State Russian Museum. The State Russian Museum: the history of creation Famous paintings of the Russian Museum

Description

The history of the creation of the museum dates back to the 19th century. The building of the Mikhailovsky Palace, in which the Russian Museum was subsequently founded, was built according to the project of the architect Carl Rossi in 1819-1825, the architectural appearance of which is recognized as an outstanding example of a palace ensemble in the style of high classicism. The first owner of the palace was Grand Duke Mikhail Pavlovich, the fourth son of Emperor Paul I.

In 19th-century Europe, public museums of fine art already exist, and the idea of ​​opening a state museum of national art is being discussed among the educated elite of Russian society.

In 1889, Emperor Alexander III acquired I. Repin’s painting “Nicholas of Mirlikisky Saves Three Innocently Convicted from Death” - this event is associated with the sovereign’s idea, which he expressed about the foundation of a nationwide national museum.
The plan of Alexander III was carried out by his successor Emperor Nicholas II, in 1895 the Russian Museum of Emperor Alexander III was established. In the same year, the reconstruction of the halls of the Mikhailovsky Palace for the museum expositions began, under the guidance of architect V.F. Svinin.

The grand opening of the "Russian Museum of Emperor Alexander III" took place on March 7 (19), 1898.
The museum's collection was made up of works of art donated from the Hermitage, the Academy of Arts, the Gatchina and Tsarskoye Selo Alexander Palaces, as well as donated collections of private collectors.

According to the plan, the exposition of the museum was to be represented by three departments:
- a memorial department dedicated to the memory of Emperor Alexander III;
- ethnographic and art-industrial department;
- art department.
The construction of the premises of the Memorial Department was delayed and it was never opened.

The collection of the ethnographic department was exhibited in the Russian Museum, but in 1934 it was transferred to the newly opened State Museum of Ethnography of the Peoples of the USSR.
The collection of the art department was actively replenished and developed, as a result, the Russian Museum became the largest collection of national fine art.

By 1914, the halls of the Mekhailovsky Palace no longer contained the entire collection of the Russian Museum, and in 1914-1919 a new exhibition building was erected according to the project of architects L. Benois and S. Ovsyannikov, named after the author's name - the Benois building.
In the halls of the State Russian Museum, national art is widely represented, from ancient Rus' to our time.

Old Russian icons from the collection of the Russian Museum, the exposition of which began to form even at the foundation of the museum and was replenished during the 20th century, are not only monuments of ancient Russian art, but masterpieces of world significance.

When forming a collection of easel paintings, the best works of artists of the 18th-19th centuries served as the basis. These are portrait paintings by I. Vishnyakov, D. Levitsky, V. Borovikovsky, paintings of antique themes by F. Bruni, G. Ugryumov, the world-famous masterpiece by K. Bryullov “The Last Day of Pompeii” and his other great canvases, paintings by the unsurpassed marine painter I Aivazovsky and his famous "Ninth Wave". A special place in the collection of the Russian Museum is occupied by the paintings of the artists of the second half of the 19th and early 20th centuries - A. Ivanov, V. Vasnetsov, K. Makovsky, I. Repin, K. Savitsky, V. Polenov, V. Vereshchagin, V. Surikov, M. Vrubel . Outstanding Russian landscape painters are widely represented in the museum - the well-known I. Shishkin, I. Levitan, A. Kuindzhi. Of particular interest are the works of artists of the "World of Art" association, who worked not only in the direction of easel art, but also in theatrical art, creating scenery and theatrical costumes.

In the post-revolutionary period, the collection of the Russian Museum is replenished by nationalized private collections and works created by artists of the "new trends".

On the ground floor of the Benois building, a large collection of works of the Soviet period is exhibited and thematic exhibitions are held.
Nowadays, the museum collection is constantly replenished not only through government purchases, but also through donations of private collections to the museum.

Today, the State Russian Museum is a museum complex and includes the Mikhailovsky, Marble and Stroganov palaces, the Mikhailovsky (Engineering) castle, the House of Peter I, garden and park ensembles - the Summer Garden with the Summer Palace of Peter I and the Mikhailovsky Garden.

The last time I was in the Russian Museum was a long time ago, when I was at school. And now, almost twenty years later, I matured to go there consciously.

It turned out to be quite difficult for a simple Russian person to get into the Russian Museum. And for an absolutely banal reason: they ran out of numbers in the wardrobe. The entrance was blocked by a strict aunt with a walkie-talkie and only excursion groups and citizens with children were allowed to enter. After standing for almost an hour and not moving, we took a desperate step - we publicly swore that we would not even look in the direction of the wardrobe. And, lo and behold, we missed.
With such an organization, for example, the line to the Vatican Museums would go around the Vatican around. But we are not the Vatican, we are suddenly cold outside.

To take pictures in the museum, the camera had to buy a separate ticket for the same price as me - 250 rubles (for foreigners, the entrance is a hundred rubles more expensive).

I am a person far from art, so for me the main criterion for evaluating any work is "like" (beautiful) / "dislike" (ugly). For example, I absolutely do not like the picture in the title photo.
What I liked, I will show below.

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

Erupting Vesuvius is balanced by Aivazovsky with many paintings of the sea element on the opposite wall of the hall.

Russian squadron in the Sevastopol roadstead. 1846.
Actual. Judging by the exposition of the museum, the Crimea was a very popular topic for Russian artists in general.

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 over the edge of the canvas without a chance of salvation.

In the first halls with art from the beginning of the 19th century, it is interesting, you can sit there for half a day, since there are sofas. The following halls from the 18th century begin to tire a little with portraits and palace interiors.

Ceiling:

Trellis:


Animal fight at the waterhole. Petersburg Tapestry Manufactory. 1757.

Mosaic:


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

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


It seems to me that it was here that M. Larionov drew his inspiration.

Head of Peter the Bronze Horseman on the Main Staircase.

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

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

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

A little about abroad in large-scale canvases:


V. Smirnov. Death of Nero. 1888.
The women came to pick up the corpse of the emperor who had killed himself. Red wall - as the main character.

G. Semiradsky. Phryne at the Feast of Poseidon in Eleusis. 1889.
About a woman who imagines herself a goddess, and on this basis she undressed in public. Very sunny and positive picture.

V. Surikov:

The old gardener. 1882.
About unwashed Russia.

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

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

The capture of the snowy town and the river, between which the colonnade of the Round Hall of the Mariinsky Palace peeps through.

Grandiose canvases by I. Repin:


Ceremonial meeting of the State Council on May 7, 1901 in honor of the centennial anniversary of its establishment. 1903.
81 people are depicted, each of whom posed individually. How did he manage to make the composition so that no one fell out? Nicholas II sits under a portrait of Nicholas II by Repin. Recursion.

Another portrait of Nikolai hangs opposite the picture:

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.

At the end of Repin's theme:


Negress. 1876.

On a turf bench. 1876.

A. Kuindzhi:


Sea. Crimea. 1908.

Night. 1908.

Thoughts on the fate of Russia:


M. Antokolsky. Mephistopheles. 1883.

Mower:


G. Myasoedov. Suffering time (Mowers). 1887. Fragment.

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

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

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

V. Polenov. Christ and the sinner. 1888. Fragment with a sinner and a donkey. The donkey, as it were, says to us: "again, now they will stone them as much as possible."

Finishing the oriental theme:


V. Vereshchagin. At the door of the mosque. 1873.
Photo quality pattern on the door. Despite the fact that the picture is almost in real size, I involuntarily wanted to touch it - is it not wooden. The handprint on the wall attracts attention. By the way, the door is a little translucent 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 take a step back from painting.
Folk art:


Ladle. 1753.

Patchwork cover.

"Mossies". Beginning of the XX 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...

"Who works and eats."
The propaganda china of the 1920s is simply beautiful.

Service with Suprematist ornament. 1932.

We continue about the pictures.
20th century begins:


I. Levitan. Lake. Rus. 1900. Fragment.
The last, unfinished painting of the artist.

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

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

M. Nesterov. Rev. Sergius of Radonezh. 1899.

V. Serov. Bathing the Horse. 1905.

B. Kustodiev. Merchant for tea. 1918.

N. Goncharova. Cyclist. 1913.

P. Filonov. Spring formula and acting forces. 1928.
Small snippet.

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

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

They took 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.

Generally a good museum. I like it.
______________________________

The highest decree on the establishment of the "Russian Museum of Emperor Alexander III" in the Mikhailovsky Palace in St. Petersburg was signed 120 years ago, on April 13, 1895.

Currently, the State Russian Museum is the largest museum of Russian art in the world. His collection includes 407.5 so-called storage units. On the eve of the memorable date, the site recalled 10 masterpieces of painting that can be seen in the Russian Museum.

Arkhip Kuindzhi. "Moonlit night on the Dnieper". 1880

River bank. The horizon line runs down. The silvery-greenish light of the moon is reflected in the water. “Moonlight Night on the Dnieper” is one of the most famous paintings by Arkhip Kuindzhi.

The magic of the landscape captivated the Grand Duke Konstantin Konstantinovich, who bought it for a lot of money directly from the artist's studio. The prince did not want to part with his favorite painting even during his round-the-world trip. As a result, his whim almost ruined Kuindzhi's masterpiece - because of the sea air, the composition of the paint changed, the landscape began to darken. But, despite this, the picture to this day has a magical appeal, forcing the audience to peer into it for a long time.

The magic of the landscape captivated Grand Duke Konstantin Konstantinovich. Photo: www.russianlook.com

Karl Bryullov. "The last day of Pompeii". 1830-1833

“The last day of Pompeii became the first day for the Russian brush!” - so the poet Yevgeny Baratynsky wrote about this picture. And the British writer Walter Scott called the picture "unusual, epic."

The canvas measuring 465.5 × 651 cm was exhibited in Rome and Paris. It was at the disposal of the Academy of Arts thanks to Nicholas I. The painting was presented to him by the famous philanthropist Anatoly Demidov, and the emperor decided to exhibit it at the Academy, where it could serve as a guide for novice painters.

It is worth noting that Karl Bryullov portrayed himself against the backdrop of a collapsing city. The artist's self-portrait can be seen in the left corner of the painting.

Karl Bryullov portrayed himself against the backdrop of a crumbling city. The artist's self-portrait can be seen in the left corner of the painting. Photo: commons.wikimedia.org

Ilya Repin. "Barge Haulers on the Volga". 1870-1873

The summer of 1870, spent by the artist on the Volga, 15 versts from Samara, had a great influence on the work of Ilya Repin. He begins work on the canvas, in which many later saw a philosophical meaning, the embodiment of obedience to fate and the strength of the common people.

While among the barge haulers, Ilya Efimovich Repin met the former priest Kanin, from whom he would later create many sketches for the painting.

“Something about him was oriental, ancient. But the eyes, the eyes! What a depth of gaze, raised to the eyebrows, also tending to the forehead ... And the forehead is a large, smart, intelligent forehead; this is not a simpleton, ”the master said about him.

"Something in him was oriental, ancient. But the eyes, the eyes!" Photo: commons.wikimedia.org

Ilya Repin. The Cossacks write a letter to the Turkish Sultan. 1880-1891

“You are the Turkish shaitan, the damned devil’s brother and comrade, and the secretary of Luciper himself!” According to legend, this is how the letter began, which the Zaporizhzhya Cossacks wrote in 1675 in response to the proposal of Sultan Mahmud IV to become subordinate to him. A well-known plot formed the basis of the famous painting by Ilya Repin.

A well-known plot formed the basis of the famous painting by Ilya Repin. Photo: commons.wikimedia.org

Viktor Vasnetsov. "Knight at the Crossroads". 1878

The poetic spirit of folk legends is masterfully conveyed in the work of Viktor Vasnetsov. For the first time the canvas was presented to the audience in 1878 as part of a traveling exhibition.

The artist worked on the painting for several years. In the first versions, the hero was facing the viewer, but later the composition was changed. The Russian Museum has a later version of the painting - 1882. The first version of 1878 is in the Serpukhov Museum of History and Art.

It is worth noting that the plot of "The Knight at the Crossroads" is reproduced on the tombstone of the artist, who is buried at the Vvedensky cemetery.

The artist worked on the painting for several years. Photo: commons.wikimedia.org

Ivan Aivazovsky. "The Ninth Wave". 1850

Created in 1850, the painting "The Ninth Wave" was acquired by Nicholas I.

The ninth wave, in the view of navigators, is the most crushing. It is he who is to be experienced by the heroes of the picture, who were shipwrecked.

Created in 1850, the painting "The Ninth Wave" was acquired by Nicholas I. Photo: Commons.wikimedia.org

Valentin Serov. Portrait of Ida Rubinstein. 1910

The famous dancer and actress Ida Rubinstein inspired many artists: Kees van Dongen, Antonio de la Gandara, André Dunoyer de Segonzac, Leon Bakst and Valentin Serov.

The Russian painter, who is considered the master of the portrait, saw her for the first time on the Paris stage. In 1910 he creates her portrait.

“There is monumentality in her every movement, just a revived archaic bas-relief,” the artist admired her grace.

The famous dancer and actress Ida Rubenstein inspired many artists. Photo: commons.wikimedia.org

Valentin Serov. The abduction of Europe. 1910

The idea to write "The Abduction of Europe" was born by Valentin Serov during a trip to Greece. A visit to the Palace of Knossos on the island of Crete made a great impression on him. In 1910, the painting, which was based on the legend of the abduction by Zeus of Europe, the daughter of the Phoenician king Agenor, was completed.

According to some evidence, Serov created six versions of the painting.

The idea to write "The Abduction of Europe" was born by Valentin Serov during a trip to Greece. Photo: commons.wikimedia.org

Boris Kustodiev. Portrait of F.I. Chaliapin. 1922

“I knew a lot in the life of interesting, talented and good people. But if I have ever seen a truly great spirit in a person, it is in Kustodiev, ”famous singer Fyodor Chaliapin wrote about the artist in his autobiographical book Mask and Soul.

Work on the painting was carried out in the painter's apartment. The room where Chaliapin posed for Kustodiev was so small that the picture had to be painted in parts.

The artist's son later recalled the funny moment of the work. According to him, in order to capture Fyodor Ivanovich’s beloved dog on canvas, he had to use a trick: “To make the pug stand with his head up, they put a cat on the closet, and Chaliapin did everything possible so that the dog looked at her.”

The workshop where Chaliapin posed for Kustodiev was so small that the picture had to be painted in parts. Photo: commons.wikimedia.org

Kazimir Malevich. Black circle. 1923

One of the most famous paintings by the founder of Suprematism - Kazimir Malevich - has several options. The first of them, created in 1915, is now kept in a private collection. The second - created by Malevich's students under his direction - is exhibited in the St. Petersburg Russian Museum.

Experts note that the "Black Circle" for Kazimir Malevich was one of the three main modules of the new plastic system, the style-forming potential of the new plastic idea - Suprematism.

Probably the Russian Museum should be put one of the main points in the list of visiting the sights of St. Petersburg. Especially if you came to the Northern capital for one, two or a little more days. "Why?" - you ask.

Firstly, here is a really wonderful collection of the best works of Russian artists, sculptors and craftsmen.

Secondly, in the Russian Museum there is no such excitement and pandemonium as in the Hermitage, and the atmosphere of the museum evokes a feeling of calm and peace of mind.

Thirdly: it is very easy to get here (no need to stand in long queues for a ticket).

Russian Museum. More recently, when pronouncing these words, both the townspeople and the guests of the city meant only a beautiful building in the Empire style on Arts Square. The first state museum of national art was opened in the Mikhailovsky Palace in 1898, and the main expositions of the museum are located here. But in recent years, the museum has included three more palaces with a significant historical and cultural past.

So, the Russian Museum has four buildings: the Stroganov Palace, the Marble Palace, the Mikhailovsky Palace and the Mikhailovsky (Engineering) Castle. All these palaces are located in different places in St. Petersburg and have the words "Russian Museum" in their names.

To avoid confusion, let's call the Main building of the Russian Museum - the Mikhailovsky Palace, located at 4 Inzhenernaya Street. It is here that the main halls and expositions of the State Russian Museum. It is here that the guests of St. Petersburg, who arrived in the Northern capital for the first time, wish to get.

How to get to the Main Building of the Russian Museum.

It is very easy to walk to the palace from the Nevsky Prospekt metro station (2nd, blue line).

After leaving the metro, follow (along the red arrow) along Mikhailovskaya Street towards the monument to Alexander Sergeevich Pushkin, located on the Square of Arts.

Immediately behind the monument you will see the main building of the Russian Museum - the Mikhailovsky Palace.

Opening hours of the Main Building of the Russian Museum:

Monday, Wednesday, Friday, Saturday, Sunday - from 10:00 to 18:00.

Thursday from 13-00 to 21-00.

Tuesday is a day off.

Ticket offices close half an hour before the closing of the museum.

No matter how pleasant it is to enter the museum through the main entrance, according to the Soviet-Russian tradition, all visitors will have to enter through the back entrance. You will be informed about this by a small sign next to the marble staircase with lions.

Below is a diagram of the Mikhailovsky Palace. It consists of three main parts: the Benois Wing, the Outbuilding of Russia and, directly, the Mikhailovsky Palace itself.

You can also get into the Main Building of the Russian Museum through the second entrance in the Benois building.

The photo below makes it possible to quickly find out where the second entrance is located - on the Griboyedov Canal Embankment, next to the Resurrection Cathedral (Church of the Savior on Blood).

Both entrances will lead you to the box office where you need to buy tickets to visit the Russian Museum.

For adult citizens of the Russian Federation and the Republic of Belarus, a ticket will cost 350 rubles, for students from 16 years old, students and pensioners - 170 rubles, for children under 16 years old (regardless of citizenship) - free of charge.

Be sure to take a free map of the layout of the expositions at the box office or from the museum staff. With it, it will be easier for you to build your route.

After the ticket office, following the signs, you get to the main staircase of the museum. Here you can meet groups of schoolchildren.

If you have come to the discovery, then you can use a little trick for a more comfortable viewing. The beginning of the exposition, according to the signs, is to the right of the stairs on the second floor. But if you go to the left side, you will be almost completely alone looking at the magnificent paintings by K. Bryulov, A. Ivanov, I. Ayvozovsky and others. Then, in any case, you will look at the beginning of the exposition.

F. Bruni "Copper Serpent".

Ivan Konstantinovich Aivazovsky "Wave".

Painting by Karl Pavlovich Bryullov "The Last Day of Pompeii". Nicholas I awarded the artist with a laurel wreath, and the latter was called "Charlemagne".

I.K. Aivazovsky "The Ninth Wave".

Grigory Ivanovich Ugryumov "The solemn entry of Alexander Nevsky into the city of Pskov after his victory over the Germans."

Pay attention to the faces of two "harmless" Europeans captured by Alexander Nevsky, who executed several thousand Russian people.

O. A. Kiprensky "Portrait of the Life Hussar Colonel Evgraf Vasilyevich Davydov." This is a relative of the famous hero of the Patriotic War of 1812, Denis Vasilyevich Davydov.

P.P. Sokolov "The Milkmaid with a Broken Jug"

The interiors of the premises of the Mikhailovsky Palace.

F.I. Shubin "Catherine II Legislator".

Portraits of children.

Dmitry Grigoryevich Levitsky "Catherine II the Legislator".

Sculpture by M. I. Kozlovsky "Psyche", often called "Girl with a Butterfly". According to legend, Aphrodite herself envied the beauty of the young Psyche.

N.N. Vitali "Venus".

Tourists enthusiastically take pictures holding Catherine II by the hand.

Boris Vasilievich Sukhodolsky "Painting".

I am very pleased with the large number of children here. For them, the employees of the Russian Museum tell interesting, memorable stories.

Anton Pavlovich Losenko "Wonderful catch".

After examining the halls of the Mikhailovsky Palace, you will find yourself in the Wing of Russia, where you will see the canvases familiar from childhood.

Victor Vasnetsov "The Knight at the Crossroads"

V. I. Surikov "Stepan Razin". The artist managed to show the inner tension of the Russian rebel hero.

A small painting by Vasily Surikov "View of the monument to Peter I on the Senate Square in St. Petersburg" is fascinating.

Vasily Surikov "Suvorov Crossing the Alps" (painting size 4 by 5 meters). Here is a real military leader, together with his soldiers, storms the Alps in order to quickly help "our beloved" Europeans. Who now in Europe will remember the exploits of our soldiers?

Ilya Efimovich Repin. "Portrait of Emperor Nicholas II" 1896.

Portrait of the last emperor of Russia. It seems that Nicholas II already knows about his fate...

Ilya Efimovich Repin "The ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary."

V. I. Surikov "The Conquest of Siberia by Ermak."

And this is Yermak and his comrades with muskets conquering the north.

In the painting "Letter to the Turkish Sultan" all the characters attract attention. Repin worked out the image of each Cossack separately, so each hero of the picture turned out with his own character.

Ilya Repin "Seeing the Rookie" How much tragedy in the picture. A young man is sent to the army for a long 25 years.

Opposite the painting by I. Repin "Barge Haulers on the Volga" there are always many visitors, there is a comfortable soft sofa.

At Sadko, schoolchildren were told about the painting in German.

Here is a picture of a contradiction. Viktor Vasnetsov. The painting "Battle of the Scythians with the Slavs."

First: the Scythians are the ancestors of the Slavs. Secondly: the Scythians and Slavs are separated by several centuries.

It turns out the battle between great-great-grandfather and grandson. Ever since the Middle Ages, all evidence of the ancient origin of the peoples inhabiting modern Russia was destroyed.

Here is a small excerpt from the work of Professor Anatoly Alekseevich Klyosov:
“Unfortunately, a destructive, destructive approach traditionally continues in Russian historical science, whether it concerns Normanism or other periods of Russian history. Only sources that underestimate the significance and role of the Slavs in historical processes are selectively selected and introduced into "official" circulation. There is no M. Orbini’s “Historiography” in this turnover, there are no works of the Polish Archbishop Stanislaw Bohuts (Stanislaw Bohusz, 1731-1826), an outstanding educator, in one of whose works - “Historical studies of the origin of the Slavs and Sarmatians” - describes the Slavs living in ancient times from Syria to Pontus Euxinus (Black Sea). There are no dozens of other books that have become classic in antiquity or in the Middle Ages, which tell about the Slavs of the past millennia. There is a whole library of Serbian historians of the past about this, in which Slavs are called those whom Russian (and Western) historians call "Scythians". If historians have objections to this, where are they? Or do they live by the saying “I don’t see anything, I don’t hear anything, I won’t tell anyone”?

Ilya Repin "Nicholas of Mirlikiy Saves Three Innocently Convicted from Death". It is with this picture that the Russian Museum under Alexander III begins.

Lukian Vasilyevich Popov "Handling". The girl will take care of someone else's child all her childhood ...

It feels like Leo Tolstoy is about to get up and go.

Nikolai Alexandrovich Yaroshenko

Alexey Danilovich Kivshenko "Feather Sorting". The girls stuffing pillows with feathers argued a little...

Konstantin Egorovich Makovsky "Transferring the Sacred Carpet in Cairo".

Each painting has a story in it. Here is a painting by Vladimir Makovsky "The overnight house". A cold storm is coming to St. Petersburg. The homeless try to get into a rooming house, everyone is cold and understands that there is not enough space for everyone.

In this old man in a hat and scarf with a folder in his hands, you can recognize the artist A. K. Savrasov. This remarkable painter spent the end of his life in loneliness and poverty, interrupting himself with rare orders, wandering around the corners and slums.

A little girl with bare legs in huge boots is crying, maybe this is the last night of her life. But no one can help her...

This is a good touch to the numerous modern articles "How well they lived under the king."

K.E. Makovsky "Family Portrait".

The next picture recently hung next to the "Bunkhouse", it depicts the family of Vladimir Makovsky's brother. The girls are the same age as the child in the previous picture, but their origins have earned them a well-to-do life. Now these paintings have been placed away from each other, in different rooms.

I.I. Shishkin "Ship Grove". The works of this artist are immediately recognizable.

Vasily Vereshchagin "Shipka-Sheinovo (Skobelev near Shipka)". A small fragment of the celebration of the Victory.

And here are the Russian soldiers who forever remained lying for the freedom of the Bulgarians.

Vasily Perov "Pugachev's Court". The bodies of the executed nobles lie next to the "judge".

Vasily Grigorievich Perov "Monastic meal". A good picture of the life of people in cassocks.

Henryk Semiradsky "Phryne at the Poseidon Festival in Eleusis". In the ancient Greek city of Megara, 2500 years ago, there lived a woman named Phryne. Her beauty and amazing white skin for a southern country amazed many artists and sculptors. A sculpture of Aphrodite of Cnidus was sculpted from it and Aphrodite Anadyomene was painted. In the picture, she herself throws off her clothes so that everyone can be blinded by her beauty.

K.D. Flavitsky, Christian Martyrs in the Colosseum. The first Christians were subjected to cruel tortures. The picture shows how a little boy is being dragged to the arena with wild animals. “If your god keeps you, let him save you from being torn to pieces by lions,” with these words Christians were led out to death to the jubilant exclamations of 100,000 Roman spectators.

Russian hero.

Adrian Volkov "Death of Ivan Susanin".

V. Jacobi "Ice House". A funny wedding on the orders of Anna Ivanovna in an ice palace.

A.P. Ryabushkin "Moscow street of the XVII century on a holiday". Roads… How little they have changed over several centuries in Russia.

Leonid Pozen "Skif" is a distant ancestor of the Russians, whom they want to "erasure" from our history.

In the Russian Museum, the products of Russian masters are wonderfully presented. The entire right wing on the first floor of the Mikhailovsky Palace is occupied by outstanding works by ancient and modern masters.

Just imagine how much work and skill it takes to carve such an openwork bone box.

Or here is an interesting woodwork “How mice buried a cat” (late 19th century).

In this short story about the State Russian Museum, we have shown you only a small part of the presented paintings, sculptures, works. It will take several days to carefully examine all the expositions of the museum.

A bit of history: The main building of the Russian Museum.

“In terms of the grandeur of its external appearance, this palace will serve as an adornment of St. Petersburg, and in terms of the elegance of the taste of its interior decoration, it can be considered among the best European palaces ...”, wrote the Otechestvennye Zapiski magazine in 1825. That year, every self-respecting Petersburger was sure to visit here, near the newly completed Mikhailovsky Palace, built by the architect Karl Rossi for Grand Duke Mikhail Pavlovich and his wife Elena Pavlovna. Now it is the main building of the Russian Museum. The White Hall is the only room that has survived after the reconstruction of the palace for the needs of the museum exactly as it was under Rossi. Beautiful girls sitting on chariots - the Muses, daughters of the goddess of memory Mnemosyne and Zeus, are depicted on the ceiling ceiling; Grand Duchess Elena Pavlovna was fond of painting, music, and poetry. The murals were made by excellent Italian artists Giacomo Batisto Scotti and Antonio Vigi. Everything else is the fruit of the work of Russian masters: joiner Bobkov, bronzer Zakharov, furniture and parquet makers Znamensky and Tarasov, sculptor Stepan Pimenov. The White Hall is a true masterpiece in which Rossi thought of absolutely everything, from the arrangement of the columns to the smallest details of the ornament and the ceremonial service. Fortunately, all this has been preserved: picturesque wall paintings, sculptural decoration, typesetting parquet - everything is left from the time of Rossi. Even the furniture stands in the same places (its quantity and location were determined by the architect himself). The hall was so good that the English King George even asked to make a small copy of it.

But the White Hall is famous not only for its appearance. Here was the famous music salon of the Grand Duchess. The Russian Musical Society, thanks to which the first music classes were opened in 1860, and then the first conservatory in Russia, was born right here, at these evenings. Pyotr Ilyich Tchaikovsky made his debut as a conductor in the Mikhailovsky Palace, Hector Berlioz, Franz Liszt, Mikhail Glinka performed their works here. These walls heard the voices of Vasily Zhukovsky and Ivan Krylov. The salon for many years was one of the most important climax centers of the capital.

“The musical and artistic evenings at the Grand Duchess were extremely interesting,” recalled their first participant, the famous composer and pianist Anton Rubinstein. - Positively the best artists who ended up in St. Petersburg gathered here. Often among the guests was the majestic figure of Emperor Nicholas.

Guests of the Russian Museum can learn interesting details from the history of the creation of canvases right in the exhibition halls. To do this, just install the Artefact augmented reality application on your phone and point the gadget’s camera at the exhibit. Now available - curious facts about five of them are told by the Kultura.RF portal.

Barnyard by Alexei Venetsianov, 1822

The painting was first shown at the XV exhibition of the Association of Traveling Art Exhibitions in 1887. There it was acquired by Emperor Alexander III. For some time the canvas was in the Winter Palace, but in 1897 it moved to the newly formed Russian Museum.

"The ceremonial meeting of the State Council on May 7, 1901, on the day of the centennial anniversary of its establishment" Ilya Repin, 1903

Ilya Repin received an order for the painting in April 1901 from the Russian emperor. The painter was assisted by Boris Kustodiev and Ivan Kulikov.

“The master himself remained the master, commander and true creator, the students were only his obedient hands.”

Igor Grabar

Even before the anniversary, the artists created sketches of the interior in the Round Hall of the Mariinsky Palace. And on the day of the solemn meeting, Ilya Repin took photographs and sketches here - the painters used all the materials while working on the picture. The canvas was written for three years.

In the center of the plot of the picture is Nicholas II and representatives of the imperial house: the younger brother of the Tsar Mikhail, Grand Dukes Mikhail Nikolaevich and Vladimir Nikolaevich, who was then president of the Imperial Academy of Arts. Next to them are persons who held the most important posts in the state. In total, the picture depicts 81 people.