Behind the Garden Ring, not far from the Moscow Compound of the Holy Trinity Sergius Lavra, in a quiet shady lane, there is the house of the outstanding Russian artist V. M. Vasnetsov, built in 1894 according to the project of the artist himself in the neo-Russian style. V. M. Vasnetsov lived here for the last 32 years of his life (1894–1926). On August 25, 1953, a museum was opened in the house, in 1954 the 3rd Troitsky Lane, in which the house stands, was renamed Vasnetsov Lane.
Straightaway after the death of the artist, the relatives came up with the idea “to keep everything as it was, to arrange something like a house-museum”. Turning to the Tretyakov Gallery for help, they received consent to work together to organize a posthumous exhibition of works by V. M. Vasnetsov with the further prospect of creating a museum.
On January 27, 1927, the artist's son, Aleksey Viktorovich Vasnetsov, submitted a statement to the Gallery Board stating that the family was ready to accept all obligations related to the organization of the exhibition. He was also approved as the commissioner for the conduct of affairs. Alexei Viktorovich was assisted by his sister Tatyana Viktorovna and his wife Zinaida Konstantinovna. M. V. Nesterov, P. Korin, Ap. M. and Vl. V. Vasnetsov and Scientific Secretary of the Tretyakov Gallery N. S. Morgunov. The necessary repair work was carried out, several hundred posters with information about the exhibition were printed and pasted up, tickets were prepared and a catalog was published.
The exhibition opened on March 13, 1927. On the first day it was visited by about 600 people. In the following days, many interested visitors and school groups came to the exhibition, there were excursions. The exposition of the exhibition was preserved until 1933.
The preface to the catalog indicated that the works exhibited at the exhibition, in particular the fairy tale cycle, were presented to the public for the first time and that landscapes, sketches and sketches would be shown in the future, “which, combined with what is now being shown, should form the Viktor Vasnetsov Museum” . The exhibition featured 212 exhibits: paintings, drawings and objects of arts and crafts. The exhibits were placed in the living room, the former classroom and in the workshop. Fairy-tale epic paintings the authors of the catalog supplied short texts from a literary source.
During the years of the Great Patriotic Wars The artist's relatives continued to live in the house. large paintings were folded, the rest of the work laid out in boxes. The house itself was not damaged, but the fence and terrace were not preserved. In September 1946, the heirs expressed their desire to organize a museum in the house by the centenary of the birth of V. M. Vasnetsov in 1948 and negotiated this with the Tretyakov Gallery. Opened in May 1948 in the exhibition hall of the Union Soviet artists exhibition of paintings by the master caused visitors big interest and contributed to the decision to organize the museum.
On June 29, 1950, an order of the Council of Ministers of the USSR was issued on the organization of the House-Museum of V. M. Vasnetsov. The Committee for Arts under the Council of Ministers of the USSR issued an order to start organizing a museum, for which purpose it was necessary to receive the house, as well as art collections and property donated by the artist's heirs to the state.
A month later, on July 29, 1950, the heirs signed an application to the Committee for Arts under the Council of Ministers of the USSR on the gratuitous transfer of property and valuables to the state for the organization of the House-Museum of V. M. Vasnetsov. On July 18, 1951, by order of the Committee, the “Regulations on the House-Museum of V. M. Vasnetsov” were approved. On August 28, 1951, an act of acceptance by the commission of the house was signed, works of art- paintings, graphics, works of arts and crafts, household items and property of V. M. Vasnetsov from his heirs.
The first director of the museum (from 1951 to 1957) was the artist's nephew Dmitry Arkadyevich Vasnetsov, a participant in the First World War and the Great Patriotic War, actor musical theater K. S. Stanislavsky and V. I. Nemirovich-Danchenko, director of the Children’s music school. Z. K. Vasnetsova was appointed the chief custodian. Together with Tatyana Viktorovna, D. A. Vasnetsov was engaged in repairing the house, restoring its layout and recreating the situation that was during the life of V. M. Vasnetsov. The architecture of the house was completely preserved, the furnishings of the house were restored at the beginning of the 20th century. The decoration of the dining room, living room and workshop has been almost completely preserved. In all other rooms, including the exposition rooms, original objects were presented, donated to the museum by the artist's family.
The part of the collection that remained in the ownership of the heirs was transferred to the museum under the will of T.V. Vasnetsova in 1959 and on the basis of her deed of gift in 1961. Thus, all collections: paintings, graphics, objects of arts and crafts and everyday life, the personal archive and library of the artist, photographs and reproductions became part of the museum collection, which was replenished by donations from various people, purchases, and currently has about 25 thousands of museum items.
In 1978–80, the house was restored, restored appearance outbuildings, where a janitor's, laundry and carriage house were located under a common roof, a cobblestone pavement and a brick path were restored in the courtyard. On the east side, the building erected in the 80s has been preserved. XIX years century, a firewall (brick wall), to which in the 1970s the mosaic “The Savior on the Throne” was transferred, made at the beginning of the 20th century according to the sketch of V. M. Vasnetsov in the St. Petersburg mosaic workshop under the direction of V. A. Frolov. On the northern and western sides of the house, a garden with centuries-old oaks and elms has been preserved.
At the time of its organization, the museum was under the jurisdiction of the Committee for Arts under the Council of Ministers of the USSR. Practical guide the work of the museum was carried out by the General Directorate of Institutions fine arts. In 1954, the museum was transferred to the Ministry of Culture of the RSFSR, in January 1955 - to the Department of Culture of the Moscow Council. In 1963, it was decided to join the Museum of the History and Reconstruction of Moscow, and in 1986 the House-Museum of V. M. Vasnetsov became part of the All-Union Museum Association "State Tretyakov Gallery» as a scientific department.
Museum Silver Age opened October 26, 1999. The exposition unfolded in the house where the poet, writer, critic, Pushkin philologist Valery Yakovlevich Bryusov (1873-1924) lived from 1910 to 1924.
In 1999, in the year of the 200th anniversary of the birth of A.S. Pushkin, the exposition “A.S. Pushkin and Russian Literature of the Silver Age of Russian Literature. Restoration continued for more than ten years, its completion was the exposition, almost entirely based on materials from the museum's funds.
Single exhibits were taken from a private collection. On the creation of the exposition under the guidance of the head of the museum department M.B. Shaposhnikov, Honored Worker of Culture E.D. Mikhailova, researchers N.A. Vinogradova, I.A. Gladysh, Honored Artist of Russia A.A. Tavrizov and others.
House in the style of "northern modern" shoe merchant I.K. Baev rebuilt from a wooden two-story mansion in 1910. Architect - V.I. Chagin. In the summer of the same year, poet V.Ya. rented an apartment on the ground floor from the landlord Baev. Bryusov, and Muscovites began to call the mansion "Bryusov's House", although the house never belonged to Bryusov.
In the memorial office of V.Ya. Bryusov, there are things that belonged to the poet: his library, an oak table, a clock, a furniture set with upholstery of the 1910s, paintings and drawings donated to the poet by artists F. Rerberg, K. Feofilaktov, A. Koyransky, N. Sapunov, N. Goncharova. On the exposition of the second floor there are unique manuscripts and portraits of L. Reisner by V. Shukhaev, M. Voloshin by B. Kustodiev, a portrait of Andrei Bely by L. Bakst.
Working mode:
- Tuesday, Friday-Sunday - from 11:00 to 18:00;
- Wednesday, Thursday - from 11:00 to 21:00;
- Monday is a day off.
Ticket price:
- full - 150 rubles;
- preferential (pensioners, schoolchildren, students of secondary specialized institutions, students and graduate students of Russian universities over 16 years old) - 100 rubles;
- persons under 16 years old - free of charge.
You can find out the details on the official website.
The Museum of the Silver Age illustrates a short but turbulent and diverse era in the development of Russian art, especially poetry. Literary movements that succeed each other or compete at the same time are presented here along with the memorial dwelling of one of bright figures of that time - Valery Bryusov. Of particular interest is the location of the Silver Age Museum, this is an old merchant's mansion, rebuilt at the beginning of the last century.
The current appearance of the house in which Valery Bryusov lived for a long time resembles a typical cottage of our days, while the structure is quite original. The architect Chagin built it in the Art Nouveau style with a Scandinavian twist, without much decoration, but varied in form.
The entrance complex made in the form of a turret with an arched niche, where the entrance itself is located, stands out especially. On the wall next to the arch there is a memorial plaque with a bas-relief of Bryusov, the dates of his life and the time he lived in the mansion.
The hereditary shoe merchant Ivan Kuzmich Baev, according to some sources, was a member of a literary and artistic circle headed by Bryusov. In the reconstructed father's house, his family occupied the top floor and attic, and the premises of the first floor were leased to the famous poet. After the revolution, the upper premises were given to the library of the district, Bryusov continued to live downstairs until his death, then his wife until 1964.
For some time, the Bryusov Museum worked on the ground floor, but after a strong fire, the house fell into disrepair and was on the list of demolished buildings. In 1987, the mansion was transferred Literary Museum, and after a long renovation for the 200th anniversary of Pushkin, the Museum of the Silver Age was opened.
The Museum of the Silver Age presents its exhibits to visitors, starting from the lobby, decorated in art style the described time, which accommodates the wardrobe and cash desks of the institution and at the same time is an exhibition space. There are stands with exhibits and posters of events from the beginning of the last century. The exhibit, which looks like a family coat of arms of a noble family, is actually a poster of the imperial ball of the beginning of the last century, designed in accordance with the trends of that time.
Between the poster and the mirror in a similar frame there is a stand with publications about the art of those years and its outstanding representatives.
V. Ya. Bryusov's office
Bryusov and his wife occupied all the rooms on the first floor of the mansion, the largest room was his office. The bedrooms and the maid's room overlooked the courtyard, the study - the street.
The passage room in front of Bryusov's office, of course, has not retained its former purpose - it is adapted for the demonstration of documents and materials about life and creative way eminent tenant.
Several glassed-in stands of the classic museum type are used here to place the exhibits, as well as high stands for the most important of them. The interior is complemented by engravings with views of Moscow, made by Bryusov's contemporaries, hung on the walls.
Bryusov's contemporaries described his office primarily as a place of work with several tables, and also as a repository for his book collection. He collected more than 5 thousand volumes, now there are about a thousand of them in the library, which is also quite a lot.
The main thing that distinguishes the collection of Valery Yakovlevich is its exceptional consistency and orderliness. In addition to poetry and prose. Bryusov was engaged literary criticism and literary theory, and was also an excellent translator from a number of languages.
Therefore, he had books on different fields of activity on different shelves, inside the sections they also stood in order.
However, not only were the works arranged according to topics and alphabetically, Bryusov also had a card index of his book collection in accordance with all the rules of library science. In the very corner of the office you can see a cabinet with drawers gray color and white rectangle labels on them - this is a real library classifier that makes it easy to find necessary material by branch of knowledge and alphabetical order.
In a competitive environment different directions in art, being engaged in the formation of the foundations of symbolism and criticism of other trends, Bryusov carefully studied many works. For important excerpts from them, a special storage served - a cabinet with drawers similar to a classifier. There are no labels on them, since only the owner of the cabinet used quotes, one for him known system positioning materials.
Bryusov's desk and armchair in the study were arranged in an unusual way, so that he sat with his back to front door. This arrangement indicates full immersion to work and lack of desire to communicate with anyone during the creative process.
Valery Yakovlevich's table was quite standard, with two cabinets and drawers and a top covered with cloth and glass over the fabric for ease of writing. An ink set and paperweight for blotting ink, a desk lamp, books, a notebook for notes and notes to yourself are all pretty mundane.
To create the effect of the presence of the owner on the table are placed notebooks poet next to an anthology of Armenian poetry, created in collaboration with leading masters of translation.
Unusual on Bryusov's table is a semblance of a commemorative photograph, but with a female silhouette instead of an image, and a bust on the far right corner. Most likely, these moments are purely personal, it is only known that the bust depicts Donna Laura, the heroine of the works and muse of the great Francesco Petrarch.
The windows of Bryusov's office in the Museum of the Silver Age, as in the life of the writer, are tightly curtained and retain his familiar environment. The owner of the premises did not like the sunlight, noise and bustle of the adjacent street. In one of the window piers there is an old clock, which was previously in parental home future writer.
Next, you can see a now unusual piece of furniture - a desk for writing while standing, which was previously a fairly common thing. There are also several bookcases in the office, not too loaded with contents due to the loss or transfer to other storage of part of Bryusov's library funds.
On the far wall of Valery Bryusov's office there are paintings donated to Bryusov famous artists, his friends and contemporaries.
Near this wall there is another work table and a sofa with chairs, in this corner it was possible to discuss pressing issues of literature in a narrow circle. These meetings are usually preceded by public performance poets, including discussions with adherents of other creative views and principles.
There is also a fully enclosed manuscript cabinet, designed to prevent fading of the ink. Bryusov took the cabinets near the fireplace for books on the occult, which was of considerable importance in shaping the worldview of symbolism.
Literary expositions of the Silver Age Museum
A marble staircase leads to the second floor of the Silver Age Museum, which houses expositions about the main trends in literature and other arts of this era. Located near the start of the ascent bronze sculpture on a pedestal depicting a young man with a torch.
The torch is ingeniously completed by a group of luminaires, giving a bright illumination. A peculiar composition, formed by a sculptural image in combination with tall and lush indoor plants, does not go unnoticed by visitors. Posters posted along the way poetry evenings and other public events.
Symbolist Hall
The first inspected hall on the second floor of the Silver Age Museum tells about symbolism and the main representatives of this trend in Russian literature. The forerunners of these poets were decadents moving away from surrounding reality in inner world and own experiences. The cause of decadence, in turn, was a certain fatigue from realism, which has established itself in all types of art since antiquity.
However, the dependence and connection of individuals with the environment public environment exists objectively, and it was the symbolists who were looking for patterns of connection between the world and the individual. The ideas of symbolism in art stemmed from the philosophical searches of that time by Schopenhauer and Nietzsche.
Russian symbolism had a number of features associated with the crisis of the ideas of liberals and populists. In the showcases of the hall of symbolism, you can learn a lot about this movement and its leading representatives. In showcases literary direction Symbolism Museum of the Silver Age presents works of writers and poets, their biographies and images.
In addition to very informative showcases, the personalities of Russian symbolists are presented in paintings created by their like-minded people from adjacent species art. Near the entrance to the hall you can see the portraits of Bryusov by Malyutin, performed by Bakst, Blok - by Tatyana Gippius, the sister of the famous poetess. The father of the great poet and writer, Leonid Pasternak, painted an image of Jurgis Baltrushaitis, a poet and future famous diplomat, representing Lithuania in the USSR for almost 20 years before it became part of our country. The artist Turzhansky painted a portrait of Bunin, who, in sympathy with the views of the Symbolists, was not ranked by anyone - he was always a realist, but he visited their evenings, knew about their views and entered into discussions. In the future, an emigrant and Nobel Prize winner, Bunin did not accept the revolution, unlike Bryullov, who even joined the ruling party.
Showcases about the Symbolists occupy all the walls of the examined hall, and near the window openings, on a raised podium, there is an installation of the editorial interior of the main printed organ of Symbolism - the magazine Libra.
Here are the editor's desk, a bookcase with magazine issues, a rocking chair and information stand. In detail, you can consider the contents of the editor's table, and the elements of decoration from wood carvings.
Visitors viewing the exhibits at close range notice disclosed number Libra is the title of the journal in two languages - Russian and Japanese. Thus, the publishers reacted to the beginning of the war with Japan, the defeat in which then became one of the reasons for the Russian revolutions.
Futurist Hall
Not all Symbolists for a long time adhered to the views and manner of writing of this group. For example, Gorodetsky changed his views rather quickly, and then supported the new peasant poets. These poets sang of the patriarchal values of the Russian countryside, wrote poems of folk epic style.
Among these was Yesenin, who together with Klyuev created the Krasa group, which existed for a very short time. The talented cartoonist Topikov, a future longtime contributor to Crocodile magazine, drew a cartoon of this association, depicting Gorodetsky, Klyuev, Remizov and Yesenin as birds sitting on the same branch.
At the beginning of the last century, representatives of the avant-garde, who in Italy and Russia began to be called futurists, actively joined in the denial of realism. The Italian poet Marinetti wrote and published the Manifesto of Futurism, proclaiming the denial of all previous culture and the creation of a completely new one, with own language and versification techniques.
A separate hall of the Silver Age Museum is dedicated to Russian representatives of futurism. The unexpectedly gloomy room of the hall has no overhead lighting, only light through the windows and evening illumination of individual exhibits.
The tallest and largest exhibit in this room is a copy of the monument to Peter the Great, which has its own meaning - it is the emblem of one of the poetic associations with the name "The Bronze Horseman".
The most authoritative poetic community of futurists was the St. Petersburg circle "Gilea", created by the Burliuk brothers, Mayakovsky and Velimir Khlebnikov. The collection of poems by these poets had a telling name - "A Slap in the Face of Public Taste", in which all the content called for a complete denial of the traditions and creativity of all the great predecessors.
Many futurists not only composed poetry, but also drew well, which we know from the example of Mayakovsky. There was also a union professional artists adhering to the principles of futurism, primarily the circle " Jack of Diamonds"headed by Pyotr Konchalovsky.
The exhibition windows of the Futurist Hall in the Silver Age Museum contain the works of these poets, posters of performances based on their plays and poetry evenings with their participation. The exhibits illustrate all facets of futurist creativity through paintings. For example, near the far window you can see the announcement of the Mystery Buff performance based on Mayakovsky's play, timed to coincide with the anniversary of the revolution.
The Futurists called for the rejection of the work of the greats, including Pushkin, but were not shy about recognizing adherents of others as their supporters. literary movements who received public recognition. Poster for the presentation of Blok's poem on revolutionary theme placed in the center of the exposition of the far wall, among the ads of the avant-garde artists themselves.
Many futurists are now forgotten or known only to a narrow circle, while Blok, and even more so Pushkin, have remained forever.
Hall of Acmeists
Another literary trend that existed in parallel with symbolism was acmeism, which did not accept the excessive idealism of the symbolists. These writers declared the clarity of images and the accuracy of their poetic description.
Gorodetsky and Kuzmin, many poets in early period creativity were ranked among the acmeists, these are Gumilyov and Akhmatova. Mandelstam and Voloshin. Among them was Boris Pasternak, whose bust by Maslennikova is placed by the window in the Acmeism Hall of the Silver Age Museum.
The showcases of the Acmeism Hall in the Silver Age Museum of various configurations acquaint visitors with the works and things of poets and writers of this literary movement. On the walls are portraits of representatives of the direction, including the image of Voloshin by Kustodiev. Bust of Boris Pasternak by the window. A large portrait of Maximilian Voloshin, painted by the flamboyant painter Kustodiev, flaunts on the far wall.
The same showcases are visible in the picture from a different angle in the same room. Near the far window is a painted bust of Marina Tsvetaeva by Krandievskaya. The mirror in the opposite corner reflects this bust, which appears in it as a reduced copy.
Among the central showcases, those made in the form of pyramids stand out; they store lifetime editions of prominent acmeists. Pyramids reflect the meaning that became the basis for the name of the current - the peak, or peak.
Also in the central showcase are exhibited archival documents of the Gumilyov family - Nikolai Gumilyov, who was shot by the Red Guards, and his wife Anna Gorenko - Gumilyova, who took the pseudonym Akhmatova after the death of her husband.
Of particular interest to visitors to the Museum of the Silver Age is the left wall in the hall of acmeism, where portraits of its prominent representatives and paintings by contemporary artists are placed. Portrait of Anna Akhmatova, painted by Alexander Osmerkin, is located immediately after the bust of Tsvetaeva. Unlike famous portrait the work of the cubist Nathan Altman, where the poetess appears in a chic evening dress, here she is in casual clothes, women's dress of a simple Russian style.
Many stop near the almost caricature image of many writers of the first third of the last century. This is one of the most curious exhibits of the Silver Age Museum - a group caricature of many figures of the era. A large-scale cartoon drawn by the artist Polyakov in 1916 is called the Comedians' Halt Cafe. In an ironic manner, a meeting of representatives of all groups of writers and artists of that time is depicted here, expressing the transient nature of their disagreements and the preservation of only truly talented works in history.
Pushkin exposition and the central hall of the Silver Age Museum
None of the brightest talents, let alone manifestos denying past literary achievements, can belittle these achievements. It is not for nothing that the opening of the Silver Age Museum was timed to coincide with the anniversary of Pushkin, and the first exposition of the new museum told about the influence of our the greatest poet on the literature of the Silver Age.
In the bay window on the right side of the facade wall of the mansion, a Pushkin exposition, decorated with a copy of his most successful portrait by Orest Kiprensky. Against the background of a bay window and large indoor plants the image looks great.
The central hall on the second floor of the Silver Age Museum is both an exhibition and a concert hall. The exposition is devoted to the development of Russian literature in chronological order. Literature evenings, concerts and other public events are held here.
A retrospective exposition of the history of Russian literature with lifetime editions of works and portraits of Pushkin, Leo Tolstoy and Bunin.
Posters of various performances from the beginning of the last century are hung in the stage niche, as well as a concert grand piano presented to Valery Bryusov by Lunacharsky, People's Commissar of Education.
Bryusov accepted the revolutionary transformations of 1917, joined the party, was engaged in editorial and teaching activities. With the support of the People's Commissar, in 1921 he founded the Higher Literary - art institute until his death he was its rector and professor.
To be in Moscow and not visit the Silver Age Museum in a merchant's mansion would be unforgivable. Here is the memorial office of Valery Bryusov, and the Pushkin exposition, and the halls of the main literary movements of the beginning of the last century. Rich impressions and new knowledge await all inquisitive people in the Silver Age Museum.
To the Museum of the "Silver Age" ("House of V. Ya. Bryusov")
Total 11 photos
On Mira Avenue, next to the entrance to the Aptekarsky Garden, there is a small Art Nouveau mansion - a famous Moscow memorial monument- the house of the poet Valery Bryusov. Bryusov spent 14 here recent years life - from 1910 to 1924, here he died. Bryusov's house in the Northern Art Nouveau style became the residence of V.Ya. Bryusov and poetry of the Silver Age. The mansion itself before the revolution (then its address - 1st Meshchanskaya Street, 32) belonged to the merchant Ivan Kuzmich Baev, a hereditary honorary citizen, a member trading house Ivan Denisovich Baev Sr. with his brothers. Bryusov, together with his family, rented an apartment on the ground floor in Baev's house. The house was built in the 1830s - then it was a two-story residential building, with a wooden second floor ("stone bottom, wooden top") and the classical facade processing characteristic of that time. The estate - a house and two outbuildings - belonged to merchant families in the 19th century - first to the merchants Arshinov, then Molchanov, until finally in 1895 it was bought by the merchant of the 2nd guild Kuzma Denisovich Baev. Later, in 1909, it was inherited by his son Ivan Kuzmich, who decided to radically rebuild old house, inviting the architect Vladimir Ivanovich Chagin for these purposes. Chagin designed a mansion for Baev in the forms of "northern modern" - an expressive two-three-story building with asymmetrically designed facades, roof complex shape with a peaked roof above the entrance area, and with an originally arranged entrance in a recessed arched niche. 02 Bryusov's house. 1961-1965. Pre-fire view of Bryusov's house An apartment on the second floor with a large attic upstairs was intended for the host family, while the apartment on the first floor was rented out. It was this apartment that the poet Valery Yakovlevich Bryusov rented for himself and his wife in August 1910. Bryusov was then already a well-known poet and writer throughout Russia, one of the founders of Russian symbolism, a "master" who influenced more than one generation of poets. Bryusov headed the influential symbolist magazine Libra, headed the Scorpion publishing house, his critical and literary articles were published in other publications - the Russian Thought magazine, the Northern Flowers almanac. He has published more than ten of his poetry collections and several prose works, the most famous of which are the novels " Fire Angel and Altar of Victory. His house was one of the centers of the literary life of Moscow, and not only Moscow - before the revolution, weekly poetic "environments" were held here, where poets, writers, critics came; recited poems, had discussions about literature and art, exchanged opinions about published books and articles. Bryusov accepted the power of the Bolsheviks (he even joined the ranks of the members of the RCP (b) in 1919) In 1921 he organized the Higher Literary and Art Institute, of which he was rector until his death. The poet died in his apartment on 1st Meshchanskaya in October 1924. After his death, his widow, Ioanna Matveevna, continued to live in this house, she became the keeper of Bryusov's archive, put all his manuscripts and documents in order, and prepared his works for publication. She kept the furnishings of the apartment and office the way it was during Bryusov's lifetime. In the 1960s, the house was transferred to the district library, and after the death of Bryusov's widow in 1965, it was decided to arrange his museum in the poet's memorial office. It opened in 1971 and became, in fact, not only a museum of the poet Valery Bryusov, but a museum of the entire Silver Age. In 1975, the house was damaged in a fire, the attic floor burned down - the library and the museum were evacuated from the house. 03 Prospekt Mira, 30. 1975-1980 "The fire was in winter and the valiant firefighters poured so much water that it covered Mira Avenue with a layer of 20 centimeters of ice and trolleybuses could not walk on it for a long time because of the ice hill around the ashes. This photo shows the remains of this beautiful home after the fire, the windows of the first floor were boarded up with plywood, the third floor, the ceilings of the second floor were missing, the house was covered with a temporary roof. ." Museum staff completely recreated the atmosphere of the Silver Age. Bryusov's office contains books from his unique library, gifts from contemporary artists, and furniture that belonged to him. Everything is taken into account to the smallest detail - the books on the shelves are arranged as the owner of the house determined, the location of the paintings presented to him and cabinets for storing manuscripts is fully taken into account. 09
10 Courtyard estates And in our time, like a hundred years ago, the doors of the house on Prospekt Mira are open for creative people. They come here to touch that atmosphere and get better acquainted with the work and history of the most prominent representatives Silver Age. 11 Poet's office
