when going around the hall from left to right.

"Trinity with the Dead Christ" (Lodovico Carracci):

"Judith and the servant with the head of Holofernes" (Orazio Genileschi):

"The Denial of St. Peter" (Pensionante del Saracene?):

Nearby is one of the central canvases of the exposition: “The Entombment” (Caravaggio):

Further - "Saint Sebastian healed by Saint Irene" attributed to Trofim Bigot:

To his right is the famous painting by Guido Reni "Saint Matthew and the Angel" (an undoubted masterpiece):

Another work by Guido Reni and his workshop hangs nearby - "Fortune with a Purse". Good, but "not a masterpiece":

In the center of the second hall is a glazed, dimly lit for the sake of the preservation of the works, a showcase with small, almost monochrome works by Raphael: "Faith" and "Mercy":

To her left is Correggio's "Christ in Glory":

To the right of the display case with Raphael "Vision of St. Helena" by Veronese:

Further in a circle - "Penitent Magdalene" and "Unbelief of St. Thomas" Guerchino:

And then - a huge canvas by Poussin "The Martyrdom of St. Erasmus", on which the unfortunate Erasmus was ripped open and the intestines were pulled out of it ...

Evgeniy Elfimov reviews: 3 ratings: 3 rating: 22

Was today at the exhibition Roma Aeterna. First about the pros. The organizers of the exhibition managed to achieve the main thing: they managed to convey the very spirit of the Vatican. The overcrowding of crowds in a small space, the inability to see the pictures normally, the forced view over the heads - how painfully it reminds of the Vatican halls ... The second huge plus is electronic tickets. If you have e-tickets, you can safely go inside without any serious difficulties. Bravo! A year ago, it seemed that this was impossible in the State Tretyakov Gallery. But with patience and hard work, everything can be achieved, especially what has long been tested in large and small museums around the world. The third plus, and this is the merit of the Vatican side, is that all the paintings are in excellent condition. Obviously they have all been restored. If something is missing, then only those fragments that have been lost forever. The fourth plus is lighting. It is! True, it is set up in such a way that you need to inspect the paintings from afar, that is, on top of the discordant ranks of domestic lovers of beauty.
There are practically no cons of the exhibition. The only serious drawback is that there is practically nothing to watch. You understand this especially clearly in the third room. I think that walking briskly through the Vatican Museums, you are unlikely to stop at those paintings that were brought to Moscow. It is interesting to watch how visitors strive to get through to Raphael. They are trying to see in the semi-darkness the small-format work of the great master. The exhibition does not leave the feeling that Poussin is winding the guts of poor Erasmus. Slow, boring and annoying.
Conclusion: you should go to the exhibition only if you have never left the borders of your native fatherland and have not been to good museums.
Life hack for the weary. If you feel sad, then go down the floor below and see the wonderful paintings of Russian artists of the 19th century. The portrait of Emperor Alexander III is beautiful. The Venetian view is wonderful. The Russian girl is mesmerizing.
P.S. In fairness, I note that St. Francis Margaritone d'Arezzo is interesting, the angels of Melozzo da Forli are unrivaled in their category.

Natalia Safronova reviews: 25 ratings: 203 rating: 30

Shame on the Tretyakov Gallery for such an organization. All tickets were sold supposedly 1.5 months in advance, they let in max 80 people per half hour. Without tickets, 10 people are allowed out of the queue every half an hour - this is not a joke. People are freezing outside with children. A disgusting organization.

Svetlana Fishman reviews: 112 ratings: 121 rating: 334

Went on a Friday night, December 2nd. There are no complaints about the organization at all. Everything is clear and precise, no crowding in the halls, you can watch completely in your own convenient mode. Even if 5-6 people gather at some picture, this is not for long, and in a minute you can already look at it face-to-face. They let in very metered in the order of a live queue - 10 people once every half an hour, so you yourself can evaluate when you pass, if you still decide to stand. I must say right away that I would not do it in winter, for the sake of visiting this particular exhibition.
I'll explain why. Yes, 42 works were exhibited (although 47 were originally announced), there are "zests", but as such, there is no "headliner", "highlight of the program" in principle. The inspection ends with a very strange decision - one hall - one picture, but this is not the finale that you expect. As for Raphael, there are two works, but I will immediately warn you that these are not canvases, but very small wooden parts of the altar painting.
Compare the feeling to what you experience when an aperitif was brought in a restaurant, and then it turned out that this is the whole dinner. It is quite suitable for stimulating the appetite, but at the exit you are left with a feeling of unsatisfied hunger.
I don’t know who is responsible for this, whether the Italian side was greedy, or something could not be agreed or guaranteed with ours, but the fact remains that we did not see a full-fledged exhibition of Italian masters. So wait for us, Italy!

Veronica Anina reviews: 25 ratings: 21 rating: 152

The Tretyakov Gallery hosted an exhibition entitled Masterpieces of the Vatican Pinakothek. The time of its passage is from 02/19/2016 to 02/19/2017. What is a pinakothek, what is its significance for the inhabitants of Russia, can be found in the article.

Meaning of the word

Pinakothek is a term that comes from the fusion of two Greek words. The first part of the term means "board", that is, "picture", and the second - "store". It is easy to guess what a pinakothek is. In ancient Greece, this was the name of the room in which picturesque images were kept. Gradually, the meaning of the term changed somewhat.

What is the Pinakothek in the past and present

There was a building in the left wing of which they kept paintings brought to the goddess Athena as a gift. They were housed in several six-column rooms. The collection consisted of various painted works. It was made available for viewing by their citizens of Athens. The first catalog, which began the systematization of the repository, was created by Polemon of Ilion in the third - second century BC. e. There were Pinakotheks at Heraion (Temple of Hera).

The citizens of ancient Rome used the term to refer to a hall in which works of art were kept.

During the Renaissance, the term was used to refer to collections of paintings that were open to the public.

What is the Pinakothek today? The term refers to art galleries. A good example is one of the most famous Pinakotheks in the world.

Pinacoteca Vatican

The collection of paintings of the Vatican appeared a couple of hundred years ago. Its founder is considered to be Pope Pius VI. A few decades later, in 1797, most of the paintings were sent to Paris. The order was given by Napoleon. By 1815 the collection had returned to the Vatican. The decision to return the valuables was made at the Congress of Vienna, held after the Napoleonic Wars.

Paintings did not have a permanent location. They were transferred from one hall to another until they were placed in a wing of the Belvedere Palace. The public was able to see the Pinakothek only in 1908.

Twenty-four years later, a special building was erected for the collection. Pope Pius Eleventh became the customer for the construction, and L. Beltrami was the architect.

The collection consists of approximately 460 paintings, which are placed in eighteen rooms in chronological order. It contains works on religious themes. Mostly it is the work of Italian masters.

Hall examples:

• The first room shows the works of the Medieval Schools by such masters as Nicolò Giovanni.
• The eighth room contains works by Raphael Santi, including tapestries made according to his sketches.
• The tenth hall is represented by the school of Raphael and Venetian painting.
• The twelfth room consists of baroque paintings: works by Nicolas Poussin, Caravaggio, Guido Reni.
• The eighteenth room contains icons and mosaics from the fifteenth to sixteenth centuries.

You can visit the Pinakothek by buying a single ticket to enter the Sistine Chapel and the cost in 2016 was sixteen euros.

Since November 2016, the Vatican Pinakothek has opened in the Tretyakov Gallery. What is presented in the brought collection and what is its significance for residents and guests of Moscow?

Masterpieces of the Vatican Pinakothek in the Tretyakov Gallery

The exhibition (Vatican Pinakothek) consists of forty paintings. These are the works of Giovanni Bellini, Caravaggio, Raphael and other masters of the twelfth to eighteenth centuries. It will continue until February 19, 2017.

Tickets for the Vatican Pinakothek will cost five hundred rubles per person. The session of visiting the exhibition is thirty minutes. You can buy tickets for any time on the personal website of the Tretyakov Gallery.

According to the curator of the exhibition, Arkady Ippolitov, the exhibition is a kind of explanation of the idea of ​​"Moscow - the third Rome." The Pinakothek contains the history of the Papal State over the course of seven centuries. The institution of the papacy, according to him, is the link between European civilization and the ancient world.

The exhibition begins with the earliest icon of Rome, "Christ Blessing", which dates back to the twelfth century. It was written under the influence of Byzantium. The icon keeps memories of a single church, showing a single root from which the art of Italy and Russia developed.

Vasily Perov. "Troika" ("Apprentice artisans carry water"). 1866. Photo: State Tretyakov Gallery

Exhibition “Russian way. From Dionysius to Malevich is the second part of a joint project between the Vatican Museums and the State Tretyakov Gallery. The first part was an exhibition held in Moscow two years ago. Russian art will be shown from November 20 to February 16 in the Charlemagne Wing of the Bernini Colonnade of St. Peter's Basilica, where exhibitions of the Vatican Museums are held regularly. A special architectural solution has been created for the Russian exposition, which will allow the public to calmly (and, by the way, free of charge) view everything that will be brought from Moscow.

Natalia Goncharova. "Trinity". 1910. Photo: State Tretyakov Gallery

The Tretyakov Gallery presents The Russian Way as an exhibition that is unprecedented and bold in concept. For the first time for a foreign show, works of exceptional importance for our art have been collected in such a quantity. Most of them - 47 paintings and icons - from the collection of the Tretyakov Gallery, another 7 exhibits were provided by other domestic museums. The curators (the author of the concept and exposition - Arkady Ippolitov, the section of ancient Russian art was formed by Tatyana Samoilova, painting of the 19th-20th centuries - by Tatyana Yudenkova) abandoned the traditional chronological principle. At the exhibition, icons and paintings will be shown in such a way that the continuity, deep internal, rather than formal connection between ancient Russian and realistic and modernist art is clear, which is really unusual, since according to tradition it is rather customary to oppose them as religious and humanistic art, pre-Petrine and post-Petrine . That is, the exhibition should, in essence, outline the spiritual quest of Russian artists over the centuries. Or, as Arkady Ippolitov says, to show "the originality of the Russian artistic mentality."

Mikhail Vrubel. "Seated Demon" 1890. Photo: State Tretyakov Gallery

The juxtapositions built in the exposition may seem unexpected: “Christ in the Desert” by Ivan Kramskoy and the Permian wooden sculpture “Christ in the Dungeon”; "Black Square" by Kazimir Malevich and the Novgorod icon "The Last Judgment" of the 16th century; the textbook "Troika" by Vasily Perov and the iconic "Trinity". Other parallels are perceived as long known. Thus, the origins of "Bathing the Red Horse" and "Petrograd Madonna" by Kuzma Petrov-Vodkin are obvious.

Savior Not Made by Hands. 16th century Novgorod. Photo: State Tretyakov Gallery

“Our exposition is called The Russian Way. Probably the first thing that the viewer will immediately notice is the unusually sharp breaks in this path. This path passes through points of self-negation," poet and philologist Olga Sedakova begins her article in the exhibition catalogue. The anti-clerical Procession in the Kursk Province by Ilya Repin, as well as his Confession, and Mikhail Vrubel's beautiful Demon in his peace will also be brought to the Vatican. Naturally, the topic, as they say, could not be disclosed without the "Appearance of Christ to the People" by Alexander Ivanov. The painting that hangs in the Tretyakov Gallery is not subject to export - it is too large, its smaller version from the State Russian Museum will go on its way.

Ilya Repin. Religious procession in the Kursk province. 1881-1883. Photo: State Tretyakov Gallery

It is impossible to predict whether the originality of the idea of ​​the Russian Way will be clear to a foreign viewer, whether he will be interested in Russian fine art in close proximity to Michelangelo's Sistine Chapel and Raphael's School of Athens. When Zelfira Tregulova was asked by TANR about what would be an indicator of success, the director of the Tretyakov Gallery replied that attendance, of course, is always the main criterion, but it is also very important for her how much European art historians and the press will be interested in the Russian Way, as they will understand and will appreciate it.

As for the Russian public, which will certainly be able to understand and appreciate the non-banality of the exhibition concept, a Russian-language version of the catalog has been published for it, it will be sold at the Tretyakov Gallery. This was not the case before. And this seems to be a very important and correct decision, since the articles in the catalog do not repeat what has long been known, but describe the history of the spiritual search for Russian art as it is seen today.

The Tretyakov Gallery invites you to visit a new exhibition - “Roma Aeterna. Masterpieces of the Vatican Pinakothek. Bellini, Raphael, Caravaggio. It will be held from November 25, 2016 to February 19, 2017 in the Engineering Building (Lavrushinsky pereulok, 12). This largest in recent years and unprecedented international project will be an event for Russia and Europe, as well as for the whole world. And in 2017, the Tretyakov Gallery will show works of Russian painting on gospel scenes from its collection in the Vatican.

For the first time, the Vatican Museums, which are among the ten largest world collections, brought to Russia the best part of their collection - masterpieces of the 12th-18th centuries. Among the 42 canvases are the works of Giovanni Bellini, Melozzo da Forli, Perugino, Raphael, Caravaggio, Guido Reni, Guercino, Nicolas Poussin.

The name of the exhibition includes the Latin expression Roma Aeterna - "Eternal Rome". It reflects the perception of this city in the history of mankind - ancient and young at the same time, uniting such different eras as Antiquity, the Middle Ages and the Renaissance. The Eternal City became the center of empire, religion and art, and the concept of Roma Aeterna became one of the most important ideas of world culture. And the collection itself is as diverse as the culture of Rome.

Each work that visitors will see is exceptional. The exposition opens with a rare work of the Roman school of the 12th century - the image of "Christ Blessing", which had never left the Vatican before. It is close to Byzantine painting and demonstrates the common roots of Italian and Russian art.

The 13th-century work Saint Francis of Assisi by Margaritone d'Arezzo has been featured in all art history textbooks and is one of the earliest depictions of the saint who played an important role in Western church history. His name was chosen for himself by the current pope, the first Francis in the history of the Vatican.

There are also works by Gothic masters rare in Russian collections. Among these is "Jesus before Pilate" by Pietro Lorenzetti, echoing the famous painting by Nikolai Ge.

Two predellas tell stories from the life of Nicholas the Wonderworker, Archbishop of Myra of Lycia, revered by the Orthodox and Catholic churches. The heyday of the Renaissance includes one of the most interesting works of the largest master of the Ferrara school, Ercole de Roberti, “The Miracles of St. Vincenzo Ferrer” and “Lamentation” by the Venetian Giovanni Bellini. There are no canvases of these artists in Russia either.

On the frescoes of one of the largest painters Quattrocento Melozzo da Forli, angels are depicted, which are reproduced in large numbers on souvenirs and have become the hallmark of Rome. His paintings were removed from the dome of the apse during the rebuilding of the Church of the Holy Apostles in Rome and decorate a special hall of the Pinakothek.

The exposition ends with a series of paintings from the 18th century. The paintings of the Bolognese Donato Creti are dedicated to astronomical observations and complete the history of Lo Stato Pontificio - the Papal States, which soon ceased to exist and turned into the Vatican - Lo Stato della Città del Vaticano.