The historic building of the Tretyakov Gallery. The history of the creation of the Tretyakov gallery. Museum-workshop of A.S. Golubkina

History of the Tretyakov Gallery

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

The collection of the Tretyakov Gallery is dedicated exclusively to national Russian art, to those artists who contributed to the history of Russian art or who were closely associated with it. This was the idea of \u200b\u200bthe gallery 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, aiming to create a collection that in the future could develop into a museum of national art. "For me, who truly and ardently loves painting, there can be no better desire than to lay the foundation for a public, accessible repository of the fine arts, which brings many benefits, everyone's pleasure," the collector wrote in 1860, adding at the same time: "I would like leave the national gallery, that is, consisting of paintings by Russian artists. "

Years will pass, and the good intentions of the young collector will be brilliantly fulfilled. In 1892 Moscow, and with it all of Russia, received from Tretyakov a large (about 2 thousand paintings, drawings and sculptures) and already famous gallery of genuine masterpieces of national art. And grateful Russia, represented by its leading artists, will declare to the donor: "The news of your donation has long spread across Russia and in everyone who cares about the interests of Russian enlightenment, has caused the liveliest joy and surprise at the significance of the efforts and sacrifices you brought in its favor."

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Together with the collection of Pavel Mikhailovich, the collection of his brother Sergei Mikhailovich, who had died shortly before, who was a Moscow mayor in the 1880s, was also a collector, but already mainly works of Western European artists of the middle and second half of the 19th century, was also donated to Moscow. Now these works are in the collections of the State Museum of Fine Arts named after A.S. Pushkin and the State Hermitage Museum.

Who was Pavel Mikhailovich Tretyakov and what was he guided in his actions and undertakings? Throughout his life, Tretyakov remained a major business man, and in glory and obscurity he was a worthy successor to the trading business of his grandfather - a Moscow merchant of the 3rd guild, the lowest in the merchant "table of ranks." Tretyakov died an eminent, honorary citizen of the city of Moscow, having greatly increased the capital of his ancestors.

But “my idea,” he will say at the end of the journey, “was from a very young age to make money so that what was acquired from society would also return to society (people) in some useful institutions; this thought did not leave me throughout my life. " As you can see, the idea of \u200b\u200bpublic service, typical of his era, understood and interpreted in his own way, inspired him.

Tretyakov - the collector was a phenomenon of a certain kind. Contemporaries were amazed at the natural intelligence and impeccable taste of this hereditary merchant. "I must confess," wrote the artist IN Kramskoy in 1873, "that this is a man with some kind of diabolical instinct." Having never studied anywhere (the Tretyakov brothers were educated at home, mostly of a practical nature), he nevertheless possessed broad knowledge, especially in the field of literature, painting, theater and music. "Tretyakov was a scientist by nature and knowledge," the artist and critic A.N. Benoit.

Tretyakov never worked with "prompters". Being closely acquainted with a huge number of artists, writers, musicians and with many very friendly, 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 own affairs. Kramskoy, who undoubtedly enjoyed the greatest affection and respect for Tretyakov, was forced to note: “I have known him for a long time and have long been convinced that no one has any 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 abandon their delusion. " Over time, high taste, rigor of selection and, of course, nobility of intentions brought Tretyakov a well-deserved and indisputable authority and gave him "privileges" that no other collector had: Tretyakov received the right to be the first to see new works of artists either directly in their workshops, or at exhibitions, but, as a rule, before their public opening.

Pavel Mikhailovich's visit to the artists has always been an exciting event, and not without spiritual trepidation, all of them, venerable and beginners, expected Tretyakov to say quietly: "I ask you to count the picture with me." Which was tantamount to public recognition for everyone. "I confess to you frankly, - wrote IE Repin to Pavel Tretyakov in 1877, - that if we are to sell it (it was about Repin's painting" Protodeacon "- Leonid I.), then only into your hands, I do not mind visiting your gallery, for I speak 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 was mutual.

Artists and art historians have long noticed that "if Pavel Tretyakov had not appeared in his time, had not given himself entirely to a big idea, had not begun to put together Russian Art, its fate would have been different: perhaps we would not have known "Boyarynya Morozova", not "Procession.", Not all those large and small paintings, which now adorn the famous State Tretyakov Gallery. (M. Nesterov). Or: ". Without his help, Russian painting would never have found an open and free path, since Tretyakov was the only (or almost the only) one who supported everything that was new, fresh and efficient in Russian art "(A. Benois).

The scope of collecting activity and breadth of horizons of P.M. Tretyakov's were truly amazing. Every year, starting in 1856, dozens, if not hundreds, of works were submitted to his gallery. 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 dissatisfaction with the censorship, as was the case, for example, with the "Rural procession at Easter" by V.G. Perov or with "Ivan the Terrible" I.Ye. Repin. I bought it, even if not everything in the picture corresponded to his own views, but corresponded to the spirit of the times, as was the case with the painting of the same Repin "Religious Procession in Kursk Province", the social acuteness of which did not fully appeal to the collector. I bought it if very strong and respected authorities like L.N. Tolstoy, who did not recognize the religious painting of 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, but rather reflect an objective picture of the development of Russian art. Perhaps that is why Tretyakov, the collector, more than other private collectors, was devoid of narrow taste and limitation. Each new decade brought new names and new trends to his collection. The tastes of the creator of the museum have developed and evolved along with the art itself.

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Giving, willingly or unwillingly, preference to contemporary art, Tretyakov, nevertheless, from the first to the last steps of his collecting activity, stubbornly followed and generously acquired all the best that was on the art market of that time from the works of Russian artists of the past eras of the 18th - first half of the 19th centuries and even ancient Russian art. After all, he created, in essence, the first museum in Russia, reflecting the entire progressive course of the development of Russian art. Which does not mean that Tretyakov had no miscalculations and mistakes at all. Thus, linking his hopes for the great future of the Russian school with the work of the Itinerants, Tretyakov almost never acquired the works of artists of the academic direction of the 19th century, and their art is still poorly represented in the museum. Tretyakov also showed insufficient attention to the famous Aivazovsky. At the end of his life, the collector was clearly apprehensive about the new artistic trends in Russian art of the 1890s. Passionately in love with painting, Tretyakov primarily created an art gallery, less often acquiring sculpture and graphics. A significant replenishment of these sections in the Tretyakov Gallery took place after the death of its creator. And so far almost everything that was acquired by P.M. Tretyakov, constitutes the true gold fund not only of the Tretyakov Gallery, but of all Russian art.

At first, everything that was acquired by Pavel Mikhailovich Tretyakov was located 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 there was no way to place them all in the rooms.

With the acquisition of a large Turkestan series of paintings and sketches by V.V. Vereshchagin, the question of building a special building for the art gallery was resolved by itself. In 1872, construction began, and in the spring of 1874 the paintings were relocated to the first room of the Tretyakov Gallery, which consisted of two large halls (now halls No. 8, 46, 47, 48). 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 Tretyakovs' estate in Zamoskvoretsk and connected with their residential building, but had a separate entrance for visitors. However, the rapid growth of the collection soon led to the fact that by the end of the 1880s the number of gallery halls had increased to 14. The two-story gallery building surrounded the residential building from three sides from the garden side 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 belonging, public in nature, a museum free of charge and open for almost all days of the week for any visitor, without distinction of gender and rank. In 1892 Tretyakov donated his museum to the city of Moscow.

By the decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed her trustee for life. 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" (this was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of the expansion of 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 gallery affairs began to be in charge of the Board of Trustees, elected by the Duma.

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) the daughter of Pavel Mikhailovich, Alexandra Pavlovna Botkin (1867-1959), was a permanent member of the Council.

In 1899-1900, the deserted apartment building of the Tretyakovs was rebuilt and adapted for the needs of the gallery (nowadays 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 gave the building of the Tretyakov Gallery a great architectural originality, which still distinguishes it from other Moscow attractions

At the beginning of the 20th century, the Tretyakov Gallery became one of the largest museums not only in Russia, but also in Europe. It is actively replenished with works of both new and old Russian art. In 1913-1918, at the initiative of the artist and art historian I.N. Grabar, who was in those years the trustee of the Tretyakov Gallery, its exposition is being reformed. If earlier new acquisitions were exhibited separately and were 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 still observed today.

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

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

Over the past half century, the Tretyakov Gallery has turned not only into a huge museum of world renown, but also into a major scientific center engaged in the storage and restoration, study and promotion of museum values. The gallery's researchers are actively involved in the development of questions of the history and theory of Russian art, organize numerous exhibitions both in our country and abroad, give lectures, conduct excursions, carry out extensive restoration and expert work, and introduce new forms of museum computer informatics. The Tretyakov Gallery has one of the richest specialized libraries in Russia, numbering over 200,000 volumes of books on art; one-of-a-kind photo and slide library; restoration workshops equipped with modern technology.

The rapid growth of the Tretyakov Gallery's collection already in the 1930s sharply raised the question of expanding its premises. Where possible, new halls were added, rebuilt and included in the gallery complex, residential buildings and other buildings adjacent to its territory. By the end of the 1930s, the exhibition and service areas were almost doubled, but this was not enough for the rapidly growing and developing museum. Projects for the reconstruction of the Tretyakov Gallery began to be developed, which included either a project for the demolition of all buildings adjacent to the gallery and its expansion up to the embankment of the Obvodny Canal (project by architects A.V. Shchusev and L.V. Rudnev, 1930s), or the construction of a new building in a new place and transferring to it the entire collection of the Tretyakov Gallery (building on Krymsky Val, architect N.P.Sukoyan et al., 1950-1960s). As a result of many discussions, it was decided to preserve the historic premises in Lavrushinsky Lane for the Tretyakov Gallery. In the early 1980s, its reconstruction and expansion began with the active support of the director of the Tretyakov Gallery, O.K. Queen (1929-1992). In 1985, the first building was put into operation - a depository, where spacious storage facilities for works of various types of art and restoration workshops were located; in 1989 - the second, the so-called Engineering Building, with premises for temporary exhibitions, lecture and conference rooms, a children's studio, information and computer and various 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 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 exhibition areas of which are given to art XX century. Exhibitions of both old and new art are held in both territories. In the process of rebuilding the gallery building in Lavrushinsky lane, many historical and architectural monuments located in the immediate vicinity of the gallery, which are now included in its composition, have acquired new life. Thus, the church of St. Nicholas in Tolmachi (16th-19th centuries), restored after the devastation of the 1930s and restored, was given the status of a "house church" at a 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) additional museum expositions of Russian graphics and ancient Russian art will be located. Projects are being developed to build 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 of the XII-XVIII centuries - icons, sculpture, small plastic, applied art (about 5 thousand exhibits); painting of the 18th - first half of the 19th century, the second half of the 19th century and the turn of the 19th and 20th centuries (about 7 thousand works); Russian graphics of the 18th - early 20th centuries (over 30 thousand works); Russian sculpture of the 18th - early 20th centuries (about 1000 exhibits); a collection of old antique frames, furniture, applied art and a huge section (more than half of the entire collection) of post-revolutionary painting, sculpture and graphics, located in the premises on Krymsky Val.

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

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

The year of foundation of the Tretyakov Gallery is considered to be 1856. It was then that Pavel Mikhailovich acquired the first two paintings by Russian artists: "Temptation" by N.G. Schilder and "Clash with Finnish Smugglers" by V.G. Khudyakova. Earlier in 1854 - 1855 P.M. Tretyakov bought 11 graphic sheets and 9 paintings by old Dutch masters. These paintings adorned the rooms in Tolmachi. When Pavel Mikhailovich began to collect paintings by Russian artists, he first hung them up in his office. Over time, when it became crowded there, the paintings were hung in the dining room, then in the living room. He sent the old Dutchmen to Ilyinsky Lane, where his mother had lived since 1865. When the first gallery was built and the paintings from the living rooms were 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 hard to say. Subsequently, Pavel Mikhailovich said that having bought them, he immediately realized that he had too little knowledge and experience to risk buying unmistakably 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 the Pryanishnikov gallery appeared. Pavel Mikhailovich could not help but become interested in this meeting and, of course, having seen it, he could not help but be carried away by the desire to follow the example of Pryanishnikov. But Pryanishnikov collected works of his contemporaries, our oldest best masters. Young Pavel Mikhailovich at that time was not able to do this, and he begins collecting from his contemporaries.

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

According to documentary data, the first purchase of Pavel Mikhailovich is Khudyakov's painting "Finnish Smugglers". The painting was painted in 1853, and he bought it in 1856 after visiting Khudyakov's workshop in St. Petersburg. During his stay in St. Petersburg in 1856, Pavel Tretyakov commissioned paintings to several artists: N.G. Shilder, N.E. Sverchkov, I.I. Sokolov, A.S. Bogomolov-Romanovich, A.G. Goravsky.

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

At the end of the 1850s, the canvases "Collecting cherries" by I.I. Sokolov, "The peddler" V. Jacobi, "View in the vicinity of Oranienbaum" A.K. Savrasov, "The Sick Musician" by M.P. Klodt. Probably, even then Tretyakov planned to create a museum where the national Russian school of painting would be presented.

Pavel Mikhailovich begins to acquire from Trutovsky in 1859. The famous "Round Dance", one of Trutovsky's best pieces, gets to Tretyakov. On the acquisition of the "Dying Musician" by M.P. Klodt's letters were not found. The painting was painted in 1859 and was probably purchased at the same time.

In the 1860s, Tretyakov acquired the paintings "The Halt of Prisoners" by V.I. Jacobi, "The Last Spring" by M.P. Klodt, "Grandma's Dreams" by VM Maksimov and others. Pavel Mikhailovich highly appreciated the work of VG Perov, to whom he wrote in October 1860: "Take care of yourself for the service of art and for your friends." In the 1860s, such works by Perov were acquired as "Rural Procession of the Cross at Easter", "Troika" and "Dilettante"; in the future, Tretyakov continues to acquire paintings by Perov, orders him portraits, actively participates in the organization of the posthumous exhibition of the artist's works.

In 1862, Bogolyubov sent Pavel Mikhailovich the "Ipatiev Monastery".

At the same time, Perov's "Rural procession at Easter" and Pukirev's "Unequal marriage" come to Pavel Mikhailovich Tretyakov.

In 1864, the collection saw the appearance of the first painting based on the plot of Russian history - "Princess Tarakanova" by K.D. Flavitsky. In the late 1860s, Pavel Mikhailovich ordered F.A. Bronnikov's work, which later became a favorite painting by Vera Nikolaevna Tretyakova, is "The Hymn of the Pythagoreans to the Rising Sun".

P.M. Tretyakov loved nature and understood it subtly, so the acquisition of landscapes was always not accidental. In the 1860s, paintings by L.F. Lagorio, A.P. Bogolyubov, M.K. Klodt, I.I. Shishkin. When ordering A.G. Goravsky performance of the landscape, P.M. Tretyakov wrote: "I do not need any rich nature, no magnificent composition, no spectacular lighting, no miracles, give me at least a dirty puddle, but so that there is truth in it, poetry, and poetry in everything can be an artist's business."

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

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

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

In Turgenev's portraits, Pavel Mikhailovich strove for a resemblance, one that would convey Turgenev as he saw and understood him himself. He met him, was familiar, and not a single portrait satisfied him completely. He wanted Turgenev to be written by Gong, who lived in Paris at the same time as the writer, but this did not take place - Gong did not dare to write it. Still, Perov wrote Turgenev, although Pavel Mikhailovich did not want to have so many portraits of one brush.

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

In 1869, Tretyakov asked A.A. Feta to intercede to L.N. Tolstoy agreed to pose. On October 25, Afanasy Afanasievich informed Pavel Mikhailovich that Tolstoy positively and definitely refuses. Four years have passed. Pavel Mikhailovich learns that I.N. Kramskoy lives five miles from Tolstoy's estate, in the estate, where he is going to paint the painting "Inspection of the old house." Pavel Tretyakov asks Kramskoy to use all his efforts for the consent of Lev Nikolaevich. And in a letter dated September 5, Kramskoy writes to Pavel Mikhailovich about the consent of Leo Nikolaevich Tolstoy.

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

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

At the second Traveling Exhibition, Tretyakov acquired Bogolyubov's painting "The Mouth of the Neva," for which he thanked Kramskoy. There were also exhibited works belonging to him by Perov - portraits of Turgenev, Dahl, Pogodin, Dostoevsky and Maikov; Myasoedova - "Zemstvo is having lunch", Klodt - "On arable land", "Stream in the forest" and "Midday" - Shishkin.

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

In the fall of 1872, Pavel Mikhailovich visited Vereshchagin's workshop in Munich, from which he emerged as an ardent admirer of his talent.

In the spring of 1874, Vereshchagin organized an exhibition of his works made after the Turkestan campaign and travels in Central Asia. Pavel Mikhailovich from the very beginning wanted to acquire the entire collection without splitting it up, to place it in Moscow, in a separate gallery, conveniently arrange (with overhead lighting) on \u200b\u200ba large street and constantly open to the public. Overcoming various obstacles, Tretyakov bought the paintings for a very high price - 92,000 rubles in order to donate everything to the Moscow School of Painting, Sculpture and Architecture, but the school's council rejected the gift due to lack of premises and funds for its construction. Pavel Mikhailovich decided to transfer the collection to the Moscow Society of Art Lovers on the condition that it be open for inspection. The society had to find funds for this within three years, which failed, and Vereshchagin's Turkestan series returned to Tretyakov, who by that time possessed a collection of the artist's sketches executed in India.

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

Paintings by V.I. Surikov's "Morning of the Strelets' Execution", "Menshikov in Berezovo", "Boyarynya Morozova"; works of I.E. Repin's "Religious Procession in Kursk Province", "They Did Not Expect", "Tsar Ivan the Terrible and His Son Ivan"; the work of V.M. Vasnetsov "After the slaughter of Igor Svyatoslavovich with the Polovtsy", II. Shishkin "Morning in a pine forest", IN. Kramskoy "Inconsolable grief", N.А. Yaroshenko "Life is everywhere" and others. Paintings by V.D. Polenova, I.I. Levitan, A.M. Vasnetsova, I.S. Ostroukhova. In 1885, 7 more halls were added to the house in Lavrushinskoye. By this time, Pavel Mikhailovich, when choosing works, was already completely relying on his taste, despite the objections and sometimes indignation of eminent artists. In 1888 he bought a painting by V.A. Serov's "Girl illuminated by the sun", which was met ambiguously by the public. In the late 1880s - early 1890s, the gallery also received paintings by the young M.V. Nesterov's "Hermit" and "Vision to the youth Bartholomew", as well as "After the rain. Ples "I.I. Levitan. The exhibition areas had to be expanded again, and in 1892 6 more halls were added.

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

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 - "Tretyakov Gallery". He is familiar and close to us from early childhood, when we began to come there with our parents. Cozy, Moscow-style warm, located in a quiet Lavrushinsky lane among the streets and side streets of Zamoskvorechye, the most ancient district of Moscow.
The founder of the Tretyakov Gallery was the Moscow merchant and industrialist Pavel Mikhailovich Tretyakov. At first, everything that was acquired by Pavel Mikhailovich Tretyakov was housed in the rooms of his apartment building in Lavrushinsky Lane, bought by the Tretyakov family in the early 1850s. But already at the end of the 1860s, there were so many paintings that there was no way to place them all in the rooms.
The date of foundation of the Tretyakov Gallery is considered to be 1856, when Pavel Tretyakov acquired two paintings by Russian artists: "Temptation" by N. G. Schilder and "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. Its collection consisted of 1276 paintings, 471 drawings and 10 sculptures by Russian artists, as well as 84 paintings by foreign masters.
P.M. Tretyakov, aiming to create a collection that in the future could grow into a museum of national art. "For me, who truly and ardently loves painting, there can be no better desire than to lay the foundation for a public, accessible repository of fine arts that will benefit many, everyone will enjoy it," wrote Pavel 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 big business man who did not have a special education in the field of painting. Contemporaries were amazed at the natural intelligence and impeccable taste of this hereditary merchant. Over time, high taste, rigor of selection, nobility of intentions brought Tretyakov a well-deserved and indisputable authority and gave him "privileges" that no other collector had: Tretyakov received the right to be the first to look at new works of artists either directly in their workshops or at exhibitions, but usually before their public opening. P.M. Tretyakov bought pictures that interested him, regardless of the opinions of critics and the dissatisfaction of the censorship. It was with such pictures as "Rural 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, but rather reflect an objective picture of the development of Russian art. And to this day, almost everything that was acquired by P.M. Tretyakov is the true 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 this 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, to manage the gallery, a Council was created under the chairmanship of the trustee of 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 the trustee of the Tretyakov Gallery.

On June 3, 1918, the Tretyakov Gallery was declared "the 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 (the former house of the merchant Sokolikov). After the restructuring, the administration of the Gallery, scientific departments, a library, a department of manuscripts, and graphic funds were located here.
In 1932, the Gallery was transferred to the building of the Church of St. Nicholas in Tolmachi, which became a storehouse of painting and sculpture. Later it was connected to the exhibition halls by a two-storey building, the upper floor of which was specially designed for the exhibition of the painting by A. Ivanov "The Appearance of Christ to the People" (1837-1857). A passage was also built between the halls located on either side of the main staircase. This ensured a continuous view of the exposure.
In 1936, a new two-storey building was opened on the north side of the main building - the so-called "Shchusevsky building". These halls were first used for exhibitions, and from 1940 they were 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 was erected in front of the gallery building, 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 exhibition areas of which are given to art XX century. Exhibitions of both old and new art are held in both territories.
The current collection of the Tretyakov Gallery includes over 100 thousand works.

By the decision of the Moscow City Duma, which now legally owned the gallery, P.M. Tretyakov was appointed her trustee for life. 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" (this was then the full name of the Tretyakov Gallery). Tretyakov continued to take care of the expansion of 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 be in charge of the gallery. 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 Botkin (1867-1959), was a permanent member of the Council.

TRANSFER OF THE GALLERY OF P.M. TRETYAKOV IN DAR MOSCOW. 1892-1898

In the summer of 1892, the youngest of the Tretyakov brothers, Sergei Mikhailovich, unexpectedly died. He left a will, in which he asked to add his paintings to the art collection of his elder brother; the will also contained the following lines: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate the art collection to the city of Moscow and, in view of this, give his part of the house to the Moscow City Duma ... where his art collection is located ... then I am part of this house, I am giving the property to the Moscow City Duma, but in order for the Duma to accept the conditions on which my brother will provide her with his donation ... ”The will could not be fulfilled while the gallery belonged to PM 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 (together with the house). In September, the Duma at its meeting officially accepted the gift, decided to thank Pavel Mikhailovich and Nikolai Sergeevich (Sergei Mikhailovich's son) for the gift, and also decided to apply for the appropriation of the donated collection of the name "City Art Gallery of Pavel and Sergei Mikhailovich Tretyakov." P.M. Tretyakov was approved as the Trustee of the Gallery. Not wanting to participate in the celebrations and listen to thanks, Pavel Mikhailovich went abroad. Soon, letters of thanks, and telegrams were really poured in. Russian society did not remain indifferent to Tretyakov's noble deed. In January 1893, the Moscow City Duma decided to annually allocate 5,000 rubles for the acquisition of artworks 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

Mikhailovich 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 the great service to Moscow, which he made the focus of Russia's artistic enlightenment, donating his precious collection of works of Russian art to the ancient capital" ...

After the collection was handed over 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 city's money, but also with Tretyakov's funds, 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. Since 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, getting valuable information bit by bit, sometimes offering to change the name of the painting. This is how NN Roerich agreed with Pavel Mikhailovich when compiling the catalog of 1898: “… For the language, indeed, a short name is better, at least this is“ Slavic town. Messenger". This was the last catalog prepared by Tretyakov, the most complete and accurate. In 1897-1898, the Gallery building was expanded again, this time at the expense of the inner garden, in which Pavel Mikhailovich loved to walk, who sacrificed everything for the sake of his beloved brainchild. The arrangement of Sergei Mikhailovich's collection, the new re-hanging of the paintings took a lot of energy from Tretyakov. Time and energy were demanded by commercial and industrial affairs, and participation in many societies, and charity. Pavel Mikhailovich took an active part in the activities of the Moscow

society of Art Lovers, the Moscow Art Society, the Moscow School of Painting, Sculpture and Architecture. He did a lot for the Arnoldov School for the Deaf and Dumb, helping not only financially, but also entering all the intricacies of the educational process, construction and repair of buildings. At the request of IV Tsvetaev, Tretyakov made his contribution to the creation of the Museum of Fine Arts (now the State Museum of Fine Arts named after A.S. Pushkin). All donations of P.M. Tretyakov cannot be enumerated, it is enough to mention the help of N.N. Miklukha-Maclay's expedition, about numerous scholarships, about donations for the needs of the poor. In recent years, Pavel Mikhailovich was often ill. He was very worried about the illness of his wife, who was struck by paralysis. In November 1898 Tretyakov went on business to St. Petersburg, returning to Moscow, he felt bad. 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 Danilovskoye cemetery next to his parents and his brother Sergei, who died in 1892; in 1948 his remains were transferred to the Serafimovskoye cemetery (Novodevichy monastery). Headstone by sculptor I. Orlov, designed by artist I. Ostroukhov (granite, bronze).

After 1917, a bust-monument to V.I. Lenin was erected on a rectangular pedestal in front of the facade of the Tretyakov Gallery. Some time later, in 1939, a monument was erected at this place, a sculptural image of the Chairman of the Council of Ministers of the USSR. Sculpture by S.D. Merkulov, 3.5 meters high, depicting Stalin at full height, is made in red granite. After dismantling, it is preserved in the State Tretyakov Gallery, has a high degree of preservation and is located in the courtyard of the main building of the Tretyakov Gallery (leaning against the wall). On April 29, 1980, a monument to the founder of the Tretyakov Gallery, Pavel Tretyakov, was finally erected on the site of the remote monument to Stalin, a sculpture that still exists today. This is a four-meter high granite statue designed by sculptor A. P. Kibalnikov and architect I. E. Rozhin.

"POST-DEATH JOURNEY" OF THE TRETYAKOVS

The Danilovskoye cemetery was formerly famous for its special "third-class" flavor, however, not completely lost to this day. Moscow historian A. T. Saladin stated in 1916: “Danilovskoye cemetery can be safely called a merchant's, but it could not be different, being close to the merchant's Zamoskvorechye. Perhaps no other cemetery in Moscow has such an abundance of merchant monuments as this one. " Much has changed since then. You cannot find here the graves of the famous Moscow merchants Solodovnikovs, Golofteevs, Lepeshkins ...

Perhaps the most famous merchant burial of the Danilov cemetery, and perhaps the whole of Moscow, was the site of the Tretyakovs Pavel Mikhailovich, Sergei Mikhailovich and their parents. AT 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, died on July 25, 1892 ". A monument to Pavel Mikhailovich a few steps away, under a protective wire mesh, it is almost the same, but in a slightly more refined processing. Caption: “Pavel Mikhailovich TRETYAKOV 15 December. 1832 d. Dec 4 1898 ". However, today all this is not at the Danilovskoye 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 Novodevichye cemetery.

Formally, the reburial was carried out on the initiative of the Committee for Arts Affairs under the Council of Ministers of the USSR. The chairman of the Committee, MB Khrapchenko, in a letter to the manager of the funeral bureaus trust under the Moscow City Council, motivated his initiative as follows: are in extreme decline. (...) Taking into account the petition of the Directorate of the State Tretyakov Gallery, as well as the request of the closest relatives of the founders of the Gallery, the Committee for Arts under the Council of Ministers of the USSR, for its part, petitions to transfer the remains of Pavel Mikhailovich, Vera Nikolaevna and Sergei Mikhailovich Tretyakov, as well as their artistic gravestones from the cemetery Danilovsky Monastery at the Novodevichy Monastery cemetery, where the most prominent figures of Russian culture and art are buried.

That the chairman of the committee of art confused the cemeteries of the Danilovsky monastery and the Danilovskoye one is not so strange - they are still confused, although the first has not existed for more than seventy years. The rationale for the need to move the graves sounds strange: in the old place, they say, they are "in extreme decline." However, the graves that are being cared for 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 Mayakovsky's ashes stood in the then best columbarium in the country at the Donskoy cemetery and could not "fall into decay" - nevertheless, it was still moved to Novodevichye.

The rationale for all these reburials was, of course, completely different, and, judging by the letter from Khrapchenko, they did not really want to disclose her authorities: a campaign was unfolding in Moscow to collect and concentrate the remains of famous personalities in the Novodevichy pantheon. Moreover, reburials were carried out not only from cemeteries subject to liquidation, but in general from everywhere, except, perhaps, the Vagankovsky cemetery - traditionally the second most important after Novodevichy.

Some sources (for example, the encyclopedia "Moscow") indicate that Sergei Mikhailovich Tretyakov still rests in the Danilov cemetery. This is not true. In the archives of the Tretyakov Gallery there is the "Act on the reburial of the remains of P. M. Tretyakov, V. N. Tretyakova and S. M. Tretyakov from the Danilovskoye cemetery to the cemetery of the Novodevichy Convent dated 11 January 1948". In addition to the act and other papers, there are several photographs in the archive: some of them capture the moment of exhumation, others were taken at the 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 the buried, 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. With the testimony of AT Saladin and the aforementioned Act, this version can be safely discarded, but making an interesting conclusion: since Sergei Mikhailovich was not buried in the monastery, and nevertheless documents were "brought in" to him there, it is obvious that the Danilovskoye cemetery was a kind of a branch of the monastery - maybe not always, but for a while.

At the Danilovskoye 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 killed 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 resembling a Russian stove with the inscription:

"Mikhail Zakharovich Tretyakov
Moscow merchant
died 1850 December 2 days.
His life was 49 years, 1 meter and 6 days.
Alexandra Daniilovna Tretyakova
was born in 1812.
died on February 7, 1899 ".

Whether anyone's remains lie under the obelisk today - we do not know for sure. It would seem, who could have thought to disturb the bones of the senior Tretyakovs? An, apparently, 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 then: according to the "letter of guarantee" stored in the Tretyakov Gallery's archives, Mytishchi Sculpture Factory No. 3 undertook to carry out at the Danilovskoye cemetery: "a) Removal of ashes Tretyakov P.M. and his burial at the Novo-Devichye cemetery, b) Removal of M.Z. Tretyakov's ashes and burial in the grave instead of P.M. Tretyakov's ashes, c) Relocation of M.Z. Tretyakov's monument to the site of P.M. Tretyakov's monument M. ".

The Tretyakovs got it! Both senior and junior. By the way, for some reason, the "guarantee letter" does not say a word about Alexandra Daniilovna. The father, it turns out, was reburied in the place of his son (if reburied), but the mother was not? Riddle. So it turns out that it is impossible to say for sure whether the old Tretyakovs are now buried under their "personalized" tombstone.

In the depths of the Danilovsky cemetery, at the very apse of the Nikolsky church-chapel, there is a barely perceptible monument - a low column of pink granite. There are buried the brothers and sister of Pavel Mikhailovich and Sergei Mikhailovich, who died almost simultaneously in infancy in 1848 during an epidemic of scarlet fever - Daniel, Nikolai, Mikhail and Alexandra. This is the only grave of the Tretyakov family, on which no one has ever attempted.