State Russian Museum collection of artists. State Russian Museum: works “Black Square”, “The Ninth Wave”, “The Last Day of Pompeii” (photo). “Moonlit Night on the Dnieper”, A. I. Kuindzhi

2. The palace itself was built in 1819-1826 for Prince Mikhail Pavlovich, the younger brother of Emperors Alexander I and Nicholas I.

3. The architect was the famous Carl Rossi.

4. The initial collection was based on works received by 1898 from the Academy of Arts (122 paintings), the Hermitage (80 paintings), the Winter Palace, the suburban palaces - Gatchina and Alexander (95 paintings), as well as acquired from private collections.

5. By the opening of the Russian Museum, the collection included 445 paintings, 111 sculptures, 981 drawings, engravings and watercolors, as well as about 5 thousand ancient monuments: icons and products of ancient Russian decorative and applied art.

6. In 1941, most of the collection was evacuated to Perm, the rest was removed from the exhibition, packed and hidden in the basements of the building. During the Great Patriotic War Not a single museum exhibit was damaged.

7. At the end of the 20th - beginning of the 21st centuries, the Russian Museum included from 92 marble sculptures buildings, Marble Palace, Stroganov Palace, .

8. The interiors of the palace are no less impressive than the collections contained within.

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11. The walls are decorated with magnificent European tapestries.

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14. There are a couple of sculptures on display on the stairs. Here fragment of a statue from the roof of the Winter Palace, by J. Beumchen.

15. Sculptor M.A. Kolo, model of the head for the monument to Peter I.

16. Icons from the 12th to 15th centuries are widely represented in the section of ancient Russian art.

17. These are works by Andrei Rublev, Dionisy, Simon Ushakov and other masters.

18. The oldest icon in the collection is the “Golden Haired Angel”, dating from the second half of the 12th century. Most experts attribute it to the Novgorod school of icon painting.

19. The most complete collection of works of fine art art XVIII- first half of the 19th century centuries.

20. Three sketches and numerous studies for the painting “The Appearance of Christ to the People” by Alexander Ivanov.

21. The epic canvas measuring 5.4 by 7.5 meters was created by Ivanov over 20 years, from 1837 to 1857. Now it is exhibited in the Tretyakov Gallery, etudes and sketches are in the Russian Museum.

22. Also in the hall is a sculpture in the antique style. V. Demut-Malinovsky, “Russian Scaevola”.

23. N. Pimenov, “A young man playing knucklebones.”

24. Karl Bryullov, portrait of the architect Konstantin Ton, author of the Cathedral of Christ the Savior.

25. “Christ and the Sinner,” Vasily Polenov, 1888.

26. It was written under the influence of the already mentioned “The Appearance of Christ to the People.”

27. In the painting, the author sought to tell the biblical parable “he who is without sin among you, let him be the first to throw a stone at her” as a real historical event.

28. The painting was exhibited at XV Traveling exhibition in St. Petersburg and Moscow, where it was purchased by Alexander III for his collection.

29. Fragment of the painting “Phryne at the festival of Poseidon in Eleusis”, G.I. Semiradsky, 1889.

30. The Russian historical series includes works based on fairy tales. M.A. Vrubel, “Bogatyr”, 1898-1899.

31. Also Vrubel, dish “Sadko”, 1899-1900.

32. The same stone with the inscription from the painting by V.M. Vasnetsov “The Knight at the Crossroads”, 1882.

33. Majolica fireplace “Volga and Mikula” from Bazhanov’s house. Made according to sketches by the same Vrubel.

34. Positive ships from Nicholas Roerich’s painting “Slavs on the Dnieper.”

35. Leonid Pozen, “Scythian”, 1889-1890.

36. A.L. Ober, "Tiger and Sepoy".

37. Many paintings depict nature. "Wave" by Ivan Aivazovsky.

38. Beautiful in its minimalism, “Lake” by Isaac Levitan.

39. Landscape genius Arkhip Kuindzhi, “Rainbow”, 1900-1905.

40. “Mordvin oaks” by Ivan Shishkin.

41. His “Stream in a birch forest”.

42. And here is Ivan Ivanovich himself, a portrait by Ivan Kramskoy, 1880.

43. Ilya Repin, “Belorus”, 1892.

44. Collection of paintings with Russian national flavor Boris Kustodiev opens. “The Merchant's Wife at Tea,” written for the last time, only in 1918.

45. In the background is patriarchal Russia.

46. ​​F. Malyavin, “Two Girls”, 1910.

47. “Spring Sunny Day” by Konstantin Yuon - the picture is light in mood, it’s good to write essays on it.

48. Similar picture Boris Kustodiev - “Maslenitsa”.

49. A portrait of Fyodor Chaliapin in a similar style was painted by Kustodiev in 1921.

50. Background for a great artist.

51. Another portrait of Chaliapin, made in 1911 by K.A. Korovin, filled with the light and ease of pre-war life.

52. Vasily Perov’s painting “Hunters at a Rest”, replicated across millions of Soviet kitchens, was painted in 1871. In terms of recognition, it can be compared with “The Unknown” by Ivan Kramskoy.

53. Part of another one famous painting- “The Capture of a Snowy Town”, Vasily Surikov, 1891.

54. And this is another picture familiar to everyone from childhood.

55. “Barge Haulers on the Volga” was written by Ilya Repin in 1870-1873.

56. Nearby you can see one of the sketches for the painting with a completely different composition.

57. Another picture of him shows a playful student. "Preparation for the exam", 1864.

58. Vasily Petrov’s painting “Monastery Meal” can be looked at for a long time.

59. It was written in 1865 and is a vicious satire on the clergy.

60. An important dignitary with a swaggering lady and an obsequious priest bowing before them, counting on donations for the monastery. A beggar woman with hungry children hopelessly reaches out for alms. And below, a priest is climbing somewhere.

61. Multi-figure canvas by K.A. Savitsky “To War,” created in 1880-1888, is dedicated to seeing off soldiers at Russian-Turkish war.

62. Now they would say, “the patriotic son did not find support from his liberal father”?

63. One of the episodes of that war was depicted by battle painter V.V. Vereshchagin - “Skobelev near Shipka”.

64. Everyone remembers “Girl with Peaches”; Valentin Serov’s style is difficult to confuse. This painting is called “Children”, in which the artist depicted his sons Sasha and Yura.

65. Serov’s fame as a portrait painter became a real bondage and curse for him. After 1895, he painted many portraits commissioned by the bourgeois and aristocratic nobility. This is a portrait Alexandra III with a report in hand, 1900.

66. “Emperor Peter II and Tsarevna Elizaveta Petrovna go hunting,” 1900.

67. In the portrait of Count F.F. Sumarokov-Elston with a dog (1903) Serov himself insisted on depicting the young count’s favorite dog, and he looks in the portrait almost more significant than his owner.

68. The same with the horse in the portrait of Prince F.F. Yusupov, but here the animal is presented as completely enraged.

69. The official work of Ilya Repin, “The ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary,” with sketches, occupies an entire hall with a skylight in the ceiling.

70. At the beginning of the 20th century, the era changed, realism was replaced by modernity. Portrait of the poetess Anna Akhmatova in the cubist style by Nathan Altman, 1914.

71. Also at the beginning of the century, theaters flourished. A.N. Benoit, " Italian comedy", 1906.

72. Self-portrait of V.I. Shukhaev as Pierrot, 1914.

73. Boris Grigoriev, portrait of Meyerhold, 1916. The pose was invented by the artist himself. The director was forced to pose on tiptoe for a long time, which is why he looks so haggard.

74. K.A. Somov, “Mocked Kiss”, 1908.

75. Kuzma Petrov-Vodkin, self-portrait, 1918.

76. We are transported to the art of the Soviet period.

Anyone who loves Russian painting has probably been to the Russian Museum in St. Petersburg (opened in 1897). Of course have . But it is in the Russian Museum that the main masterpieces of such artists as Repin, Bryullov, Aivazovsky are kept.

If we remember Bryullov, we immediately think of his masterpiece “The Last Day of Pompeii”. If you talk about Repin, then the picture “Barge Haulers on the Volga” appears in your head. If we remember Aivazovsky, we will also remember “The Ninth Wave”.

And this is not the limit. “Night on the Dnieper” and “Merchant’s Wife”. These iconic paintings Kuindzhi and Kustodieva are also in the Russian Museum.

Any guide will show you these works. And you yourself are unlikely to pass by them. So I simply have to tell you about these masterpieces.

Adding a couple of my favorites, albeit not the most “promoted” ones (“Akhmatova” by Altman and “The Last Supper” by Ge).

1. Bryullov. The last day of Pompeii. 1833

4 years of preparation. Another 1 year of continuous work with paints and brushes. Several fainting spells in the workshop. And here is the result - 30 square meters, which depict last minutes the lives of the inhabitants of Pompeii (in the 19th century the name of the city was feminine).

For Bryullov, everything was not in vain. I think there was no artist in the world whose painting, just one painting, would have created such a sensation.

People flocked to the exhibition to see the masterpiece. Bryullov was literally carried in their arms. He was dubbed the revived one. And Nicholas I honored the artist with a personal audience.

What struck Bryullov’s contemporaries so much? And even now it will not leave the viewer indifferent.

We see a very tragic moment. In a few minutes all these people will die. But this doesn’t put us off. Because we are fascinated by... Beauty.

The beauty of people. The beauty of destruction. The beauty of disaster.

Look how harmonious everything is. The red hot sky goes perfectly with the red clothes of the girls on the right and left. And how spectacularly two statues fall under a lightning strike. I'm not even talking about the athletic figure of a man on a rearing horse.

On the one hand, the picture is about a real disaster. Bryullov copied the poses of people from those who died in Pompeii. The street is also real; it can still be seen in the city cleared of ashes.

But the beauty of the characters makes what happened look like ancient myth. As if the beautiful gods were angry with beautiful people. And we are not so sad.

2. Aivazovsky. Ninth wave. 1850

This is the most famous picture Aivazovsky. Which even people far from art know. Why is she so famous?

People are always fascinated by the struggle between man and the elements. Preferably with a happy ending.

There is more than enough of this in the film. It couldn't be more action-packed. Six survivors desperately cling to the mast. Rolling nearby a big wave, ninth wave. Another one follows her. People face a long and terrible struggle for life.

But it's already dawn. The sun breaking through the torn clouds is hope for salvation.

Aivazovsky’s poetry, just like Bryullov’s, is stunningly beautiful. Of course, the sailors have a hard time. But we can't help but admire transparent waves, sun glare and lilac sky.

Therefore, this painting produces the same effect as the previous masterpiece. Beauty and drama in one bottle.

3. Ge. Last Supper. 1863

The two previous masterpieces of Bryullov and Aivazovsky were received with delight by the public. But with Ge’s masterpiece everything was more complicated. Dostoevsky, for example, did not like her. She seemed too down to earth to him.

But the churchmen were most dissatisfied. They were even able to achieve a ban on the release of reproductions. That is, the general public could not see it. Right up until 1916!

Why such a mixed reaction to the picture?

Remember how the Last Supper was depicted before Ge. At least . A table along which Christ and the 12 apostles sit and eat. Judas is among them.

For Nikolai Ge, everything is different. Jesus reclines. Which was exactly in line with the Bible. This is exactly how the Jews ate food 2000 years ago, in the Eastern way.

Christ has already made his terrible prediction that one of his disciples will betray him. He already knows that it will be Judas. And asks him to do what he has in mind without delay. Judas leaves.

And just at the door we seem to encounter him. He throws his cloak over himself to go into the darkness. Both directly and figuratively. His face is almost invisible. And his ominous shadow falls on those who remain.

Unlike Bryullov and Aivazovsky, there are more complex emotions here. Jesus deeply but humbly experiences the betrayal of his disciple.

Peter is outraged. Him hot character, he jumped up and looked after Judas in bewilderment. John cannot believe what is happening. He is like a child who has encountered injustice for the first time.

And there are less than twelve apostles. Apparently, for Ge it was not so important to fit everyone in. For the church, this was fundamental. Hence the censorship bans.

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4. Repin. Barge Haulers on the Volga. 1870-1873

Ilya Repin saw barge haulers for the first time on the Niva. And I was so struck by their pitiful appearance, especially in contrast to the summer residents vacationing nearby, that the decision to paint the picture immediately matured.

Repin did not paint sleek summer residents. But there is still contrast in the picture. The dirty rags of the barge haulers are contrasted with the idyllic landscape.

Maybe for the 19th century it didn’t look so provocative. But for modern man this type of employee seems depressing.

Moreover, Repin depicted a steamship in the background. Which could be used as a tug so as not to torture people.

In reality, barge haulers were not so disadvantaged. They were fed well and were always allowed to sleep after lunch. And during the season they earned so much that in the winter they could feed themselves without working.

Repin took a highly horizontally elongated canvas for the painting. And he chose the angle of view well. The barge haulers come towards us, but do not block each other. We can easily consider each of them.

And the most important barge hauler with the face of a sage. And a young guy who can’t get used to the strap. And the penultimate Greek, who looks back at the goner.

Repin was personally acquainted with everyone in the harness. He had long conversations with them about life. That's why they turned out to be so different, each with their own character.

5. Kuindzhi. Moonlit night on the Dnieper. 1880

“Moonlit Night on the Dnieper” is the most famous work Kuindzhi. And no wonder. The artist himself very effectively introduced her to the public.

He organized a personal exhibition. IN exhibition hall it was dark. Only one lamp was directed at the only painting in the exhibition, “Moonlit Night on the Dnieper.”

People looked at the picture in fascination. The bright greenish light of the moon and the lunar path was hypnotizing. The outlines of a Ukrainian village are visible. Only part of the walls, illuminated by the moon, protrudes from the darkness. Silhouette of a mill against the backdrop of an illuminated river.

The effect of realism and fantasy at the same time. How did the artist achieve such “special effects”?

In addition to mastery, Mendeleev also had a hand here. He helped Kuindzhi create a paint composition that shimmered especially in the twilight.

It would seem that the artist has an amazing quality. Be able to promote your own work. But he did it unexpectedly. Almost immediately after this exhibition, Kuindzhi spent 20 years as a recluse. He continued to paint, but did not show his paintings to anyone.

Even before the exhibition, the painting was purchased by Grand Duke Konstantin Konstantinovich (grandson of Nicholas I). He was so attached to the painting that he took it trip around the world. The salty, humid air contributed to the darkening of the canvas. Alas, that hypnotic effect cannot be returned.

6. Altman. Portrait of Akhmatova. 1914

Altman’s “Akhmatova” is very bright and memorable. Speaking about the poetess, many will remember this particular portrait of her. Surprisingly, she didn’t like him herself. The portrait seemed strange and “bitter” to her, judging by her poems.

In fact, even the poetess’s sister admitted that in those days revolutionary years Akhmatova was like that. A true representative of modernity.

Young, slender, tall. Her angular figure is perfectly echoed by the “shrubs” in the cubist style. And a bright blue dress goes well with a sharp knee and a protruding shoulder.

He managed to convey the appearance of a stylish and extraordinary woman. However, he himself was like that.

Altman did not understand artists who could work in a dirty studio and not notice the crumbs in their beard. He himself was always dressed to the nines. And he even sewed underwear to order according to his own sketches.

It was also difficult to deny him his originality. Once he caught cockroaches in his apartment, he painted them different colors. He painted one gold, called him a “laureate” and released him with the words “That cockroach will be surprised!”

7. Kustodiev. Merchant's wife having tea. 1918

“The Merchant's Wife” by Kustodiev is a cheerful picture. On it we see a good, well-fed world of merchants. A heroine with skin lighter than the sky. A cat with a face similar to the face of its owner. A pot-bellied, polished samovar. Watermelon on a rich dish.

What might we think of an artist who painted such a picture? That the artist knows a lot about a well-fed life. That he loves curvy women. And that he is clearly a lover of life.

And here's how it really happened.

If you noticed, the picture was painted during the revolutionary years. The artist and his family lived extremely poorly. Thoughts only about bread. Hard life.

Why such abundance when there is devastation and hunger all around? So Kustodiev tried to capture the irretrievably gone beautiful life.

What about the ideal female beauty? Yes, the artist said that thin women do not inspire him to create. Nevertheless, in life he preferred just such people. His wife was also slender.

Kustodiev was cheerful. Which is amazing, since by the time the picture was painted he had already been chained to wheelchair. He was diagnosed with bone tuberculosis back in 1911.

Kustodiev's attention to detail is very unusual for the time when the avant-garde flourished. We see every drying item on the table. Walking near the Gostiny Dvor. And a fine fellow trying to keep his horse running. All this looks like a fairy tale, a fable. Which once existed, but ended.

Summarize:

If you want to see the main masterpieces of Repin, Kuindzhi, Bryullov or Aivazovsky, go to the Russian Museum.

“The Last Day of Pompeii” by Bryullov is about the beauty of the disaster.

“The Ninth Wave” by Aivazovsky is about the scale of the elements.

“The Last Supper” by Ge is about the awareness of imminent betrayal.

“Barge Haulers” by Repin is about a hired worker in the 19th century.

“Moonlit Night on the Dnieper” is about the soul of light.

“Portrait of Akhmatova” by Altman is about the ideal of a modern woman.

“The Merchant's Wife” by Kustodiev is about an era that cannot be returned.

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Painting of the second half of the 19th century - beginning of the XXI century

Among the paintings transferred to the Russian Museum at the time of its foundation, noticeable and significant in artistically Some of them consisted of works by leading masters of the second half of the 19th century. (I.K. Aivazovsky, V.M. Vasnetsov, K.E. Makovsky, I.E. Repin, V.D. Polenov, V.I. Surikov). Despite the fact that the selection of paintings for the museum in the first two decades of its existence was somewhat limited by the conservative tastes of the Council of the Academy of Arts, the range of paintings represented in the collection was constantly expanding. This is a great merit of the museum staff, such as Albert Benois and Alexander Benois, I.E. Grabar, P.I. Neradovsky and others. Important steps were taken to complete the collection of paintings contemporary artists. Individual paintings and entire groups of works came from the exhibitions of I.I. Levitan (in 1901 - posthumous), V.V. Vereshchagin (in 1905 - posthumous), Ya.F. Tsionglinsky (in 1914 - posthumous) , Mobile Associations art exhibitions(S.Yu. Zhukovsky, N.A. Kasatkin, I.I. Levitan, V.E. Makovsky), New Society of Artists (B.M. Kustodiev, N.M. Fokina), from the authors (A.Ya. Golovin, V.A. Serov, M.V. Nesterov), from random owners (“Meal” by V.G. Perov, “Portrait of O.K. Orlova” by V.A. Serov, etc.).

A notable contribution to the collection of paintings were the sketches of M.A. Vrubel and paintings by K.A. Somov from the extensive collection of V.N. Argutinsky-Dolgorukov, which were transferred to the museum in 1918. Soon the museum received N.I.’s collection for storage. and E.M. Tereshchenko, consisting mainly of works by artists late XIX- beginning of the 20th century (including “The Hero” and “The Six-Winged Seraph” by M.A. Vrubel), the collection of A.A. Korovin, which included paintings by V.A. Serov, F.A. Malyavin, M.V. Nesterov, K. A. Korovin, as well as representatives artistic associations“World of Art”, “Blue Rose” and “Jack of Diamonds”.

Replenishment of the collection of paintings from the second half of the 19th - early 20th centuries. did not stop in the 1930s. At this time, from the Museum of the Revolution, among other works, “The Ceremonial Meeting of the State Council” by I.E. Repin was transferred. From the State Tretyakov Gallery The Russian Museum received paintings by masters poorly represented in the latter’s collection (“Guitar Player” and “Portrait of Ivan Sergeevich Turgenev” by V.G. Perov, “Self-Portrait” by N.V. Nevrev, “Student Student” by N.A. Yaroshenko, “ Flying Demon" by M.A. Vrubel and "Baba" by F.A. Malyavin).

Over the past twenty years, the museum has received about two hundred works of painting from the second half of the 19th - early 20th centuries. Most of of these works was donated in 1998 by the brothers I.A. and Y.A.Rzhevsky. An extensive collection of paintings by Russian artists, including paintings by I.K. Aivazovsky, I.I. Shishkin, N.N. Dubovsky, B.N. Kustodiev, K.Ya. Kryzhitsky and many other masters, now represents permanent exhibition museum in the building of the Marble Palace. It is also necessary to note several sketches and paintings domestic artists late XIX - XX centuries (S.Yu. Zhukovsky, E.I. Stolitsa, A.B. Lakhovsky and others), donated in 2009 from N.P. Ivashkevich. Notable acquisition recent years became I.E. Repin’s painting “Portrait of a Military Man,” which previously belonged to one of the North American companies.

In 1926, in addition to the Art Department of the Russian Museum, a Department was created the latest trends. Its funds began to be purposefully replenished with works of avant-garde artistic directions And creative associations the first quarter of the twentieth century, including the works of N.S. Goncharova, V.V. Kandinsky, P.P. Konchalovsky, P.V. Kuznetsov, M.F. Larionov, A.V. Lentulov, K.S. Malevich, L.S. Popova, V.E. Tatlin, R.R. Falk, P.N. Filonov, M.Z. Chagall and many others.

By 1927, the exhibition of the Russian Museum consistently presented numerous new trends from post-impressionism to non-objective art. The department of modern trends lasted only three years, but it essentially laid the foundation for the Department of Soviet Painting of the State Russian Museum (1932-1991), which this moment(as part of the Department of Painting of the 2nd half of the 19th-21st centuries) has constantly replenished funds. These funds, exceeding 6,000 storage units, cover almost all areas, schools, trends, main types and genres of development of Russian art of the 20th - early 21st centuries.

The Russian Museum has one of the largest collections of works of the early Russian avant-garde and its leading masters. The collection of paintings presents the main innovative movements of the mid-1910s: abstractionism (V.V. Kandinsky) and its purely Russian branch - Rayonism (M.F. Larionov, N.S. Goncharova), neo-primitivism (M.F. Larionov , N.S. Goncharova, A.V. Shevchenko, K.S. Malevich), cubo-futurism (D.D. Burlyuk, K.S. Malevich, I.A. Puni, L.S. Popova, N.A. Udaltsova, A.A. Exter and others), Suprematism (K.S. Malevich, I.A. Puni, O.V. Rozanova, I.V. Klyun), constructivism (V.E. Tatlin, A.M. .Rodchenko, A.A.Exter, L.V.Popova), analytical art (P.N. Filonov). Unique in their completeness are the collections of works by masters who created innovative art systems(K.S. Malevich, P.N. Filonov, K.S. Petrov-Vodkin), as well as individual major painters, including those whose creative path started already in Soviet time(S.V. Gerasimov, P.P. Konchalovsky, P.V. Kuznetsov, B.M. Kustodiev, V.V. Lebedev, A.A. Rylov, A.V. Shevchenko, N.M. Romadin). Also in the museum’s collection are works by artists - representatives of significant schools that existed during the Soviet era (for example, Leningrad school landscape painting 1930s - 1950s).

Art socialist realism, showing high artistic merit, plot clarity, programmatic inclination towards “grand style”, reflected in the paintings of A.A. Deineka, A.N. Samokhvalov, A.A. Plastov, Yu.I. Pimenov and many others Soviet artists, who continued to work during the Great Patriotic War, and in the second half of the twentieth century. To the gold fund Soviet art also included works by representatives of “ harsh style"and related areas of search for Soviet painting of the 1960s-1970s. The museum's collection contains works by such masters of post-war art as N.I. Andronov, V.V. Vatenin, D.D. Zhilinsky, V.I. Ivanov, G.M. Korzhev, E.E. Moiseenko, P.F. Nikonov, P.P. Ossovsky, V.E. Popkov, V.M. Sidorov, V.F. Stozharov, brothers A.P. and S.P. Tkachevs, B.S. Ugarov, P.T. Fomin and others, created in a wide genre range - from historical painting to still life.

Took place in the 1970–1980s. actualization of previously rejected artistic experience gave birth in the depths of official art to a galaxy of masters who worked in line with the “picture of ideas” associated with a metaphorical, multifaceted understanding of the surrounding world and human life(O.V. Bulgakova, T.G. Nazarenko, N.I. Nesterova, I.V. Pravdin, A.A. Sundukov, etc.). During the period of “perestroika” (1985-1991), the collection of the Russian Museum was replenished with a number of names of artists working within the underground. Nowadays the collection modern painting- a very mobile and fast-growing part of the funds of the 20th - early 21st centuries, but the comprehensive formation of the entire pictorial collection continues.

Yaroshenko N.A.

Portrait of the artist Nikolai Ge.

1890. Oil on canvas.

Roerich N.K.

Overseas guests.

1902. Oil on cardboard.
The last time I was in the Russian Museum was a long time ago, back in school. And now, almost twenty years later, I was ready to go there consciously.

It turned out to be quite difficult for an ordinary Russian person to get into the Russian Museum. And for a completely banal reason: they ran out of numbers in their wardrobe. The entrance was blocked by a strict aunt with a walkie-talkie and only excursion groups and citizens with children were allowed in. After standing for almost an hour and not moving, we took a desperate step - we publicly swore that we wouldn’t even look in the direction of the wardrobe. And, lo and behold, they let us through. With such an organization, for example, the line to the Vatican Museums would go around the Vatican. But we are not the Vatican, it’s suddenly cold outside. To take photographs in the museum, I had to buy a camera

separate ticket
I will show what I liked below.

K. Bryullov. The last day of Pompeii. 1833.
A painting that seems to have become a documentary chronicle historical event. It is huge in size, and if you come close, your gaze rests on the stones of the pavement, covered with ash, scattered things under the feet of the heroes - something that you don’t see in the illustrations. This greatly adds realism to what is happening. When I walked around Pompeii, it was absolutely impossible to get this image out of my head: the red sky, everything was collapsing and figures frozen in horror.

Erupting Vesuvius in many pictures sea ​​elements Aivazovsky balances on the opposite wall of the hall.

Russian squadron on the Sevastopol roadstead. 1846.
Relevant. Judging by the museum's exhibition, Crimea was generally a very popular topic for Russian artists.

Wave. 1899.
A very small fragment of a picture with a stormy sea, where a ship is sinking in the corner and sailors on a broken mast are sailing almost off the edge of the canvas without a chance of salvation.

The first rooms with art from the early 19th century are interesting; you can sit there for half a day, fortunately there are sofas. The following 18th-century rooms begin to tire a little with portraits and palace interiors.

Ceiling:

Trellis:


Animal fight at a watering hole. Petersburg Trellis Manufactory. 1757.

Mosaic:


Ust-Rudnitskaya factory M.V. Lomonosov. Portrait of Catherine II. 1762.
Presented to the Empress on the occasion of her coronation.

The last halls of the floor are occupied by ancient Russian art, that is, iconography:


It seems to me that this is where M. Larionov drew his inspiration.

Peter's head - Bronze Horseman on the Grand Staircase.

V. Perov. Hunters at rest. 1877.
Repeat the picture. The first version hangs in the Tretyakov Gallery.

I. Shishkin. Snitch-grass. Pargolovo. 1885.
Surprisingly - a weed against the backdrop of a crooked fence, and hanging in the Russian Museum. Joke.

A. Savrasov. Thaw. Yaroslavl. 1874.
It's time to go to Yaroslavl - there is a gap in my geography.

A little about foreign countries in large-scale canvases:


V. Smirnov. Death of Nero. 1888.
The women came to pick up the corpse of the suicidal emperor. The red wall is like the main character.

G. Semiradsky. Phryne at the festival of Poseidon at Eleusis. 1889.
About a woman who imagines herself to be a goddess, and for this reason publicly undressed. A very sunny and positive picture.

V. Surikov:

Old gardener. 1882.
About unwashed Russia.

View of the monument to Peter I on Senate Square in St. Petersburg. 1870.
About the capital.

Suvorov's crossing of the Alps. 1899.
The lighting in some halls of the museum is organized in a unique way: the paintings glare in them so that they are simply not visible at all. You have to study it in fragments, changing your angle of view.

Taking the snowy town and the river, between which the colonnade of the Round Hall of the Mariinsky Palace can be seen.

Grandiose paintings by I. Repin:


The ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary of its establishment. 1903.
81 people are depicted, each of whom posed individually. How did he manage to arrange the composition in such a way that no one would fall out? Nicholas II sits under a portrait of Nicholas II by Repin. Recursion.

Opposite the painting hangs another portrait of Nicholas:

Portrait of Nicholas II. 1896.

Cossacks write a letter to the Turkish Sultan. 1891. On right Belarusian. 1892, left Portrait of S. M. Dragomirova. 1889.

Barge Haulers on the Volga. 1873.
A fragment directly with barge haulers - very colorful characters.

To conclude Repin's theme:


Black woman. 1876.

On a turf bench. 1876.

A. Kuindzhi:


Sea. Crimea. 1908.

Night. 1908.

Duma on the fate of Russia:


M. Antokolsky. Mephistopheles. 1883.

Mower:


G. Myasoedov. Time of suffering(Mowers). 1887. Fragment.

It's always interesting to look at the details of paintings where the subject is a scene from real life distant and not so distant past, some action is taking place, a lot of people:

K. Savitsky. To war. 1888.
Seeing off the soldiers for the Russian-Turkish war of 1877-1878, which was victorious for us Bulgarians.

K. Makovsky. Transfer of the sacred carpet to Cairo. 1876.
About the meeting of pilgrims from the Hajj. A tourist's impressions of visiting Egypt were clearly more interesting before.

V. Polenov. Christ and the sinner. 1888. Fragment with a sinner and a donkey. The donkey seems to be telling us: “Now they will stone them again as much as possible.”

Finishing the oriental theme:


V. Vereshchagin. At the door of the mosque. 1873.
Photographic quality pattern on the door. Considering that the picture is practically life-size, I involuntarily wanted to touch it to see if it was made of wood. The handprint on the wall attracts attention. By the way, the door is visible a little through the right figure.

Another version of thoughts about the fate of Russia from Antokolsky:


Ivan groznyj. 1871.
For some reason, next to the souvenir shop.

Let's move a little away from painting.
Folk art:


Ladle. 1753.

Patchwork bedspread.

"Mossies". Beginning of the twentieth century.
Gloomy Vyatka peasant toys.

Valance. End of the 18th century
Intricate pattern.

Imperial/State/Leningrad Porcelain Factory:


A lion. 1911.
Does he really look like Lenin? What is he doing with his right front paw...

"He who works, eats."
The propaganda china from the 1920s is simply beautiful.

Service with Suprematist ornaments. 1932.

Let's continue about the paintings.
The 20th century begins:


I. Levitan. Lake. Rus. 1900. Fragment.
The artist's last, unfinished painting.

K. Yuon. Spring sunny day. Sergiev Posad. 1910.

M. Vrubel. Bogatyr. 1898.
Fragment with a bird.

M. Nesterov. Venerable Sergius Radonezh. 1899.

V. Serov. Bathing the Horse. 1905.

B. Kustodiev. Merchant's wife having tea. 1918.

N. Goncharova. Cyclist. 1913.

P. Filonov. Spring formula and active forces. 1928.
A small fragment.

V. Kuptsov. ANT-20 "Maxim Gorky". 1934.
Over Strelka V.O., where he never flew.
The largest plane in the world, just built in 1934, will crash a year later over Moscow during a demonstration flight with members of the families of aircraft manufacturers. And six months later Kuptsov would commit suicide.

A. Samokhvalov. Conductress. 1928.
Soviet Russia as it is.

They were taking selfies long before it became mainstream:

K. Petrov-Vodkin. Self-portrait. 1927.

L. Kirillova. Self-portrait. 1974.

Crimea again:


A. Deineka. Defense of Sevastopol. 1942.

And this is about my time:


V. Ovchinnikov. Dovecote. 1979.

At all good museum. I like it.
______________________________

Creativity I.E. Repin (1844-1930) is one of the most significant phenomena in Russian art. In his works he captured history and modernity, created a whole gallery of portraits wonderful people of his era.

Ilya Efimovich Repin. Alexander Glazunov (1865 - 1936)

Ilya Efimovich Repin. Portrait of Shishkin

Ilya Efimovich Repin. Portrait of Efim Repin

His works are distinguished by their vivid characterization of images, life-like authenticity and amaze with amazing pictorial skill. Great talent The artist’s work was already evident in the painting “The Resurrection of Jairus’s Daughter” (1871), created as a graduation program upon Repin’s graduation from the Academy of Arts.

Ilya Efimovich Repin. Resurrection of Jairus' Daughter

The versatility of the artist’s talent was already evident then in the fact that, simultaneously with work on this canvas, he was working on a work that was completely different in plot and painting objectives.

Ilya Efimovich Repin. Barge Haulers on the Volga

These were “Barge Haulers on the Volga” (1870-1873). The painting became an innovative work in Russian art. First close-up people from the people appeared on the canvas, each with their own character, masterfully conveyed by the artist.

Ilya Efimovich Repin. Sadko

The painting “Sadko” (1876) on display in the hall was created during a trip abroad after graduating from the Academy of Arts as a report work, for which the painter was awarded the title of academician.
Hall 34

One of the central works in Repin’s work, a work to which he gave great importance, is the painting “Cossacks writing a letter to the Turkish Sultan” (1880-1891). While hatching the idea, the artist studied historical documents and visited Zaporozhye and Kuban. This topic fascinated Repin so much that it did not let him go for more than ten years. Repin, with amazing freedom and skill, depicted the different characters of people and shades of laughter on their faces - from the subtle smile on the intelligent face of Ataman Ivan Serko to the roaring laughter of a mustachioed Cossack in a red zhupan.

I.E. Repin. Cossacks write a letter to the Turkish Sultan

In the same room are Repin’s paintings “Seeing Off a Recruit” and “Nicholas of Myra Delivers Three Innocently Convicted from Death,” portraits of the critic V.V. Stasov, composer A.G. Rubinstein and physiologist I.R. Tarkhanov.

I.E. Repin. Seeing off a new recruit

Repin Ilya Efimovich. Nicholas of Myra saves three innocently convicted from death

Repin Ilya Efimovich. Portrait of the artist S.M. Dragomirova

Ilya Efimovich Repin. Portrait of singer A.N. Molas. 1883

I.E. Repin - Portrait of the critic V.V. Stasov.

Repin I.E. Portrait of physiologist I.R. Tarkhanov. 1892.

Repin Ilya Efimovich. Portrait of the composer A.G. Rubinstein

The hall displays the paintings “What a space!”, “Belarusian”, portraits of the composer N.A. Rimsky-Korsakov, Countess N.A. Golovina, timber merchant and promoter of Russian music M.P. Belyaev.

I.E. Repin. What space!

Repin Ilya Efimovich. Belarusian

I.E. Repin portrait of composer N.A. Rimsky-Korsakov

I.E. Repin portrait of M.P. Belyaev

I.E. Repin. Portrait of Countess N.P. Golovina

The painting “October 17, 1905” is a response to the manifesto of Nicholas II of October 17, 1905 “On the improvement of public order,” published during the days of the revolutionary upsurge in the country.

Repin wrote: “The painting depicts a procession liberation movement Russian progressive society... mostly students, female students, professors and workers with red flags, enthusiastic; singing revolutionary songs...they lifted the amnestied person onto the shoulders and a crowd of thousands moved across the square big city in the ecstasy of general rejoicing."
Hall 36 and further

Collection of works by V.I. Surikov is one of the most significant in the collection of the Russian Museum. Conversation piece“The Capture of the Snow Town” (1891), painted by the artist in his homeland in Krasnoyarsk, opens new period in his work, associated with the creation of three monumental canvases on subjects heroic story Russia. “Two elements meet” - this is how Surikov defines the main idea of ​​the epic painting “The Conquest of Siberia by Ermak” (1895), with the creation of which he seemed to confirm his connection with Siberia, with the Cossacks. The painting “Suvorov's Crossing of the Alps” (1899) is dedicated to the legendary event of 1799. “The main thing in the picture,” said Surikov, “is movement. Selfless courage - obedient to the word of the commander, they go..."

IN AND. Surikov. Taking the snow town

IN AND. Surikov. Conquest of Siberia by Ermak

IN AND. Surikov. Suvorov's crossing of the Alps

In Surikov’s last large canvas “Stepan Razin” (1907), one can feel the tendencies of the new Russian pictorial realism - eventlessness, poeticization of history, extreme activity of the landscape and the search for monumental forms of expression.

In the halls dedicated to creativity painter, besides historical paintings And preparatory work to them, you can see early academic compositions and magnificent portraits late period. “Portrait of an Unknown Woman on a Yellow Background”, “Siberian Woman” is the embodiment of Surikov’s favorite type of feminine beauty, full of harmony. “Self-portrait” of 1915 is the last of fourteen images created by the artist.

Surikov Vasily Ivanovich. Stepan Razin

IN AND. Surikov. Portrait of an unknown woman on a yellow background

IN AND. Surikov. Siberian

IN AND. Surikov. Old gardener 1882

Surikov Vasily Ivanovich. View of the monument to Peter I Senate Square In Petersburg

Surikov Vasily Ivanovich. Belshazzar's Feast

V.M. Vasnetsov combined in his beliefs the democratic humanism characteristic of the “Wanderers” with deep religiosity and national feeling.

The artist did not immediately find his theme. The painting “Showrooms in the vicinity of Paris” (1876) gives an idea of early period creativity, close to the works of genre artists of the 1860-1870s with their critical and accusatory orientation.

V.M. Vasnetsov. Booths in the vicinity of Paris

In the early 1880s, Vasnetsov created the first fairy-tale battle paintings: “The Battle of the Scythians with the Slavs” (1881) and “The Knight at the Crossroads” (1882). By choosing national historical themes for his paintings, the artist combines knowledge folk epic with the skill of a genre artist, transforms Russian historical genre, immersing motives Medieval Rus' into the atmosphere of a poetic legend or fairy tale.

Vasnetsov Viktor Mikhailovich. Battle of the Scythians with the Slavs

Vasnetsov Viktor Mikhailovich. Knight at the crossroads

Vasnetsov Viktor Mikhailovich. Accordion

Vasnetsov Viktor Mikhailovich. At the Bookseller's (1876)

Vasnetsov Viktor Mikhailovich. Portrait of Tatyana Vasnetsova, the artist’s daughter

In the same room, the image of the Mother of God with the Child Christ in her arms is presented - one of the sketches for the paintings of the Vladimir Cathedral in Kyiv, on which Vasnetsov worked for more than ten years.

Vasnetsov Viktor Mikhailovich. Our Lady

Repin’s most significant works include the monumental canvas “The Ceremonial Meeting of the State Council on May 7, 1901, on the centennial anniversary of its establishment” (1903), a grandiose group portrait painted by order of the government in 1901-1903. Repin attracted two of his students to perform it - B.M. Kustodiev and I.S. Kulikov. In the film, Repin brilliantly decided difficult task natural and free placement of more than sixty figures of meeting participants (depicted round column hall Mariinsky Palace in St. Petersburg).

In the process of preparing the painting, Repin painted many portrait sketches of members of the State Council, some of which are also displayed in the hall.

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Virtual walks at the Russian Museum. Saint Petersburg. Part 7.