Examples of patrons. Russian patrons of the late XIX - early XX centuries

Such philanthropists and collectors as Savva Mamontov, Alexei Bakhrushin, the Tretyakov brothers, Ryabushinskys, and Morozovs played a significant role in the development of Russian culture in the 19th and early 20th centuries. But even now, philanthropists among the Russian business elite have not disappeared. Here is a list of the most famous patrons of our country, compiled on the basis of materials from Forbes Russia, Kommersant, RIA Novosti and other open sources:

Vladimir Potanin

Interros President Vladimir Potanin founded the Hermitage Development Fund and contributed five million dollars to it. The businessman is considered one of the most consistent Russian patrons. Among his most significant sponsorship and charitable undertakings are the museum projects "Changing Museum in a Changing World", "First Publication", the "Museum Guide" festival, grants to Hermitage employees, and the creation of the Russian Lounge at the Kennedy Center. Potanin is also known for donating one million dollars to the state purchase of the famous Black Square by Kazimir Malevich, which was in the collection of INCOM-Bank.

Victor Vekselberg

Viktor Vekselberg, a big fan of the Faberge firm, created a museum of the famous jewelry workshop in St. Petersburg, where eleven Easter eggs of the imperial series are stored, which the head of the Renova company purchased from the descendants of billionaire Malcolm Forbes for one hundred million dollars and returned to Russia. In 2014, the Vekselberg Foundation "Link of Times" bought items from the personal archive of the Yusupovs at an auction and donated them to the State Archives.

Roman Abramovich

Roman Abramovich, the owner of Millhouse Capital, sponsored the tour of the Sovremennik Theater in London in 2010. The former governor of Chukotka, known for his passion for art, became the founder of the Garage cultural center, which, according to some estimates, cost the businessman fifty million euros. And in 2017, the reconstruction of the territory of New Holland Island in St. Petersburg, in which Abramovich invested four hundred million dollars, is to be completed in order to turn local warehouses and other buildings of the 18th century into a complex of museums and art galleries.

Roman Trotsenko

In 2007, the owner of AEON Corporation, Roman Trotsenko, created the Winzavod cultural center, the reconstruction of the production facilities of which cost twelve million dollars. Roman Trotsenko's wife, Sofya Sergeevna, is a well-known Russian art producer, president of the Winzavod Foundation for the Support of Contemporary Art, adviser to the Minister of Culture of the Russian Federation.

Andrey Skoch

Businessman Andrei Skoch finances the Debut Literary Prize, designed to support young authors. The prize fund is six million rubles.

Shalva Breus

In 2007, the owner of the Balakhna Pulp and Paper Mill, Shalva Breus, founded the annual Kandinsky Art Prize, which is awarded for the best artistic achievements of the past two years. The prize fund of the award is estimated at fifty-seven thousand euros. Breus' immediate plans include the creation of a new museum of contemporary art. It is likely that it will be located in the building of the Udarnik cinema, which Shalva Breus rents from the city. According to the businessman, about thirty million dollars will be needed to implement this project.

Alexander Mamut and Sergey Adoniev

One of the largest domestic projects in the field of art - the Institute of Media, Architecture and Design "Strelka" exists on the money of the head of "SUP Media" Alexander Mamut and the owner of Yota company Sergey Adoniev. Strelka's annual budget is about ten million dollars. Sergey Adoniev is also known for the large-scale reconstruction of the Stanislavsky Electrotheater, after which the theater received a universal hall for two hundred seats with a transformable stage, a multifunctional foyer, six rehearsal rooms, workshops and workshops, a scenery warehouse with a lift and a sewing workshop. The reconstruction was carried out entirely at the expense of Sergei Adoniev, who, according to Mayor Sergei Sobyanin, invested several hundred million rubles in the restoration of the theater.

Mikhail Prokhorov

Businessman and politician Mikhail Prokhorov financed the festival of Russian art "Unknown Siberia" in Lyon, where the Russian National Orchestra conducted by Mikhail Pletnev performed, investing about two million euros in this enterprise, and also sponsored the production of the play "Shukshin's Stories" at the Theater of Nations. In the year of the bicentenary of N.V. Gogol, Mikhail Prokhorov established the NOS Literary Prize "to identify and support new trends in modern Russian literature." The prize fund in the amount of one million rubles is annually distributed among the winners and finalists of the competition.

Vladimir Kekhman

One of the most colorful patrons of the arts, Vladimir Kekhman, Chairman of the Board of Directors of JFC, combines charitable activities with the management of two theaters - Mikhailovsky and Novosibirsk. In 2007, having become the director of the Mikhailovsky Theatre, Kekhman invested five hundred million rubles in the reconstruction of the building, organized several tours and gala concerts. (However, at the same time, Vladimir Kekhman was declared bankrupt and is accused in the case of fraud on an especially large scale).

Alisher Usmanov

Alisher Usmanov's charity expenses in 2012 amounted to one hundred and eighty million dollars. He personally established the Art, Science and Sport foundations, supports theaters, museums, participates in social projects and helps seriously ill children. In 2007, the head of USM Holdings, Alisher Usmanov, even before the start of trading, bought for more than one hundred and eleven million dollars a collection of art by Mstislav Rostropovich and Galina Vishnevskaya put up for auction by Sotheby's, consisting of four hundred and fifty lots. It is noteworthy that, according to preliminary estimates, the cost of the collection was estimated by experts in the range of only twenty-six to forty million dollars. After the purchase, Usmanov donated the collection to the Russian government, at the moment it is on display at the Konstantinovsky Palace in St. Petersburg. Two weeks earlier, Alisher Usmanov committed another act worthy of respect: he bought a collection of classic Soyuzmultfilm animated films from the American company Films by Jove and donated it to the Russian children's television channel Bibigon. The amount of the transaction is estimated at five to ten million dollars. Alisher Usmanov also has the exhibition "Pre-Raphaelites: Victorian Avant-Garde" and the exhibition of William Turner at the Pushkin Museum im. A. S. Pushkin, funding the publication of the Murzilka magazine, supporting Vladimir Spivakov’s projects, organizing the International Tenor Competition in memory of Luciano Pavarotti.

Alexey Ananiev

Promsvyazbank Chairman of the Board of Directors Alexei Ananyev, known for his commitment to traditional Orthodox values, founded the Institute of Russian Realistic Art, for which one of the old buildings of the former cotton-printing factory built in Zamoskvorechye at the end of the 19th century was purchased. The businessman constantly replenishes the collection of the museum and exhibition complex. Now in his collection there are about five hundred works of Russian and Soviet art.

Leonid Mikhelson

Leonid Mikhelson, Chairman of the Board of Novatek OJSC, decided to bring the light of culture to Muscovites and bought HPP-2 from Mosenergo, which is on Bolotnaya Square, in order to turn the power plant into an Art Museum. Previously, the businessman created the V-A-C (Victoria - the Art of being Contemporary) Foundation, named after his daughter Victoria. The organization provides support to contemporary art museums, sponsors young artists and their curators.

Oleg Deripaska

Oleg Deripaska, General Director of RusAl, actively supervises the Kuban Cossack Choir and the Moscow Art Theater School, which, with the support of the entrepreneur, toured the Kuban, Siberia and the Volga region. Deripaska heads the Volnoe Delo charitable foundation, which sponsors children with disabilities, the education system of Moscow State University, the Russian Chess Federation, and the Phanagoria Archaeological Expedition.

Mikhail Abramov

Businessman Mikhail Abramov created the Museum of Russian Icons in Moscow in 2011. It exists solely on the money of the philanthropist and does not conduct any commercial activities, does not charge fees for visiting and excursions. The magnificent museum collection contains five thousand exhibits, including unique monuments of the 15th-16th centuries. The museum, which has its own restoration workshops and a scientific department, was admitted to the International Council of Museums at UNESCO.

Petr Aven

The chairman of the board of directors of the Alfa-Bank banking group, the well-known collector Pyotr Aven, initiated the creation of the non-profit organization Russian Avant-Garde Research Project, which aims to combat counterfeiting of works of Russian art. He is known as an art connoisseur and philanthropist, a member of the Board of Trustees of the Pushkin State Museum of Fine Arts, a collector of paintings by artists of the "Silver Age".

Boris Mints

The chairman of the board of directors of O1 Group, Boris Mints, preferred the troublesome everyday life of a museum worker to the sweet life of a billionaire - he bought the building of the Bolshevik confectionery factory on Leningradsky Prospekt and decided to turn it into the Museum of Russian Impressionism, investing ten million dollars in reconstruction. The basis of the exposition was the personal collection of paintings by Boris Mints, who for several years collected bit by bit the paintings of Russian artists.

Sergey Popov

Deputy Chairman of the Board of Directors of MDM Bank, Sergei Popov, has been sponsoring music festivals for Yuri Bashmet and Valery Gergiev for many years, but he tries not to talk about it. An amazing fact: the entrepreneur even signed an agreement with a PR agency, one of the main tasks of which is to minimize press references to Sergei Popov and his business. This is the opposite of PR!

Danil Khachaturov

Director General of Rosgosstrakh Danil Khachaturov sublimated his unfulfilled youthful dreams of becoming a film director into film financing. Rosgosstrakh paid for the filming of such films as "Eggs of Destiny", "High Security Vacation", "Freaks", personally produced the films "Inhale-Exhale" and "Generation P".

Concluding the conversation about the Russian art of the "Silver Age", one cannot help but recall the patrons, about people who loved, appreciated and understood art, preserved it and sought to give it to people.

What museums now own, they owe to the search and discoveries of enthusiasts, collectors, patrons. There were no state programs and plans then. Each collector collected what he liked, how he could systematize, sometimes researched and published. But the consequences of this spontaneous activity are truly grandiose: all the funds of the museums of pre-revolutionary Russia were made up of collections that were carefully selected, meaningful and warmed by the heart. Russian collectors. Thanks to their activities, our museums have unique works of art from different times and peoples.

We are not able to list at least a small part of the true lovers of art, ascetics, enthusiasts, there were many of them throughout great Russia, let's briefly talk about only a few, the successors of the Stroganovs, Rumyantsev, Shuvalov, Yusupov, Sheremetev and others.

Serya Morozov

Let's start with Morozov. This family, divided into several independent branches, retained significant influence both in the development of domestic industry and in charitable cultural undertakings. Alexey Vikulovich Morozov (1857-1934) collected a beautiful porcelain collection. Glassware, engraved portraits, lithographs, and ancient icons were kept in his mansion. After the revolution, the collection of A. V. Morozov was nationalized, the owner himself was left by the custodian. By the 1930s the collection was distributed to various museums, a significant part of it settled in the museum of ceramics in the Kuskovo estate.

Mikhail Abramovich Morozov(1870-1903), the eldest of the Morozov brothers, sons of the founder of the Tver manufactory for the production of cotton fabrics. He graduated from the Faculty of History and Philology of Moscow University, and even lectured there under the pseudonym "Mikhail Yuriev", published his historical writings. I have been abroad a lot, I loved Paris. In Moscow, he was widely known. He was a member of the city duma, was elected an honorary justice of the peace, chairman of the merchant assembly. In the Assumption Cathedral of the Kremlin he was the headman, he was engaged in the study of this unique monument of antiquity, and financed the restoration work.

Morozov took part in the activities of a number of public organizations:

• Society of art lovers,
• Society of Writers and Scientists,
• Russian Musical Society,

Donated a lot of money to support the Moscow Conservatory and the Stroganov School. He responded to the call of Professor I. V. Tsvetaev and took upon himself the costs of creating a hall of Greek art.

A versatile and enthusiastic person, M. Morozov was a passionate lover of the stage, speaking with reviews of theatrical productions, and a collector of paintings (now the Pushkin Museum).

First, he acquired the canvases of his friends - Moscow artists K. A. Korovin, I. I. Levitan, M. A. Vrubel, V. A. Serov. Then he became interested in the art of the Impressionists and Post-Impressionists. He appreciated Gauguin and Degas, Van Gogh and Renoir before other collectors.

His collection consisted of about 100 paintings by Russian and foreign artists, as well as more 60 vintage icons. Among the paintings were such masterpieces as

• "The Swan Princess" by Vrubel,
• "Portrait of Mika Morozov" by Serov,
• "Zucchini" Manet,
• "Sea at Sainte-Marie" by Van Gogh.

The collection was housed in a vast mansion on Smolensky Boulevard. Morozov was a well-known hospitable person, he gathered noisy companies of artists, artists, they got acquainted with his collection of paintings.

Mikhail Abramovich did not live long - he died terminally ill at the age of 33. His widow donated most of the collection to the Tretyakov Gallery. Canvases by Western European masters became part of the Museum of Fine Arts and the Hermitage.

After the death of his brother, his brother continued his work Ivan Abramovich Morozov(1871-1921), who received his higher education at the Zurich Polytechnic, he himself was engaged in painting and drawing. He acquired paintings by Sisley and Pizarro, Renoir and Van Gogh, and, of course, paintings by Korovin and Levitan. Within a few years, his collection included over 250 works of the latest French painting, including Renoir's famous paintings "Bathing in the Seine", "Portrait of Jeanne Samary" and "Girl with a Fan", Van Gogh's "Red Vineyards in Arles" and "Landscape in Auvers after the rain", Picasso "Acrobat on the ball", works by Gauguin, Bonnard, Cezanne, Matisse. It could be said that the best works of the Parisian masters ended up in the hands of I. A. Morozov. None of the European collectors, none of the Western museums enriched their collections with such energy and swiftness.

To accommodate his collection Morozov in 1899 purchased a spacious mansion in Moscow on Prechistinka. Unfortunately, the collection of I. A. Morozov was not available for inspection due to the nature and inclinations of the owner. In 1918, during the period of nationalization, the Morozov Gallery served as the basis for the creation of the "Second Museum of New Western Painting", where the owner remained the deputy director. But soon the Morozov family went abroad, Ivan Abramovich died on the way to Karlsbad, where he was going for treatment.

Pyotr Ivnovich Shchukin (1853-1912)

Industrialist, collector and philanthropist from an eminent merchant family Petr Ivanovich Schukin(1853-1912) was a passionate collector of samples of the old life and art of Russia, like P. P. Svinin, P. F. Korobanov, M. I. Pogodin, A. P. Bakhrushin. In addition to items of decorative and applied art from royal workshops and peasant artisans, his collection included personal archives of prominent statesmen, representatives of the Russian nobility, science, culture (counts Vorontsov, rich Demidovs, etc., letters from Turgenev, General Skobelev, a list of Radishchev's "Travel from Petersburg to Moscow", etc.).

To accommodate a large and diverse collection, he built a special building on Malaya Gruzinskaya Street. Since 1895, the private museum of P. I. Shchukin has been opened for researchers and all lovers of antiquity. Here V. I. Surikov painted sketches for the painting "Stepan Razin", studied the plans of Moscow in the 17th century. A. M. Vasnetsov.

In 1905, Pyotr Ivanovich donated his entire collection, together with his house, library, art gallery, to the Historical Museum. Now these buildings house the Biological Museum. K. A. Timiryazev.

Collecting in the Shchukin family was also done by other brothers: Nikolai, Peter, Ivan and Sergey. So Sergei Ivanovich Shchukin (1854-1936) went on an unknown path: he began to collect paintings by French impressionists and post-impressionists, which then caused ridicule and bewilderment. Shchukin relied on his own instinct, which did not fail him. The Shchukin Gallery included up to 250 pieces, 40 of which belonged to Matisse. There were paintings by Monet, Sisley, Puvis de Chavannes, Marquet, Van Gogh, Gauguin, Rousseau, Cezanne, Signac, Toulouse-Lautrec, Picasso.

Since 1910, his gallery has been open to the public and has become a popular center for contemporary art. Here, within the walls of the mansion on Znamenka, all the Moscow artists of that time visited. M. S. Saryan recalled: "... Shchukin, who had a rich collection of French paintings, hosted evenings at which the best Moscow musicians performed works by Scriabin, Mettner, Rachmaninov. At Sergei Ivanovich's, we looked with great interest at the works of Renoir, Sisley, Monet, Van Gogh, Gauguin and other younger artists."

Shchukin's collection influenced Moscow artists, who created a special school of Russian avant-garde. When the gallery was nationalized, Sergei Ivanovich became Director and curator, but soon the Shchukin family went abroad - first to Germany, then to France. He lived to an advanced age and is buried in Paris at the Montmartre cemetery.

Maria Klavdievna Tenisheva (1864-1928)

Marriage Maria Klavdievna Tenisheva(1864-1928) in 1892 for Prince V. N. Tenishev, an educated and wealthy man, marked the beginning of her charity. Tenesheva, a gifted person (after high school she studied at the Paris Opera Studio), did not connect her fate with the artistic stage, but became a patron of the arts in the vicinity of the Tenishevs' estate - Talashkino, in the Smolensk Territory. She founded a drawing school in Smolensk, a creative studio in St. Petersburg. She financed the magazine "World of Art", supported the exhibition of the Wanderers in Smolensk. As a gift to the newly established Russian Museum, she brings 500 drawings and watercolors from her personal collection, subsidizes archaeological excavations in Novgorod, and, finally, creates art workshops in Talashkino, following the example of Abramtsevo, near Moscow, and also arranges a folk art museum "Russian antiquity" there. V. M. Vasnetsov, M. A. Vrubel, K. A. Korovin, N. K. Roerich, V. A. Serov and other prominent artists of those years worked in Talashkino.

In 1918, Maria Klavdievna went abroad. She devoted her last French decade to working in the technique of champlevé enamel, which she mastered back in Talashkino. Her exhibitions were successfully held in Paris, Rome and Prague. She died in April 1928 and is buried in the Saint-Cloud cemetery near Paris.

Pavel Mikhailovich Tretyakov (1832-1898)

An invaluable contribution to the preservation of works of art Pavel Mikhailovich Tretyakov(1832-1898). He, like many patrons, came from a merchant environment, the Tretyakovs traded in linen. Tretyakov the collector was interested in the Russian art school. Works by V. I. Jacobi, A. K. Savrasov, M. P. Klodt, V. G. Perov appeared in his collection. Tretyakov paid special attention to contemporary realistic artists - the Wanderers. Perov, Kramskoy, Repin, Surikov are most fully represented in his collection. Along the way, the gallery was replenished with works by masters of the 18th - 1st half of the 19th centuries.

As part of the private collection of Tretyakov, the creation began "Russian pantheon"- portraits of famous compatriots. Pavel Mikhailovich acquired existing portraits and ordered new ones from the leading portrait painters of the time: Perov, Kramskoy, Repin, Ge and others.

For his rapidly growing collection, Tretyakov had to build a special building in Zamoskvoretsky Lane. The artist M. V. Nesterov recalled: "We, then youngsters, students of the School of Painting and Sculpture, knew the road to Lavrushinsky lane well ... We went there as if we were going home." In August 1892, P. M. Tretyakov submitted to the Moscow City Duma a proposal to transfer all his artistic values ​​as a gift to Moscow. Tretyakov's collection included 1,287 paintings and 518 graphics, as well as 75 paintings by European masters (the collection of S.M. Tretyakov, who died shortly before). On August 15, the official opening of the "Moscow City Gallery of Pavel and Sergei Mikhailovich Tretyakov" took place.

Ostroukhov Ilya Semenovich (1858-1929)

Descendants owe a lot to such patrons as an artist from a merchant family Ostroukhov Ilya Semenovich(1858-1929), who created private museum of fine arts, open since 1890 to everyone, a scientist of noble origin Semenov-Tyan-Shansky Pyotr Petrovich (1827-1914), who collected a world-famous collection of paintings mainly by Dutch and Flemish masters (over 700 canvases) and gave it to the Imperial Hermitage, although foreign collectors offered big money for it.

Other patrons

Comparable to the Tretyakov collection of Russian fine art was collected by the publisher, philanthropist from a merchant family, Kozma Terentyevich Soldatenkov (1818-1901). A connoisseur of icon painting and a collector of Russian antiquities was Georgy Dmitrievich Filimonov (1828-1898), having a historical and philological education from the family of a Poltava landowner, he was the curator of the Armory and the Rumyantsev Museum, the author of many works devoted to the study and systematization of art monuments.

The works of Bryullov, Fedotov, M. Vorobyov, Makovsky, Repin, V. Vasnetsov, Polenov were part of the Tsvetkovskaya Gallery located on Prechistinskaya Embankment, which included over 1800 works of art and was collected by the son of a priest, a bank employee Ivan Evmenievich Tsvetkov (1845-1917).

Creation of the Moscow Museum of Fine Arts Ivan Vladimirovich Tsvetaev(1847-1913), the son of a village priest, and then head of the Department of History and Theory of Arts at Moscow University, to whom he devoted most of his life. He managed to organize the forces of statesmen, scientists and patrons for a noble cause. So the author of the project and the builder of the building, architect R. I. Klein, worked free of charge on the creation of the museum.

The opening of the museum was timed to coincide with the celebration of the 100th anniversary of the Patriotic War of 1812. The first visitors were shown a unique, most representative collection of casts, sculptures and fragments of architecture in Europe from ancient times and including the Renaissance. The museum opened to art lovers the richest panorama of the world's classical heritage.

Now, replenished with many collections, collections of paintings by outstanding artists, the Tsvetaeva Museum of Fine Arts - the Pushkin State Museum of Fine Arts is the second museum of world art in Russia after the Hermitage.

The owners of leather and cloth enterprises Bakhrushins were called professional philanthropists, so widely and constantly did they allocate funds from their income to charity, to support cultural and social initiatives.

On the land of the Bakhrushins and with their money (50 thousand rubles), the Korsh Theater (now a branch of the Moscow Art Theater) was built.

Glorious representative of this family Alexey Petrovich Bakhrushin(1853-1904) devoted himself to collecting books and antiques, the collection of which, according to his will, entered the Historical Museum.

There were patrons who supported new trends in art. So on funds Nikolai Pavlovich Ryabushinsky, the son of a manufacturer, the grandson of an enterprising peasant, the magazine of the symbolists "Golden Fleece" (1906-1910) was published. It was an expensive, colorful magazine that had three sections: art, literature and music. M. Vrubel, Borisov-Musatov, Blok, Bely and many others collaborated in the magazine. The luxury of the magazine is evidenced by the fact that high-quality illustrations were covered with the thinnest silk paper, the magazine was delivered to subscribers in a case with a gilded cord. At first, the magazine was published in Russian and French. Expenses for the journal exceeded income, and the crisis of symbolism in 1910 put an end to this publication, moreover, in 1909 N. Ryabushinsky went bankrupt.

Readers of the magazine could get acquainted with the work of artists "World of Art", masters of the past, representatives of the "new wave", for example, P. Kuznetsov and V. Milioti ("Blue Rose"), with the work of symbolist poets, musical novelties. Ryabushinsky's "Golden Fleece" was a mirror of a whole epoch, short but significant in the development of Russian art.

At the expense of Ryabushinsky, the exhibition "Blue Rose" (1907) was organized, and then the exhibition under the name of the magazine "Golden Fleece" (1908, 1909, 1910).

Savva Ivanovich Mamontov (1841-1918)

He made a huge contribution to the development of Russian art Savva Ivanovich Mamontov (1841-1918), a major railway industrialist, a versatile person (he sang wonderfully, was engaged in sculpture), a great connoisseur and connoisseur of art. In the 1870-1890s. his estate near Moscow, Abramtsevo, became the center of artistic life. The best artists of that time lived and worked here (Polenov, Repin, Antokolsky, the Vasnetsov brothers, Nesterov, Vrubel, Korovin, Surikov, Ostroukhov, Serov, etc.), with whom Mamontov himself was on friendly terms ("Abramtsevsky / Mamontov / art circle "). A feature of the community was that it included artists of various trends, but united by an interest in Russian history, a desire to revive and glorify Russian art.

Artists in Abramtsevo were attracted by the possibility of creative communication, freedom of activity, the atmosphere of goodwill that reigned in the Mamontovs' house and had a beneficial effect on their work. Sunny landscapes of V. D. Polenov were created here, V. M. Vasnetsov painted "Alenushka" and "Three Heroes" in Abramtsevo, I. E. Repin worked on the painting "They Didn't Wait", made numerous sketches for "The Procession", the first sketches for the "Cossacks". The Abramtsevo landscape was included in the painting by M.V. Nesterov "Vision to the youth Bartholomew". Young Serov painted a portrait of the eldest daughter of the Mamontovs, Vera, in the dining room of the Mammoth house, which went down in art history under the name "Girl with Peaches".

With the assistance of Savva Ivanovich and his wife Elizaveta Grigoryevna, art workshops, who developed the traditions of folk art of ceramics and woodcarving.

In 1919, the Abramtsevo estate was nationalized. Was created here museum. Its organizer and first head was the youngest daughter of the Mamontovs, Alexandra Savvichna. In the 30s. a settlement of artists was created here, where such remarkable masters as I. E. Grabar, P. P. Konchalovsky, B. V. Ioganson, I. I. Mashkov, V. I. Mukhina and many others lived and worked.

It is impossible to imagine the musical life of the late XIX - early XX centuries. without the Moscow Private Opera, founded by S. I. Mamontov in 1885 and existed until 1904.

In 1899, Mamontov went bankrupt and landed in a debtor's prison. Unfortunately, many who owed him moral and financial support forgot about him. Perhaps only Chaliapin did not renounce him and continued to make dedications to him in concerts.

Russian entrepreneurs of the 19th century treated their business differently than Western entrepreneurs. They considered it not so much a source of income as a mission that was entrusted to their shoulders by God or fate. In the merchant environment, it was believed that wealth should be used, so the merchants were engaged in collecting and charity, which was considered by many as a destiny from above.

Most of the entrepreneurs of those times were quite honest businessmen who considered patronage almost their duty.

It was thanks to patrons that museums and theaters, large temples and churches, as well as extensive collections of art monuments appeared in Russia. At the same time, Russian philanthropists did not seek to make their work public, on the contrary, many helped people on the condition that their help would not be advertised in the newspapers. Some patrons even refused titles of nobility.

The heyday of patronage, which began in Russia in the 17th century, came in the second half of the 19th century. City palaces and suburban noble estates were overflowing with vast libraries of rare books and collections of Western European/Russian art, which their owners donated to the state.

Notable patrons

One of the most famous patrons of Russia was Savva Mamontov, who came from an old merchant family. Thanks to him, one of the first railways in Russia was built, connecting Sergiev Posad with Moscow. Also, Mamontov often hosted artists whom he supported by ordering expensive works from them. Mamontov's philanthropy also extended to music - it was he who established the Private Russian Opera. The legendary Fyodor Chaliapin sang in the Private Russian, whose talent was first discovered in this musical institution.

Another patron of the 19th century was Savva Morozov, who provides financial support to hospitals, shelters, cultural institutions and students in need. Not far behind him was Pavel Tretyakov, who founded the Tretyakov Gallery, collected a huge collection of Russian paintings and patronized the Arnold School for Deaf and Dumb Children. In addition, Tretyakov made large donations to the families of soldiers who died during the Russian-Turkish and Crimean wars.

People also remember such patrons as Mitrofan Belyaev, Vasily Trediakovsky, Ivan Ostroukhov, Alexei Bakhrushin and Stepan Ryabushinsky. There have always been few people devoted to patronage, but each of them firmly believed in a good deed and strove to fulfill it with all his responsibility.

Patronage... The word is not quite familiar to us. Everyone has heard it at least once in their life, but not everyone can correctly explain the essence of this term. And this is sad, because Russia has always been famous for the fact that charity and patronage were an integral part of its long traditions.

What is patronage?

If you ask anyone you meet what patronage is, few people will be able to give an intelligible answer like this, right off the bat. Yes, everyone has heard of wealthy people providing financial assistance to museums, children's children's sports organizations, emerging artists, musicians and poets. But is all the assistance provided philanthropy? There is also charity and sponsorship. How to distinguish these concepts from each other? This article will help to understand these difficult questions.

Patronage is a material or other gratuitous support of individuals provided to organizations, as well as representatives of culture and art.

The history of the term

The word owes its origin to a real historical person. Gaius Tsilny Maecenas - that's whose name has become a household name. A noble Roman nobleman, an ally of Emperor Octavian, became famous for helping talented poets and writers persecuted by the authorities. He saved from death the author of the immortal "Aeneid" Virgil and many other cultural figures whose lives were threatened for political reasons.

There were other patrons of art in Rome, besides Gaius Maecenas. Why exactly did his name become a household name and turned into a modern term? The fact is that all other wealthy benefactors would refuse to intercede for a disgraced poet or artist because of fear of the emperor. But Guy Maecenas had a very strong influence on Octavian Augustus, and was not afraid to go against his will and desire. He saved Virgil. The poet supported the emperor's political opponents and fell out of favor because of this. And the only one who came to his aid was the Maecenas. Therefore, the name of the rest of the benefactors was lost in the centuries, and he forever remained in the memory of those whom he unselfishly helped all his life.

History of patronage

It is impossible to name the exact date of the appearance of patronage. The only undeniable fact is that there has always been a need for assistance to representatives of art from people endowed with power and wealth. The reasons for providing such assistance varied. Someone really loved art and sincerely tried to help poets, artists and musicians. For other rich people, this was either a tribute to fashion, or a desire to show themselves as a generous giver and patron in the eyes of the rest of society. The authorities tried to provide patronage to representatives of art in order to keep them in subjection.

Thus, philanthropy appeared in the period after the emergence of the state. Both in the era of antiquity and in the Middle Ages, poets and artists were in a dependent position from representatives of the authorities. It was practically domestic slavery. This situation continued until the collapse of the feudal system.

During the period of absolute monarchy, patronage takes the form of pensions, awards, honorary titles, and court positions.

Charity and patronage - is there a difference?

There is some confusion with the terminology and concepts of patronage, charity and sponsorship. All of them involve the provision of assistance, but the difference between them is still quite significant, and it would be a mistake to draw an equal sign. It is worth considering the issue of terminology in more detail. Of all three concepts, sponsorship and patronage are the most different from each other. The first term means providing assistance on certain conditions, or investing in a cause. For example, support for an artist may be subject to the creation of a portrait of the sponsor or the mention of his name in the media. Simply put, sponsorship involves receiving some kind of benefit. Patronage is a disinterested and gratuitous aid to art and culture. The philanthropist does not prioritize obtaining additional benefits for himself.

The next topic is charity. It is very close to the concept of patronage, and the difference between them is barely noticeable. This is helping those in need, and the main motive here is compassion. The concept of charity is very broad, and patronage acts as its specific type.

Why do people philanthropy?

Russian philanthropists and patrons have always differed from Western ones in their approach to the issue of helping artists. If we talk about Russia, here philanthropy is material support, which is provided out of a sense of compassion, a desire to help without deriving any benefit for oneself. In the West, however, there was a moment of benefiting from charity in the form of tax cuts or exemptions. Therefore, it is impossible to speak of complete disinterestedness here.

Why, since the 18th century, Russian philanthropists are increasingly patronizing art and science, building libraries, museums and theaters?

The main driving force here was the following reasons - high morality, morality and religiosity of patrons. Public opinion actively supported the ideas of compassion and mercy. Correct traditions and religious education led to such a striking phenomenon in the history of Russia as the flourishing of patronage in the late 19th and early 20th centuries.

Patronage in Russia. The history of the emergence and attitude of the state to this kind of activity

Charity and patronage in Russia have long and deep traditions. They are associated primarily with the time of the appearance of Christianity in Kievan Rus. At that time, charity existed as a personal aid to those in need. First of all, the church was engaged in such activities, opening hospices for the elderly, the disabled and the infirm, and hospitals. The beginning of charity was laid by Prince Vladimir, who officially obliged the church and monasteries to engage in public charity.

The next rulers of Russia, eradicating professional begging, at the same time continued to take care of the truly needy. Hospitals, almshouses, orphanages for the illegitimate and the mentally ill continued to be built.

Charity in Russia has successfully developed thanks to women. Empresses Catherine I, Maria Feodorovna and Elizaveta Alekseevna were especially distinguished in helping those in need.

The history of patronage in Russia begins at the end of the 18th century, when it becomes one of the forms of charity.

The first Russian patrons

The first patron of the arts was Count Alexander Sergeevich Stroganov. One of the largest landowners in the country, the count is best known as a generous philanthropist and collector. Traveling a lot, Stroganov became interested in compiling a collection of paintings, stones and coins. The count devoted a lot of time, money and effort to the development of culture and art, provided assistance and support to such famous poets as Gavriil Derzhavin and Ivan Krylov.

Until the end of his life, Count Stroganov was the permanent president of the Imperial Academy of Arts. At the same time, he oversaw the Imperial Public Library and was its director. It was on his initiative that the construction of the Kazan Cathedral began with the involvement of not foreign, but Russian architects.

People like Stroganov paved the way for subsequent patrons who unselfishly and sincerely help the development of culture and art in Russia.

The famous Demidov dynasty, the founders of the metallurgical industry in Russia, is known not only for its huge contribution to the development of the country's industry, but also for its charity. Representatives of the dynasty patronized Moscow University and founded a scholarship for students from them. They opened the first commercial school for merchant children. The Demidovs constantly helped the Orphanage. At the same time they were engaged in the collection of art collections. It has become the largest private collection in the world.

Another famous patron and patron of the XVIII century - Count He was a real connoisseur of art, especially theatrical.

At one time, he was infamous for marrying his own serf, home theater actress Praskovya Zhemchugova. She died early and bequeathed to her husband not to give up the cause of charity. Count Sheremetev complied with her request. He spent part of the capital to help artisans and dowry brides. On his initiative, the construction of the Hospice House in Moscow began. He also invested in the construction of theaters and temples.

The special contribution of the merchants to the development of patronage

Many now have a completely wrong opinion about the Russian merchants of the XIX-XX centuries. It was formed under the influence of Soviet films and literary works, in which the aforementioned layer of society was exposed in the most unattractive way. All merchants without exception look poorly educated, focused solely on making a profit in any way by people, while completely devoid of compassion and mercy for their neighbors. This is a fundamental misconception. Of course, there are always exceptions and there will be, but for the most part merchants were the most educated and informative part of the population, not counting, of course, the nobility.

But among the representatives of noble families, benefactors and patrons could be counted on the fingers. Charity in Russia is entirely the merit of the merchant class.

It has already been briefly mentioned above, for what reason people began to engage in patronage. For most merchants and manufacturers, charity has become almost a way of life, has become an integral character trait. The fact that many wealthy merchants and bankers were descendants of the Old Believers, who were characterized by a special attitude towards money and wealth, played a role here. And the attitude of Russian entrepreneurs to their activities was somewhat different than, for example, in the West. For them, wealth is not a fetish, trade is not a source of profit, but rather a certain duty imposed by God.

Brought up on deep religious traditions, Russian entrepreneurs-philanthropists believed that wealth is given by God, which means that one must be responsible for it. In fact, they believed that they were obliged to engage in the provision of assistance. But it wasn't coercion. Everything was done according to the call of the soul.

Famous Russian patrons of the 19th century

This period is considered the heyday of charity in Russia. The rapid economic growth that began led to the astounding scope and generosity of the wealthy.

Well-known patrons of the XIX-XX centuries - entirely representatives of the merchant class. The brightest representatives are Pavel Mikhailovich Tretyakov and his lesser-known brother Sergei Mikhailovich.

It must be said that the Tretyakov merchants did not possess significant wealth. But this did not prevent them from carefully collecting paintings by famous masters, spending serious sums on them. Sergei Mikhailovich was more interested in Western European painting. After his death, the collection bequeathed to his brother was included in the collection of paintings by Pavel Mikhailovich. The art gallery that appeared in 1893 bore the name of both remarkable Russian patrons. If we talk only about the collection of paintings by Pavel Mikhailovich, then in his entire life the philanthropist Tretyakov spent about a million rubles on it. An incredible sum for the time.

Tretyakov began to collect his collection of Russian paintings in his youth. Even then, he had a well-defined goal - to open a national public gallery, so that anyone could visit it for free and join the masterpieces of Russian fine art.

We owe the Tretyakov brothers a magnificent monument to Russian patronage - the Tretyakov Gallery.

Patron Tretyakov was not the only patron of art in Russia. Savva Ivanovich Mamontov, a representative of a famous dynasty, is the founder and builder of the largest railway lines in Russia. He did not strive for fame and was completely indifferent to awards. His only passion was the love of art. Savva Ivanovich himself was a deeply creative person, and entrepreneurship was very burdensome for him. According to contemporaries, he himself could become a great opera singer (he was even offered to perform on the stage of the Italian opera house), and a sculptor.

He turned his Abramtsevo estate into a hospitable home for Russian artists. Vrubel, Repin, Vasnetsov, Serov, and also Chaliapin were constantly here. Mamontov provided financial assistance and patronage to all of them. But the philanthropist provided the greatest support to theatrical art.

Mamontov was considered by his relatives and business partners to be a stupid whim, but this did not stop him. At the end of his life, Savva Ivanovich was ruined and barely escaped prison. He was fully justified, but he could no longer engage in entrepreneurship. Until the end of his life, he was supported by all those whom he had selflessly helped in his time.

Savva Timofeevich Morozov is an amazingly modest philanthropist who helped the Art Theater on the condition that his name would not be mentioned in the newspapers on this occasion. And other representatives of this dynasty provided invaluable assistance in the development of culture and art. Sergey Timofeevich Morozov was fond of Russian arts and crafts, the collection he collected made up the center of the Handicraft Museum in Moscow. Ivan Abramovich was the patron of the then unknown Marc Chagall.

Modernity

The revolution and subsequent events interrupted the wonderful traditions of Russian patronage. And after the collapse of the Soviet Union, a lot of time passed before new patrons of modern Russia appeared. For them patronage is a professionally organized part of their activity. Unfortunately, the topic of charity, which is becoming more and more popular in Russia from year to year, is extremely sparingly covered in the media. Only isolated cases become known to the general public, and most of the work of sponsors, patrons and charitable foundations passes by the population. If you now ask anyone you meet: "What modern patrons do you know?", it is unlikely that anyone will answer this question. And meanwhile such people need to know.

Among the Russian entrepreneurs who are actively involved in charity, first of all, it is worth noting the president of the Interros holding, Vladimir Potanin, who in 2013 announced that he would bequeath his entire fortune to charitable purposes. This was a truly stunning statement. He founded the foundation that bears his name, which is engaged in large projects in the field of education and culture. As Chairman of the Board of Trustees of the Hermitage, he has already donated 5 million rubles to it.

Oleg Vladimirovich Deripaska, one of the most influential and richest entrepreneurs in Russia, is the founder of the Volnoe Delo charitable foundation, which is financed from the personal funds of a businessman. The Fund has carried out more than 400 programs, the total budget of which amounted to almost 7 billion rubles. Deripaska's charitable organization is engaged in activities in the field of education, science and culture, and sports. The Foundation also provides assistance to the Hermitage, many theatres, monasteries and educational centers throughout our country.

The role of patrons in modern Russia can be played not only by big businessmen, but also by officials and commercial structures. Charity is carried out by JSC "Gazprom", JSC "Lukoil", CB "Alfa Bank" and many other companies and banks.

I would especially like to mention Dmitry Borisovich Zimin, the founder of OJSC Vympel-Communications. Since 2001, having achieved a steady profitability of the company, he retired and devoted himself entirely to charity. He founded the Enlightener Prize and the Dynasty Foundation. According to Zimin himself, he donated all his capital to charity for free. The foundation he created is engaged in supporting the fundamental science of Russia.

Of course, modern patronage has not reached the level that was observed in the "golden" years of the XIX century. Now it is fragmentary, while the benefactors of the past centuries provided systematic support to culture and science.

Does philanthropy have a future in Russia?

On April 13, a wonderful holiday is celebrated - the Day of the Philanthropist and Patron in Russia. The date is timed to coincide with the birthday of Gaius Maecenas, the Roman patron of poets and artists, whose name has become the common word "philanthropist". The initiator of the holiday was the Hermitage, represented by its director M. Piotrovsky. This day also received a second name - Thank You Day. It was first noted in 2005, and I would like to hope that in the future it will not lose its relevance.

Now there is an ambiguous attitude towards patronage. One of the main reasons for this is the ambiguous attitude towards wealthy people in the current conditions of an increasingly strong stratification of society. No one disputes the fact that wealth is often acquired in ways that are not entirely acceptable to the majority of the population. But among the rich people there are those who donate millions to the development and maintenance of science and culture and other charitable purposes. And it would be great if the state took care that the names of modern Russian patrons of art become known to a wide range of the population.

• Antonovich Irina Vladimirovna, Candidate of Sciences, Associate Professor, Associate Professor
• Bocharova Anna Sergeevna, student
• Altai State University

• MAECENAS
• PRIVATE CHARITY
• DOMESTIC CULTURE
• dynasties
• CHARITY

This article presents an analysis of the history of the formation of private charitable activities in Russia. The motives and forms of manifestation of patronage activities are considered, as well as the significance of the charitable activities of outstanding patrons of Russia is assessed.

• Civil Society: Cartography of Russian Regions Based on the Results of FOM Polls 2007-2008
• Influence of volunteer activity of students of social work on the formation of a tolerant attitude towards people with special needs
• Child abuse in the family (on the example of the Altai Territory)

Our country has a great cultural heritage, both spiritual and material culture. A significant role in the formation of the national cultural fund, the replenishment of national art collections, the construction of theaters, museums, the creation of literary monuments, the development of science and education belongs to Russian patrons and public figures. Savva Ivanovich Mamontov, Savva Timofeevich Morozov, Kozma Terentyevich Soldatenkov, Nikolai Aleksandrovich Alekseev, Pavel Mikhailovich Tretyakov - these names of patrons and educators are inextricably linked with the history and development of our country. All of them were united by a passionate commitment to the cause of public education and cultural creation.

Today Russia is going through one of the difficult stages of its development. Now in our country there is a loss of moral and moral guidelines. Modern Russia needs a revival of spiritual traditions and there is a need to form new attitudes that would help the country embark on the path of progressive development. Based on this, it is relevant to study our historical heritage, to get acquainted with the biographies of those people who over the years have been examples of true patriotism, selflessness, the desire to help the motherland, and love for people.

Charity is a special form of social support, which consists in the gratuitous provision of material assistance to those in need. Needy does not mean only people living in need , but also people and public organizations that lack the means to solve various cultural, individual, civic and professional tasks.

Patronage is a type of charity in the field of culture. The word "philanthropist" comes from the name of the Roman statesman and patron of art and science Maecenas Gaius Cilnius (VIII century BC). Patronage in Russia has been widespread since the end of the 18th century.

This article discusses the activities of the most famous and major philanthropists and patrons of the XVIII-XIX centuries.

Dmitry Mikhailovich Golitsyn (1721-1793)

Prince Dmitry Mikhailovich Golitsyn, a Russian officer and diplomat, was one of the most famous benefactors. He was among the first Russians who became interested in collecting paintings. During his travels in Europe, he managed to collect an amazing collection of 300 paintings, many of which were painted by famous masters such as P.P. Rubens, Raphael, Caravaggio and many other artists.

In memory of his wife (after her death in 1761), Dmitry Mikhailovich took up the organization of hospitals in Europe and Russia, donated money to support young doctors and medical students, as well as research in the field of medicine.

Golitsyn bequeathed 850 thousand rubles and his art gallery for the arrangement and maintenance of the Golitsyn hospital, which was opened in Moscow in 1802 as a "hospital for the poor." Now it is the Golitsyn building of the First City Clinical Hospital.

Morozov dynasty

Timofey Savvich (1823-1889) and his wife Maria Fedorovna (1830-1911) Morozovs

Timofey Savvich Morozov - manufactory-advisor, merchant.

It is from these people that the charitable activities of the Morozov family originate. Initially, it was associated with the improvement of the workers of their manufactories. Schools, colleges, hospitals, hostels for workers were built at each manufactory.

Accumulating their capital, these benefactors willingly shared it with the poor and beggars, donated large sums of money to many societies and institutions. With their help, for example, the largest and most famous psychiatric hospital in Moscow, Alekseevskaya, was built.

Maria Fedorovna was known for her charitable deeds both in secular society and in the religious world. After the death of her husband, she built an almshouse named after him in the city of Orekhovo-Zuyevo, putting 500 thousand rubles on her account, on the percentage of which the almshouse could exist. The philanthropist donated money to Moscow University, the Moscow Technical School, allocated money for scholarships, laboratories. Hospitals, buildings, labor exchanges in Moscow, several houses for the poor were built with her funds.

Savva Timofeevich Morozov (1862-1905)

S.T. Morozov - Russian philanthropist and philanthropist, son of Timofey Savvich Morozov.

He played a great role in the development of national culture. His greatest merit lies in helping the Moscow Art Theater. The establishment of the theater required significant funds. Having received no help from the government, Stanislavsky and Nemirovich-Danchenko began to turn to patrons. Morozov took all the expenses of the theater on himself.

Mikhail Abramovich (1870-1903) and Ivan Abramovich (1871-1921) Morozov made a significant contribution to the cause of charity, helping the development of medicine, culture, and science.

Bakhrushin dynasty

Alexey Fedorovich Bakhrushin (1800-1848) - founder of the partnership of manufactories, manufacturer.

He actively invested, first of all, in medicine, culture and social construction of Moscow. At the end of each financial year, most of the profits were donated to charity.

Bakhrushins first built the first building of the hospital for the chronically ill (1887), which was well equipped with equipment and technology. Then a second building was built for the terminally ill. A surgical building, an obstetric department and an outpatient clinic were built. About 1 million rubles were spent on all this.

The next thing that was built by the Bakhrushins was the Orphanage. There were 5 houses where 20-25 children lived. Moreover, not peers lived in the houses, but children of different ages, so that the elders could help and take care of the younger ones. In this orphanage, all the boys received a vocational education. For this purpose, an educational building with craft and locksmith workshops was built on the territory of the shelter. Later, a church was built on the territory of the shelter.

Aleksey Fedorovich had three sons, whom he ordered “not to refuse help to anyone and not to wait for someone to turn to them, but to be the first to offer it to those in need. You knew the need with me together, know how to respect it in others.

In 1895 eldest son Peter died. In memory of his soul, the House of Free Apartments was erected for young ladies who came to Moscow to receive higher education, and for poor widows with many children. More than 400 people lived there. For children, everything was free there: punching, food, all levels of education, treatment, etc.

In 1900 Bakhrushin brothers Alexander and Vasily were given the title of Honorary Hereditary Citizen of Moscow. 6 schools, 8 churches, 3 theaters, in total more than 100 buildings were built by the Bakhrushins. In addition, they constantly donated money to the People's Houses. Another example of the charitable activities of the Bakhrushins is in 1914. Vasily Fedorovich transferred absolutely all his capital to the needs of the front.

In the third generation, the Bakhrushins were glorified by Alexei Petrovich and Alexei Alexandrovich, who were both passionate collectors and left unsurpassed collections to their descendants.

Elder brother Alexei Petrovich (1853-1904) collected very valuable antiques, such as snuffboxes, miniatures, engravings, porcelain dishes, jewelry, books, jewelry and much more. He bequeathed everything to the last thing to the museums of Moscow.

Aleksey Aleksandrovich (1865-1929), influenced by his cousin, also became a collector. But he chose a rather original direction of collecting. Posters, programs of performances, photo portraits of actors, sketches of costumes, personal belongings of artists, their costumes - all this became the area of ​​​​Bakhrushin's interests. He became the founder of the Moscow Literary and Theater Museum. This entire collection was donated to the Academy of Sciences.

Savva Ivanovich Mamontov (1841-1918)

S.I. Mamontov - sculptor, singer, writer, successful industrialist who continued his father's work and built railways, also Savva Ivanovich is the progenitor of Russian opera and painting.

He organized an informal association of artists in Moscow, gathering around him the best representatives of Russian art, such as V.M. Vasnetsov, V.A. Serov, Polenov, Nesterov, Repin, M.A. Vrubel and many others. Savva Ivanovich helped people of art, saving them from solving everyday issues, allowing them to devote themselves entirely to creativity.

Savva Ivanovich created the first private opera in Russia in 1885. The idea was to promote on the stage the works of Russian opera composers, who at that time were not at all quoted not only abroad but also in Russia. Thus, the goal was to increase the popularity of Russian composers and singers.

But, unfortunately, in the 1890s, Savva Mamontov was ruined and arrested. The property of Savva Ivanovich was almost completely sold out.

Pavel Mikhailovich Tretyakov (1832-1898)

In the first half of the 1850s, he inherited his father's business, developed operations for the purchase of flax, its processing and the sale of textiles. In 1860, together with his brother S.M. Tretyakov and son-in-law V.D. Konshin founded the trading house "P. and S. br. Tretyakovs and V.D. Konshin", in 1866 - the Partnership of the New Kostroma Linen Manufactory.

Being engaged in charity, the Tretyakov brothers allocate funds to Moscow for the construction of almshouses and hospitals. They give money for the construction of the Children's Psychiatric Hospital. Hundreds of young people and girls receive education at the expense of the Tretyakovs. Among other charitable deeds of Pavel Sergeevich was that he provided financial support for the research expedition of N.N.Miklukho-Maclay.

In the 1880s, the Tretyakov Brothers took part in raising money for the construction of an Orthodox church in Japan. Their range of charitable deeds was extremely wide and varied.

In the 1860s, the first specialized school for deaf and dumb children appeared in Moscow. Pavel Mikhailovich heads his board of trustees and sponsors the activities of this institution. Since 1863 and until his death, Tretyakov annually financed not only the activities of this school, but also the construction of new buildings. In addition, he participated in the life of this institution, often visited it, took exams from students, and communicated with children. Children in the school were provided with free shelter, clothes, food, they were taught basic communication skills, they were taught to speak, they were taught to read and write.

The main work of the life of Pavel Mikhailovich Tretyakov was the creation of the National Art Gallery. The patron began to collect his collection in 1854. He began to collect mainly Russian paintings. Tretyakov dreamed of creating a gallery in which the works of Russian masters would be presented. Since 1881 his gallery became public. The Tretyakov Gallery has become one of the attractions of the capital.

In August 1892, Tretyakov donated his collection and mansion to Moscow. By that time, his collection included many paintings and drawings of the Western European school, paintings and graphic works of the Russian school, several sculptures and collections of icons.

Kozma Terentyevich Soldatenkov (1818-1901)

K. T. Soldatenkov is a Moscow businessman, Old Believer, philanthropist and philanthropist.

While traveling in Europe, he studied European culture and art. Since the 1940s, he sent to collect his personal library, looking for the best books on science, literature and art in general. A few years later, Kozma Terentyevich organized his own publishing house. Thanks to this, many scientific and philosophical works are published for the first time, and a lot of foreign translated literature is published. Soldatenkov keeps only 5% of the annual profit for himself, and the main income goes to publishing new books.

From 1856-1901 The publishing house has published more than 200 books. Many books were published for the first time and once. Thus, already with this Soldatenkov made an invaluable contribution to Russian culture.

The whole publishing business was a charity, since the publishing house had a non-profit store where people could buy published literature at very low prices.

Kozma Terentyevich was the first to start collecting Russian paintings. His collection was the second largest after the Tretyakov Gallery.

In addition, Soldatenkov helped many educational institutions and museums. With his money, Europe's largest charitable hospital for the poor was built.

He left almost all of his eight millionth fortune for the needs of charity. For example, he bequeathed several million for the construction of a hospital for the poor, which became the largest at that time in Moscow. Kozma Terentyevich also founded an almshouse, which he kept until the end of his life, and bequeathed a large amount of money to this institution. He left a lot of money for the creation of the Trade School, where young men were trained to work precisely in Moscow factories and plants. The entire collection of books, newspapers, magazines, icons and curtains of Soldatenkov also went to museums and libraries and the cathedral, where he was subsequently buried.

Demidov dynasty

The Demidovs are Russian entrepreneurs and philanthropists.

The Demidovs spent very large sums of money on charity.

Nikita Akinfievich Demidov (1724-1789) gave great support to the Moscow State University. This was assistance in construction, the payment of allowances to young professors, scholarships for poor students, as well as the transfer of part of the collection of Nikita Akinfievich to the ownership of the university.

At the end of the XVIII century. The first Orphanage appears in Moscow. Prokofy Akinfievich Demidov (1710-1786) stood at the origins of its creation, who donated more than 1 million silver rubles.

Stroganov dynasty

The Stroganovs are a family of Russian merchants and industrialists, large landowners and statesmen.

More specifically, the charitable assistance of the Stroganov family can be traced back to the 19th century. For the period from 1816 to 1830, there is archival information on Pavel Alexandrovich (1774-1817) and Sofya Vladimirovna (1775-1845) Stroganov. Their contributions to charity and charitable assistance ranged from 1.8 to 6.4% of all their expenses.

Pavel Alexandrovich donated to the poor in retirement, the maintenance of pupils in educational institutions, various charitable donations, lump sums, and more.

Sofya Vladimirovna made donations to the Patriotic Women's Society, distributed alms to the poor, donated pensions to various people, for the maintenance of a mining school and a hospital, and much more.

In the archival documents of the Stroganovs for the 1st quarter of 1866 there is an entry: "for helping the poor" of the St. Petersburg part of the city of St. Petersburg: income - 745 rubles, expenditure - 738 rubles. Of these: apartment distributions - 360 rubles, one-time financial assistance - 68 rubles, "for Christmas" - 59 rubles, "for bread given to one old woman" - 1 ruble, to the "patriotic girls' school" - 2 rubles.

The report for the 2nd quarter contains an entry that the Stroganovs had 78 poor families in care, of which 15 families paid 26 rubles 50 kopecks a month for an apartment, which amounted to 318 rubles. In addition, six families were fully paid for their apartments.

By the beginning of the First World War, a dressing station was organized by Count A.S. Stroganov. From the explanatory note to the expenses of Count A.S. Stroganov for 1905 - 1914, one can see that the total amount of payments to the state amounted to 8.1 million rubles. Of these, 210,178 rubles were spent on pensions and benefits, and 1,677,115 rubles were spent on the "purchase of the Rus" cruiser. Of the total amount of its expenses, this amounted to 23.1%.

The charitable traditions of the representatives of the Stroganov dynasty were brought up and passed down from generation to generation. They made a great patriotic contribution to the support of the state, moral development and social assistance to needy compatriots.

In conclusion, I would like to say, whatever the motives of Russian benefactors and patrons, it was thanks to them that in Russia in the 18th-19th centuries. there have been significant positive changes in many areas of society, such as education, medicine, culture, the social sphere, etc. Today, many cultural and scientific institutions are not able to fully perform their functions due to insufficient funding. Hence the need for the revival of philanthropy and charity as social phenomena in Russia is brewing.

From the position of today, the activities of patrons of the XIX century. has wide historical significance. They were and are the personification of the best, bright sides of the human personality, as they saw more and felt more acutely than many of their contemporaries, the needs of social development, to which they gave their strength, knowledge, mind and heart. And it is important not only to adequately evaluate the activities of such ascetics, but also to comprehend it in the context of the entire historical development.

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