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Stieglitz University of Art and Industry. Museum of Art and Industry Academy named after

Stieglitz University of Art and Industry. Museum of Art and Industry Academy named after

18.04.2019

Academy today

Today the university has 1500 students and 220 teachers.

Faculties

Faculty of Arts and Crafts
- faculty of monumental art
- faculty of design

Story

It was founded in 1876 by the rescript of Alexander II with donations from the banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School of Technical Drawing.
In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
In 1922 the workshops were transformed into School of Architectural Finishing of Buildings under the City Executive Committee.
In 1945, by decision of the government, the school was recreated as a multidisciplinary educational institution that trained artists of monumental, decorative, applied and industrial art, in 1948 it became a university - Leningrad Higher School of Art and Industry.
Since 1953, LVHPU has been named after the People's Artist of the USSR Vera Ignatievna Mukhina.
In 1994, LVHPU them. V. I. Mukhina transformed into St. Petersburg State Academy of Art and Industry.
In December 2006, the Academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Art and Industry named after A. L. Stieglitz(SPGHPA named after A. L. Stieglitz).

Famous graduates

Bosco, Yuri Ivanovich - Soviet muralist, Honored Artist of Russia, People's Artist of Russia.
Zarinsh, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of Latvian folk art, author of the first revolutionary stamps of Soviet Russia. Author of the coat of arms and banknotes of Latvia.
Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
Protopopov, Vladislav Vasilievich - Russian artist.
Salnikov, Anatoly Alexandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Prize of the Autonomous Republic of Crimea, chief architect of Kerch.

Sources

Wikimedia Foundation. 2010 .

See what the "Leningrad Higher School of Industrial Art named after V.I. Mukhina" is in other dictionaries:

St. Petersburg State Academy of Art and Industry named after V.I. A. L. Stieglitz (SPGHPA named after A. L. Stieglitz) Founded 1876 ... Wikipedia

Them. V. I. Mukhina, created in 1945 (leads its history from the A. L. Stieglitz School of Technical Drawing, founded in 1876 in St. Petersburg). Since 1948 higher school. In 1953 the school was named after V. I. Mukhina. As part of the school (1973): ... ...

Leningrad named after V. I. Mukhina (LVHPU) (Solyanoy Lane, 13), established in 1945. It traces its history from the Central School of Technical Drawing of A. L. Stieglitz, founded in St. Petersburg in 1876. Since 1948, a higher school. In 1953, the school ... ... St. Petersburg (encyclopedia)

Higher School of Industrial Art- Leningrad named after V. I. Mukhina (LVHPU) (Solyanoy Lane, 13), established in 1945. It traces its history from the Central School of Technical Drawing by A. L. Stieglitz, founded in St. Petersburg in 1876. Since 1948, a higher school. In 1953, the school was awarded ... ... Encyclopedic reference book "St. Petersburg"

St. Petersburg State Academy of Art and Industry (formerly LVHPU named after V. I. Mukhina) ... Wikipedia

Coordinates ... Wikipedia

The Central School of Technical Drawing of Baron Stieglitz (CUTR), founded in St. Petersburg in 1876 at the expense of the patron A. L. Stieglitz, opened in 1879 together with the Primary School of Drawing, Drawing and Modeling, in 1922 merged into the Petrograd ... ... Great Soviet Encyclopedia

- (named after the philanthropist Baron A. L. Stieglitz), founded in St. Petersburg in 1876, opened in 1879, in 1922 merged into the Petrograd Vkhutein. In 1945, it was recreated as the Leningrad (now St. Petersburg) Higher Artistic and Industrial ... ... encyclopedic Dictionary

- (named after the philanthropist Baron A. L. Stieglitz) founded in St. Petersburg in 1876, opened in 1879, in 1922 merged into the Petrograd Higher Artistic and Technical Institute. In 1945, it was recreated as the Leningrad (now St. Petersburg) Higher ... ... Big Encyclopedic Dictionary eBook

Coordinates : 59°56′37″ N sh. 30°20′27″ E d. / 59.94361° N sh. 30.34083° E d. / 59.94361; 30.34083(G) (I) K: Educational institutions founded in 1876

Federal State Budgetary Institution of Higher Education "St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz"(Stieglitz Academy) is one of the most authoritative Russian universities that trains specialists in the field of fine arts and design. Founded in 1876 with funds donated by Baron Alexander Stieglitz.

The main building of the academy is located in a building designed by the first director of this educational institution - architect M. E. Messmacher.

Story

School of technical drawing

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (-).
The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drawing for secondary art and industrial schools.
January - S. P. Diaghilev organizes the Exhibition of Russian and Finnish Artists, in which, along with A. N. Benois and M. A. Vrubel, Finnish artists V. Blomsted, A. Gallen-Kallela and others take part.
The school began to be called Central after the creation of branches in Narva, Saratov, Yaroslavl in the 1890s. The first director from 1896 was the architect M. E. Messmacher.
In 1892, 200 people studied at the CUTR; there were departments: general art, decorative painting and carving, majolica, embossing, woodcuts, painting on porcelain, weaving and stuffing.
Over the years, the teachers of the CUTR were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov.

CUTR in the artistic culture of Latvia

From the first years of creation Central School of Technical Drawing, this educational institution has become very popular among the youth of Latvia, who want to get an education in the field of arts and crafts.

Approximately 130 ethnic Latvian students have been educated at the CUTR. Some of them later became teachers of this school, among them: Gustav Shkilter - a specialist in decorative finishing of buildings (1905-1918), Karl Brenzen - taught the artistic processing of glass and stained glass (1907-1920), Jacob Belzen - a teacher in drawing and painting (1905 -1917), Julius Jaunkalnynsh - on porcelain painting (1896-1918).

Masters of art educated in Central School of Technical Drawing, subsequently laid the foundation for the artistic culture of Latvia and became the founders of the artistic education of the Latvian Soviet Socialist Republic:

State art and industrial workshops

LVHPU named after V. I. Mukhina

In 1945, by decision of the government, the school was recreated as a multidisciplinary secondary specialized educational institution that trained artists of monumental, decorative, applied, industrial and restoration art.
In 1948, it became a higher educational institution - the Higher School of Industrial Art, which retains a unit where specialists with secondary specialized education are trained (the so-called "department of masters").
In 1953, by a government decree, the Leningrad Higher School of Industrial Art was named after the People's Artist of the USSR, full member of the USSR Academy of Arts, sculptor Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative and applied art of the USSR.

Academy of Art and Industry

The university has 1500 students and 220 teachers.

At half past six, Napoleon rode on horseback to the village of Shevardin.
It began to dawn, the sky cleared, only one cloud lay in the east. Abandoned fires burned out in the faint morning light.
To the right, a thick lone cannon shot rang out, swept and froze in the general silence. Several minutes passed. There was a second, third shot, the air shook; the fourth and fifth resounded close and solemnly somewhere to the right.
The first shots had not yet finished ringing before others rang out, again and again, merging and interrupting one another.
Napoleon rode up with his retinue to the Shevardinsky redoubt and dismounted from his horse. The game has begun.

Returning from Prince Andrei to Gorki, Pierre, having ordered the bereator to prepare the horses and wake him up early in the morning, immediately fell asleep behind the partition, in the corner that Boris gave him.
When Pierre woke up completely the next morning, there was no one in the hut. Glass rattled in the small windows. The Rector stood pushing him aside.
“Your excellency, your excellency, your excellency ...” the bereytor said stubbornly, without looking at Pierre and, apparently, having lost hope of waking him up, shaking him by the shoulder.
- What? Began? Is it time? Pierre spoke, waking up.
“If you please, hear the firing,” said the bereytor, a retired soldier, “already all the gentlemen have risen, the brightest ones themselves have long passed.
Pierre hastily dressed and ran out onto the porch. Outside it was clear, fresh, dewy and cheerful. The sun, having just escaped from behind the cloud that obscured it, splashed up to half of its rays broken by the cloud through the roofs of the opposite street, onto the dew-covered dust of the road, onto the walls of houses, on the windows of the fence and on Pierre's horses standing by the hut. The rumble of cannons was heard more clearly in the yard. An adjutant with a Cossack roared down the street.
- It's time, Count, it's time! shouted the adjutant.
Ordering to lead the horse behind him, Pierre went down the street to the mound, from which he had looked at the battlefield yesterday. There was a crowd of military men on this mound, and the French dialect of the staff was heard, and Kutuzov's gray-haired head was visible with his white cap with a red band and a gray-haired nape sunk into his shoulders. Kutuzov looked through the pipe ahead along the high road.
Entering the steps of the entrance to the mound, Pierre looked ahead of him and froze in admiration before the beauty of the spectacle. It was the same panorama that he had admired yesterday from this mound; but now this whole area was covered with troops and the smoke of shots, and the oblique rays of the bright sun, rising behind, to the left of Pierre, threw on her in the clear morning air a piercing light with a golden and pink hue and dark, long shadows. The distant forests that complete the panorama, as if carved out of some kind of precious yellow-green stone, could be seen with their curved line of peaks on the horizon, and between them, behind Valuev, the big Smolensk road cut through, all covered with troops. Closer, golden fields and copses gleamed. Everywhere - in front, on the right and on the left - troops were visible. All this was lively, majestic and unexpected; but what struck Pierre most of all was the view of the battlefield itself, Borodino and the hollow above Kolochaya on both sides of it.
Above Kolochaya, in Borodino and on both sides of it, especially to the left, where the Voyna flows into Kolocha in the swampy banks, there was that fog that melts, blurs and shines through when the bright sun comes out and magically colors and outlines everything seen through it. This fog was joined by the smoke of shots, and through this fog and smoke lightnings of morning light shone everywhere - now over the water, then over the dew, then over the bayonets of the troops crowding along the banks and in Borodino. Through this fog one could see the white church, in some places the roofs of Borodin's huts, in some places solid masses of soldiers, in some places green boxes, cannons. And it all moved, or seemed to move, because the mist and smoke stretched all over this space. Both in this locality, the lower parts near Borodino, covered with fog, and outside it, higher and especially to the left along the entire line, through the forests, through the fields, in the lower parts, on the tops of the elevations, were constantly born of themselves, out of nothing, cannon-shaped, then lonely, now lumpy, now rare, now frequent clouds of smoke, which, swelling, growing, swirling, merging, were visible throughout this space.
These gunshot smokes and, strange to say, their sounds produced the main beauty of the spectacle.
Puff! - suddenly one could see round, dense smoke playing with purple, gray and milky white colors, and boom! - the sound of this smoke was heard in a second.
"Poof poof" - two smokes rose, pushing and merging; and "boom boom" - confirmed the sounds that the eye saw.
Pierre looked back at the first smoke that he had left in a rounded dense ball, and already in its place were balls of smoke stretching to the side, and poof ... (with a stop) poof poof - three more, four more, and for each, with the same constellations, boom ... boom boom boom - answered beautiful, solid, true sounds. It seemed that these smokes were running, that they were standing, and forests, fields and shiny bayonets were running past them. On the left side, over the fields and bushes, these large smokes with their solemn echoes were constantly born, and closer still, along the lower levels and forests, small gun smokes, which did not have time to round off, flared up and gave their small echoes in the same way. Fuck ta ta tah - the guns crackled, although often, but incorrectly and poorly in comparison with gun shots.
Pierre wanted to be where these smokes were, these shiny bayonets and cannons, this movement, these sounds. He looked back at Kutuzov and at his retinue in order to check his impression with others. Everyone was exactly the same as he was, and, as it seemed to him, they looked forward to the battlefield with the same feeling. All faces now shone with that hidden warmth (chaleur latente) of feeling that Pierre noticed yesterday and which he fully understood after his conversation with Prince Andrei.
“Go, my dear, go, Christ is with you,” said Kutuzov, without taking his eyes off the battlefield, to the general standing next to him.
Having listened to the order, this general walked past Pierre, to the exit from the mound.
- To the crossing! - the general said coldly and sternly in response to the question of one of the staff, where he was going. “And I, and I,” thought Pierre and went in the direction of the general.
The general mounted a horse, which was given to him by a Cossack. Pierre went up to his bereytor, who was holding the horses. Asking which one was quieter, Pierre mounted the horse, grabbed the mane, pressed the heels of his twisted legs against the horse’s stomach, and, feeling that his glasses were falling off and that he was unable to take his hands off the mane and reins, he galloped after the general, arousing the smiles of the staff, from the barrow looking at him.

The general, behind whom Pierre rode, went downhill, turned sharply to the left, and Pierre, losing sight of him, jumped into the ranks of the infantry soldiers walking ahead of him. He tried to get out of them first to the right, then to the left; but everywhere there were soldiers, with equally preoccupied faces, busy with some invisible, but obviously important business. Everyone was looking with the same dissatisfied questioning look at this fat man in a white hat, for some unknown reason, trampling them with his horse.
- Why does he ride in the middle of the battalion! one shouted at him. Another pushed his horse with the butt, and Pierre, clinging to the pommel and barely holding the shy horse, jumped forward the soldier, where it was more spacious.
There was a bridge ahead of him, and other soldiers were standing by the bridge, firing. Pierre rode up to them. Without knowing it himself, Pierre drove to the bridge over the Kolocha, which was between Gorki and Borodino and which, in the first action of the battle (taking Borodino), was attacked by the French. Pierre saw that there was a bridge ahead of him, and that on both sides of the bridge and in the meadow, in those rows of hay that he noticed yesterday, soldiers were doing something in the smoke; but, in spite of the incessant shooting that took place in this place, he did not think that this was the battlefield. He did not hear the sounds of bullets squealing from all sides, and the shells flying over him, did not see the enemy who was on the other side of the river, and for a long time did not see the dead and wounded, although many fell not far from him. With a smile that never left his face, he looked around him.
- What does this one drive in front of the line? Someone shouted at him again.
“Take the left, take the right,” they shouted to him. Pierre took to the right and unexpectedly moved in with the adjutant of General Raevsky, whom he knew. This adjutant looked angrily at Pierre, obviously intending to shout at him too, but, recognizing him, nodded his head to him.
– How are you here? he said and rode on.
Pierre, feeling out of place and idle, afraid to interfere with someone again, galloped after the adjutant.
- It's here, right? May I come with you? he asked.
“Now, now,” the adjutant answered and, jumping up to the fat colonel who was standing in the meadow, handed something to him and then turned to Pierre.
“Why did you come here, Count?” he told him with a smile. Are you all curious?
“Yes, yes,” said Pierre. But the adjutant, turning his horse, rode on.
“Here, thank God,” said the adjutant, “but on Bagration’s left flank there is a terrible frying going on.
– Really? Pierre asked. – Where is it?
- Yes, let's go with me to the mound, you can see from us. And it’s still tolerable with us on the battery, ”said the adjutant. - Well, are you going?
“Yes, I am with you,” said Pierre, looking around him and looking for his bereator with his eyes. Here, only for the first time, Pierre saw the wounded, wandering on foot and carried on a stretcher. On the same meadow with fragrant rows of hay, through which he had passed yesterday, across the rows, awkwardly turning his head, lay motionless one soldier with a fallen shako. Why didn't they bring it up? - Pierre began; but, seeing the stern face of the adjutant, who looked back in the same direction, he fell silent.
Pierre did not find his bereytor and, together with the adjutant, rode down the hollow to the Raevsky barrow. Pierre's horse lagged behind the adjutant and shook him evenly.
- You, apparently, are not used to riding, count? the adjutant asked.
“No, nothing, but she jumps a lot,” Pierre said in bewilderment.
- Eh! .. yes, she was wounded, - said the adjutant, - right front, above the knee. Bullet must be. Congratulations, Count,” he said, “le bapteme de feu [baptism by fire].
Passing through the smoke along the sixth corps, behind the artillery, which, pushed forward, fired, deafening with its shots, they arrived at a small forest. The forest was cool, quiet and smelled of autumn. Pierre and the adjutant dismounted from their horses and walked up the mountain.
Is the general here? asked the adjutant, approaching the mound.
“We were just now, let’s go here,” they answered him, pointing to the right.
The adjutant looked back at Pierre, as if not knowing what to do with him now.
"Don't worry," said Pierre. - I'll go to the mound, can I?
- Yes, go, everything is visible from there and not so dangerous. And I'll pick you up.
Pierre went to the battery, and the adjutant rode on. They did not see each other again, and much later Pierre learned that this adjutant's arm had been torn off that day.
The barrow that Pierre entered was that famous one (later known to the Russians under the name of the kurgan battery, or Rayevsky battery, and to the French under the name la grande redoute, la fatale redoute, la redoute du center [large redoubt, fatal redoubt, central redoubt ] a place around which tens of thousands of people were laid and which the French considered the most important point of the position.
This redoubt consisted of a mound, on which ditches were dug on three sides. In a place dug in by ditches stood ten firing cannons protruding through the openings of the ramparts.
Cannons stood in line with the mound on both sides, also firing incessantly. A little behind the cannons were infantry troops. Entering this mound, Pierre never thought that this place dug in with small ditches, on which several cannons stood and fired, was the most important place in the battle.
Pierre, on the contrary, it seemed that this place (precisely because he was on it) was one of the most insignificant places of the battle.
Entering the mound, Pierre sat down at the end of the ditch surrounding the battery, and with an unconsciously joyful smile looked at what was happening around him. Occasionally, Pierre would get up with the same smile and, trying not to interfere with the soldiers loading and rolling the guns, who constantly ran past him with bags and charges, walked around the battery. The cannons from this battery continuously fired one after another, deafening with their sounds and covering the whole neighborhood with gunpowder smoke.

Academy today

Today the university has 1500 students and 220 teachers.

Faculties

Faculty of Arts and Crafts
- faculty of monumental art
- faculty of design

Story

It was founded in 1876 by the rescript of Alexander II with donations from the banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School of Technical Drawing.
In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
In 1922 the workshops were transformed into School of Architectural Finishing of Buildings under the City Executive Committee.
In 1945, by decision of the government, the school was recreated as a multidisciplinary educational institution that trained artists of monumental, decorative, applied and industrial art, in 1948 it became a university - Leningrad Higher School of Art and Industry.
Since 1953, LVHPU has been named after the People's Artist of the USSR Vera Ignatievna Mukhina.
In 1994, LVHPU them. V. I. Mukhina transformed into St. Petersburg State Academy of Art and Industry.
In December 2006, the Academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Art and Industry named after A. L. Stieglitz(SPGHPA named after A. L. Stieglitz).

Famous graduates

Bosco, Yuri Ivanovich - Soviet muralist, Honored Artist of Russia, People's Artist of Russia.
Zarinsh, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of Latvian folk art, author of the first revolutionary stamps of Soviet Russia. Author of the coat of arms and banknotes of Latvia.
Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
Protopopov, Vladislav Vasilievich - Russian artist.
Salnikov, Anatoly Alexandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Prize of the Autonomous Republic of Crimea, chief architect of Kerch.

Sources

Wikimedia Foundation. 2010 .

See what the "Art School named after Mukhina" is in other dictionaries:

In the USSR, the system of training masters of fine, decorative applied and industrial art, architects, artists, art critics, artist teachers. In Rus', it originally existed in the form of individual training ... ... Great Soviet Encyclopedia

- (CUTR) (Solyanoy lane, 13 and 15), state art educational institution. Founded in 1876 (opened in 1879) together with an elementary school of drawing, drafting and modeling on the initiative and at the expense of the patron of the arts Baron A. L. Stieglitz (the first ... ... St. Petersburg (encyclopedia)

Wikipedia has articles about other people with that surname, see Pavlov. Wikipedia has articles about other people named Pavlov Alexander Borisovich. Alexander Borisovich Pavlov (b. 1963, Donetsk) is a Russian artist. Born into a family of workers. Since 1971 ... ... Wikipedia

Oleg Georgievich Atroshenko (1940-1989) Soviet artist. Graduated from the Mukhina Higher Art School with a degree in interior design. He is the author of numerous interior design projects for public institutions and ... ... Wikipedia

Wikipedia has articles about other people with this last name, see Wax. Joseph Alexandrovich Vaks Professor I. A. Vaks ... Wikipedia

The Stieglitz Academy is the most popular university in Russia, attracting applicants and tourists from all over the world. The Mukhinskoye School, as it was called at the Soviets, surprisingly combines creative talents with their practical application - this is a real "forge" of contemporary artists and restorers, architects and designers, sculptors and fashion designers, designers of all directions. The Academy of Baron Stieglitz attracts creative youth not only with specialties, but also with excellent teaching staff, the possibility of self-realization already in the learning process and a rich history.

The history of the emergence of the Stieglitz Academy in St. Petersburg

There is an opinion that when a person achieves everything - wealth, fame and power, he plunges into the depths of the search for the meaning of his own life. Baron Stieglitz, the richest businessman and banker, a brilliant industrialist and international figure, also faced this phenomenon. Admiring the talents of architects and artists, he was extremely sad about the poverty of most of them. Careful calculations of the financier showed that if creative thought is channeled into the mainstream of industry, then the income of craftsmen will increase by 7 times.

Guided by such good intentions, in 1876 he allocates a million rubles for the construction of the main building of the “technical drawing school”, another 5 million to attract the best teachers in the world and the same amount to purchase exhibits for the museum at the academy, clearly demonstrating to students the prospects for revealing their talents.

The design of the building, which later housed the Art and Industry Academy of A.L. Stieglitz, was entrusted to the German architect Maximilian Messmacher, who later became the first rector of the educational institution. The unique concept of combining all the stylistic directions of architecture still distinguishes the Stieglitz mansion, the main building and the museum building. A glass dome, white marble stairs and an abundance of stucco - the grandeur of the building makes it stand out against the backdrop of the Elizabethan baroque of St. Petersburg.

Named after A. L. Stieglitz was founded in 1876. Now it is one of the most famous educational institutions in Russia. The university is located in the historical part of St. Petersburg, the second largest city in the country and the main cultural center.

Start

The creation of the Stieglitz Academy in St. Petersburg was associated with the rapid growth of industrial production that swept European countries in the middle of the 19th century. The semi-handicraft manufactories were replaced by factories, which made it possible to produce goods in large quantities. However, it soon became clear that consumers are interested not just in utilitarian things, but in a beautiful product with a memorable design.

In 1851, the famous art and industrial exhibition was held in England, at which different countries presented their best goods and products. In addition to traditional embroidery, ceramics, weaving, jewelry, the company presented amazing factory products made of wood, cast iron, and steel. The apotheosis of industrial achievements was the Crystal Palace: the pavilion where the exhibition was held was as if woven from a metal web and “sheathed” with large glass panels.

The birth of the art academy

Russian industrialists who visited the fair were very impressed. The idea of creating a national school for the training of artists specializing in applied art was born. In 1860, a technical drawing school was formed on the basis of the Moscow one. However, her capabilities were clearly not enough.

According to popular opinion, the initiative to organize a specialized art and industrial educational institution in St. Petersburg was made by Senator Alexander Polovtsov, the son-in-law of the richest (according to his contemporaries) banker in Russia, Baron Stieglitz. The banker liked the idea, and he established a special fund in the amount of 7 million rubles (huge money at that time), on the interest from which the Central School of Technical Drawing, created in 1876, existed. It trained decorative artists in applied disciplines and teachers of technical drawing for other schools that began to appear around the country. Thus, CUTR became the progenitor of the Academy. Stieglitz.

Development

The Soviet government looked differently at the role of art in industry. Any embellishments were considered unnecessary, a manifestation of philistinism. In 1922, the CUTR was closed, and later reformatted into a general educational institution.

The second birth of the Academy. Stieglitz happened on February 5, 1945. On this day, courses for the preparation of restorers began to work. After the war, many historic buildings and works of art were in need of restoration.

In 1953, the Leningrad Higher School of Industrial Art (LVHPU) named after V.I. Mukhina was formed. The people called it the Mukhinsky School. We must pay tribute, an amazing team was formed within its walls, which was able to bit by bit restore the centuries-old traditions of its predecessors and at the same time bring a lot of new things to the science of industrial design, art crafts, and the preservation of historical heritage. In 2007, the university was reorganized into the St. Petersburg Academy of Art and Industry named after A. L. Stieglitz.

today

Currently, the university has about 1,500 students and 500 employees. Applicants can receive higher education in the field of monumental and decorative art, design, art history and restoration.

The faculties of the Stieglitz Academy in St. Petersburg actively cooperate with structural organizations and industrial enterprises. For example, the Department of Industrial Design works side by side with well-known Russian companies, including automakers KamAZ and AvtoVAZ, shipbuilders Almaz and Avrora, NPO LOMO, and the Svetlana factory. The fashion design department hosts numerous competitions and festivals.

SPGHPA. them. A. L. Stieglitz has a long history of successful international relations. Teachers and students cooperate with higher educational institutions and creative organizations in Germany, Finland, China, France, Japan and other countries.

Faculty of monumental and decorative art

It trains artists of all kinds. The variety of specialties is determined by the innovative trends of the 21st century, as well as traditions drawn from the past. Applicants of the art academy can choose one of many specializations:

History of art and civilization.
Artistic processing of metals.
Graphic art, book illustration.
Ceramics, glass.
Painting, restoration.
Painting on wood.
Sculpture.
Textile design.
Interior and equipment.
Monumental and decorative painting and sculpture.

Faculty of Design

First of all, it is a school of artistic and design creativity, which is faced with the task of determining the best ways to integrate design, pedagogy, science and industrial production. The curriculum is built around creating a kind of launch pad for creativity. Here they train in the following specialties:

Suit design.
Environment design.
Graphic design.
Furniture design.
Industrial design.

Achievements

The famous university has prepared a galaxy of talented and successful artists and designers for the manufacturing industry. In search of aesthetic values, graduates actively form new trends for architecture, design, monumental, decorative and applied art.

Today, former students successfully work in industrial enterprises, participate in projects of scientific research institutions, as well as in construction bureaus, art schools and creative organizations. In addition, students of the Academy Stieglitz made a significant contribution to the development of the material culture of the country. For high achievements, the team was awarded the honorary Order of the Red Banner of Labor.

Social and cultural life

The Academy has a developed material and technical base. There is a museum with more than 35,000 objects of applied art and a collection of student works. The library has over 140,000 titles and a collection of 10,000 rare books. Organized meals.

Excellent facilities for sports have been created, and there is also a gym. There is a student dormitory located on Kuznetsova Avenue 30/9, St. Petersburg. By the way, during the entrance exams and training courses, applicants can be accommodated in a hostel.

Museum

At the Academy. Stieglitz operates a wonderful museum (founded in 1878). It presents both the work of teachers and students of the Academy of different years, as well as other works of art.

The same Alexander Polovtsov contributed to the creation of an art museum at the educational institution. Together with the architect Maximilian Messmacher, he convinced Baron Stieglitz of the need to have a collection of works of applied art, both as a teaching tool and to develop the artistic imagination of students. The Baron gave an additional 5 million rubles for the implementation of this idea, which made it possible to buy books on art for the school library, new exhibits for the museum, printed graphics, original paintings and drawings by Western European artists, products of jewelers-masters, works of artists-decorators of various industries.

Large funds were spent on the acquisition of specialized exhibits and works of art at Paris auctions, often the best and unique lots were bought. Thanks to these acquisitions, the school museum became the owner of:

Samples of ceramics of archaic times.
Jewelry.
Archaeological objects of the ancient Phoenicians.
Antique furniture.
antique fireplaces.
Products of ceramic centers in Italy, France, Germany.
Collections of French tapestries.
Original paintings by Tiepolo.
Original drawings by artists and decorators, including Giovanni Castiglione, Franceso Guardi, Perino del Vaga, Tiepolo, Polidori da Caravaggio, Annibale Carracci, Gilles Marie Oppenor and others.

After the death of Stieglitz, Alexander Polovtsov had to bring to its logical conclusion the work of improving the new art school. He gave considerable sums to charity and the development of the material and technical base.