“The Last Day of Pompeii”, Karl Bryullov
“The Last Day of Pompeii” by Karl Bryullov is the most famous painting in the world on the theme of the eruption of Vesuvius.
After presenting the painting in Milan in 1833, Bryullov became in Italy the object of fanatical worship, which no artist had received in this country since the Renaissance. When he walked down the street, passers-by took off their hats in front of him; when he entered the theater, the audience stood up. Crowds of people gathered near his house, wanting to greet their idol.
It is interesting that Bryullov portrayed himself in one of the characters in the painting, and his friend Countess Yulia Samoilova appears on the canvas three times.
☼ ☼ ☼“The Ninth Wave”, I.K. Aivazovsky
The real name of Ivan Konstantinovich Aivazovsky is Hovhannes Gevorgovich Ayvazyan.
To create the painting “The Ninth Wave” Aivazovsky used only 4 colors - red, yellow, green and brown. The richest color effects of the canvas are created by mixing primary colors.
Aivazovsky had absolute visual memory and created most of his paintings without life, using only conventional sketches. He worked so fast that he could write sea view medium size in 2 hours. During his life, the artist painted more than 6 thousand paintings.
☼ ☼ ☼“The Cossacks write a letter to the Turkish Sultan”, I. E. Repin
Few people know that the painting “Cossacks writing a letter to the Turkish Sultan” is not alone. There are three versions that differ slightly in composition and characters. The 1887 version is exhibited in Tretyakov Gallery, version 1891 (main) in the State Russian Museum in St. Petersburg. The third, which the artist called “the most historically accurate,” is located in the homeland of I.E. Repin, in Kharkov art museum.
As models for the six characters of “Cossacks,” Repin used his acquaintances and friends who fit the type. In particular, the portly Cossack in a white hat, whom many compare to Taras Bulba, is Vladimir Gilyarovsky (“Uncle Gilyai”), the famous traveler and writer.
☼ ☼ ☼“Sadko”, I. E. Repin
“Sadko” is the only painting by Repin on fairy tale plot, and one of the few in which he used impressionist techniques. The artist became acquainted with impressionism in France, where he traveled as a pensioner of the Academy of Arts. Repin even painted several paintings using his techniques (“Sadko”, “The Last Ray”, etc.), but the result did not satisfy the novice master. And although he was predicted to have enormous success in Impressionist circles, he decisively abandoned the style, which he considered “interesting from a technical point of view, but decidedly empty in meaning.”
The model for creating the image of Sadko was I. E. Repin’s friend, artist V. M. Vasnetsov (author of “Bogatyrs”, “Alyonushka”, etc.)
☼ ☼ ☼“The Knight at the Crossroads”, V.M. Vasnetsov
Three paintings “The Knight at the Crossroads” were painted. In the first two versions, the hero is positioned facing the audience. The 1878 version is kept in the Serpukhov Historical and Art Museum. The 1879 version was exhibited at the first exhibition of the Union of Russian Artists in 1903–1904. and was acquired by an American collector. 110 years later, in 2013, the painting returned to Russia and was presented in Moscow at the “Russia: Temptation by History” vernissage. The 1882 version, in which the knight's back is turned to the audience, can be seen in the State Russian Museum.
☼ ☼ ☼« Moonlight night on the Dnieper", A. I. Kuindzhi
In 1880, an exhibition was held in St. Petersburg, at which a single painting was exhibited. Nevertheless, it created a sensation; queues lined up for the exhibition, and many visitors came to look at the painting more than once. It was “Moonlit Night on the Dnieper” by Arkhip Ivanovich Kuindzhi. The unusual lunar lighting presented on the canvas was emphasized by the fact that the painting was exhibited in a dark room. Many visitors did not believe that it was possible to paint the light of the moon so realistically, and looked behind the frame in search of a hidden light bulb.
☼ ☼ ☼“Suvorov’s Crossing of the Alps”, V. I. Surikov
Having conceived the painting “Suvorov’s Crossing of the Alps,” V.I. Surikov went to Switzerland and visited all the passes where the army of the famous generalissimo passed in 1799. He not only wrote landscape sketches in these places for future painting, but he also rolled down the snow and ice, determining the speed of the characters at different stages of the descent.
The painting was painted and exhibited in 1899 - on the 100th anniversary of the unprecedented military feat of A. Suvorov.
Famous directors Andrei Konchalovsky and Nikita Mikhalkov are direct descendants of V.I. Surikov.
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I spent the morning and evening of the second day in St. Petersburg walking around the city. What I talked about in detail in.
The weather was just perfect. But besides the walk, I also visited one very interesting art museum, where you can see exclusively “Russian”!
P.S. Attention! There is a lot of information and about 150 photos under the cut!
Russian Museum, - the country's first state museum of Russian visual arts! It was conceived by Alexander III and then founded by his son, Emperor Nicholas II, in 1895.
But first, in 1819-1825, in the building where the museum is located today, a luxurious Mikhailovsky Palace! It served as the residence of Grand Duke Mikhail Pavlovich, youngest son Paul I.
Upon entering the territory, you find yourself in front yard, on the sides of which two lions were installed as an indicator of power! They created an atmosphere of solemnity and received guests of the palace. Lions are also depicted on the facade of the building.
The museum is quite easy to find; it is located in the very center of the city on Griboyedov Canal embankment, building 2. Nearest metro station, - Nevsky Avenue.
Official website of the Museum: http://www.rusmuseum.ru
Operating mode:
Monday, Wednesday, Friday, Saturday, Sunday - from 10:00 to 18:00
Thursday - from 13:00 to 21:00
Tuesday - day off
Ticket offices close half an hour earlier
The ticket cost me 280 rubles.
The museum allows amateur photography without the use of flashes or additional equipment.
The cost of photography is 300 rubles.
Russian Museum includes an entire museum complex, thanks to which it became possible to contain almost half a million works of art! It consists of M Ikhailovsky Palace with the Benois building and the Rossi wing, but they also relate to it Mikhailovsky (Engineering) Castle, Marble and Stroganov Palaces, and also cozy Mikhailovsky Garden, Palace of Peter I, with its unique garden and park alleys Summer Garden, and the House of Peter I on the opposite side of the Neva River. Here is such a considerable list.
As you can easily guess from the name, the museum displays exclusively Russian works of art. General meeting is considered the largest in the world, and has, at the time of writing, more than 411 thousand exhibits, including works of painting, graphics, sculpture, numismatics, arts and crafts and folk art, as well as archival materials! But to see all this, you need to go around more than one building. And devote many days to this. But after watching everything, it’s as if you’ll plunge into a time machine and experience every period in the development of Russian art over the last 1000 years!
Unfortunately, I did not have the opportunity to walk through all the buildings of the Russian Museum. Therefore, today we will talk about the main exhibition, which is stored in Mikhailovsky Palace, Benois Wing and Carl Rossi Wing.
The main exhibition is presented by works of outstanding Russian artists, including S.F. Shchedrin, I.I. Shishkin, F.A. Vasiliev, I.K. Aivazovsky, F.A. Bruni, A.K. Savrasov, V.I. Surikov, A.M. Vasnetsov, A.I. Kuindzhi, K.P. Bryullov, F.A. Bronnikov, K.F. Gun, N.N. Ge, V.G. Perov, K.E. Makovsky, V.V. Vereshchagin, and I would also like to highlight the portraits I.N. Kramskoy, O.A. Kiprensky, I.E. Repin, V.L. Borovikovsky, D.G. Levitsky!
It was nice to look at surrealism N.S. Goncharova, A.V. Lentulova, K.S. Malevich, S.A. Luchishkina and P.N. Filonova.
Museum plan.
Once inside, you immediately find yourself in a palace! Wide staircases, huge columns and high ceilings! Very royal!
Having purchased a ticket, I began exploring the museum. Walking up the stairs, she met me first sculpture of Alexander III, one of the museum visitors examined it very carefully.
And then the halls with an incredible number of paintings begin! As is customary in most such museums, the historical period. As I moved from each hall, I gradually moved from Old Russian to The latest art! Eyes, as always, ran wide.
At first, in front of me there were several halls with Icons. I don't understand them well, so I quickly passed them by.
Next began art galleries. Unfortunately, the disgusting lighting of the paintings immediately caught my eye. Of course it exists, but I think in such an outstanding art museum, known throughout the world, there should not be such problems with lighting. It really upset me then.
Look, the light falls on the paintings both from the chandelier and from the window.
For example, there are no such problems. Most world-famous museums don’t have this either. And believe me, I have been to different museums. In the Russian Museum there is such a jamb, because of which, when looking at the paintings, you had to focus your vision very much, strain to see them, and it was only possible to photograph with critical camera parameters.
1754. B.V. Sukhodolsky - Painting.
1780. Unknown artist- The building of the twelve colleges.
1750. I.Ya. Vishnyakov - Portrait of Wilhelm Georg Fermor.
The decoration of the palace halls is striking in its beauty. Much attention is paid to painting.
1795. I.P. Chernov - Return of the Prodigal Son.
1762. A.P. Losenko - A wonderful catch of fish.
1776. D.G. Levitsky - Portrait of N.S. Borscheva.
1775. D.G. Levitsky - Portrait of A.P. Levshina.
Interior items White Column Hall Mikhailovsky Palace.
1860. Vase with porcelain medallions.
1799. V.L. Borovikovsky - Portrait of Prince A.B. Kurakina.
1796. V.L. Borovikovsky - Portrait of Murtaza Kuli Khan.
1798-1800. F.Ya. Alekseev - View of the city of Bakhchisarai.
1846. I.K. Aivazovsky - View of Constantinople by moonlight.
1843. I.K. Aivazovsky - Seashore. Calm.
1850. I.K. Aivazovsky - The Ninth Wave. This world famous and most popular painting by the artist hangs in this museum!
1846. I.K. Aivazovsky - Russian squadron on the Sevastopol roadstead.
Closer sections of the picture.
1848. I.K. Aivazovsky - The brig "Mercury", after defeating two Turkish ships, meets with the Russian squadron.
1889. I.K. Aivazovsky - Wave.
Closer sections of the picture
1896. I.K. Aivazovsky - Ship at sea.
1885. I.K. Aivazovsky - Calm.
1884. I.K. Aivazovsky - Sea with a ship.
1885. I.K. Aivazovsky - Moonlit Night. Sea shore.
1833. K.P. Bryullov - The Last Day of Pompeii.
Look at the scale! I am amazed at both the skill and patience of the artists! It is incredibly difficult to be able to reproduce such beauty, and even on such an impressive canvas!
1830. K.P. Bryullov - Portrait Grand Duchess Elena Pavlovna with her daughter Maria.
1839. K.P. Bryullov - Portrait of the Shishmarev sisters.
1821. K.P. Bryullov - The appearance of three angels to Abraham at the oak of Mamre.
There are quite a few people in the museum, but there is enough space for everyone!
The next room is no less interesting.
1828. P.V. Basin - Socrates defends Alcibiades at the Battle of Potidaea.
1812. A.I. Ivanov - Single combat between Prince Mstislav Vladimirovich Udaly and the Kosozh prince Rededey.
Each room contains not only paintings, but also sculptures.
1813. Vasily Demut-Malinovsky - Russian Scaevola.
1841. F.A. Bruni - Copper Serpent.
1835. A.A. Ivanov - The Appearance of Christ to Mary Magdalene after the Resurrection.
1824. F.A. Bruni - Death of Camilla, Horace's sister.
1836-1855. A.A. Ivanov - The Appearance of Christ to the People.
The inside of the Russian Museum is very beautiful, there is a great atmosphere, but due to the poor light everything looks a bit dark.
1816. S.F. Shchedrin - View from Petrovsky Island in St. Petersburg.
1823. S.F. Shchedrin - New Rome. Castle of Sant'Angelo.
1826. S.F. Shchedrin - View of Amalfi near Naples.
S.F. Shchedrin - Fishermen near the shore.
1829. S.F. Shchedrin - Naples on a moonlit night Via Partenope and Castello Dell'Ovo.
1829. S.F. Shchedrin - View of Sorrento near Naples.
1836. M.I. Lebedev - Ariccia near Rome.
1845. A.Ya. Voloskov - View in Pavlovsk Park.
1827. O.A. Kiprensky - Portrait of Count G.G. Kusheleva.
1830. O.A. Kiprensky - A fortune teller with a candle.
1823. O.A. Kiprensky - Portrait of E.S. Avdulina.
1809. O.A. Kiprensky - Portrait of Evgraf V. Davydov.
1855. A.M. Volkov - Death of Ivan Susanin.
1875. A.T. Litovchenko - Ivan the Terrible shows treasures to Jerome Horsey.
1887. K.N. Gorsky - Peter I visits Madame Maintenon in 1717.
1865. V.G. Schwartz - Palm Sunday in Moscow under Tsar Alexei Mikhailovich.
V.G. Schwartz - Entry of Shuisky and de La Gardie to Moscow (Sketch).
1880. I.N. Kramskoy - Portrait of the artist I.I. Shishkina.
1882. I.N. Kramskoy - Mina Moiseev.
1840. I.N. Kramskoy - Inconsolable grief.
1869. F.A. Vasilyev - Village.
1871. F.A. Vasiliev - Thaw.
1867. F.A. Vasiliev - In the church fence.
And this is mine good friend Oleg.
You can understand the size of the paintings in this room. I have always wondered how such large paintings are looked after and how they are transported to other museums for temporary exhibitions? I would love to write a report about this. :)
1869. F.A. Bronnikov - Consecration of the herma.
F. Bronnikov - Street of an Italian city.
1905. S.V. Bakalovich - Prayer to Khonsu.
1862. K.D. Flavitsky - Christian martyrs in the Colosseum.
1868. K.F. Gun - Eve of St. Bartholomew's Night.
1889. G.I. Semiradsky - Phryne at the festival of Poseidon in Eleusis.
1865-1876. V.G. Perov - Meal.
1869. V.G. Perov - Girl with a jug.
1879. V.G. Perov - Pugachev's Court.
1864. V.G. Perov - Parisian rag pickers.
1880. V.G. Perov - The first Christians in Kyiv.
1860s. F.S. Zhuravlev - Beggar children.
1840s. A.K. Savrasov - Birches. High water.
1870-1880. A.K. Savrasov - Winter.
1873. A.K. Savrasov - View of the Moscow Kremlin. Spring.
1871. A.K. Savrasov - Sunset over the swamp.
1869. L.L. Kamenev - View from the outskirts of the village of Porechye.
1850. A.P. Popov (Moskovsky) - Moscow. Bank of the Yauza.
1890. V.V. Vereshchagin - Shipka-Sheinovo (Skobelev near Shipka).
1873. V.V. Vereshchagin - At the door of the mosque.
1884. V.V. Vereshchagin - In Jerusalem. Royal tombs.
1884. N.N. Ge - Portrait of L.N. Tolstoy.
1863. N.N. Ge - Last Supper.
1883. I.I. Shishkin - Stream in a birch forest.
1865. I.I. Shishkin - Oaks.
1871. M.K. Klodt - On the arable land.
1865. I.I. Shishkin - Oaks.
1898. I.I. Shishkin - Ship Grove.
1870. K.E. Makovsky - Transfer of the sacred carpet in Cairo.
1881. K.E. Makovsky - In the park.
1882. K.E. Makovsky - Family portrait.
1888. K.A. Savitsky - To the war.
1888. V.D. Polenov - Christ and the Sinner.
1871. I.E. Repin - The Resurrection of Jairus' Daughter.
1870-1873 I.E. Repin - Barge Haulers on the Volga.
1876. I.E. Repin - Sadko.
1876. I.E. Repin - Negress.
1879. I.E. Repin - Seeing off a new recruit.
1905-1908. A.I. Kuindzhi - Night.
1880. A.I. Kuindzhi - Moonlit night on the Dnieper.
1898-1908. A.I. Kuindzhi - Sea. Crimea.
1900-1905. A.I. Kuindzhi - Oaks.
In one of the halls there was a simply incredible painting by Ivan Repin. 1903. I.E. Repin - Ceremonial meeting of the State Council on May 7, 1901 on the day centenary anniversary from the date of its establishment.
1896. I.E. Repin - Portrait of Nicholas II.
1899. V.I. Surikov - Suvorov’s crossing of the Alps in 1799.
1895. V.I. Surikov - Conquest of Siberia by Ermak.
1906. V.I. Surikov - Stepan Razin.
1882. A.M. Vasnetsov - Knight at the crossroads.
1877. A.M. Vasnetsov - Acrobats (At a festival in the vicinity of Paris).
1881. A.M. Vasnetsov - Battle of the Scythians with the Slavs.
1910. K.F. Bogaevsky - Classical landscape.
1912. K.F. Bogaevsky - Ships. Evening sun.
1908. L.S. Bakst - Ancient horror.
1896. A.P. Ryabushkin - Family of a merchant in the 17th century.
1910. K.F. Yuon - Spring sunny day. Sergiev Posad.
Hall where it is presented Decorative and applied arts and folk art.
The Russian Museum is huge! You can easily get confused in the numerous corridors. In this case, along the way you can see such signs showing the floor plan of the museum.
1898. M.A. Vrubel - Bogatyr.
1902. V.A. Serov - Portrait of Princess Zinaida Nikolaevna Yusupova.
1912. A.Ya. Golovin - Portrait of F.I. Chaliapin as Boris Godunov.
1916. B.M. Kustodiev - Maslenitsa.
1917. A.V. Lentulov - Churches. New Jerusalem.
1911. N.S. Goncharova - Evangelists.
1908. N.S. Goncharova - Winter.
1914. K.S. Malevich - Composition with Mona Lisa ("Partial Eclipse").
1915. L.S. Popova - Portrait of a philosopher.
1914. K.S. Malevich - Aviator.
1915. K.S. Malevich - Red Square (Pictorial realism of a Peasant Woman in two dimensions).
1929. K.S. Malevich - Landscape with a white house.
1932. K. S. Malevich - Girls in the field.
Labyrinths of surrealism! Previously, I had not perceived such a direction in art. And now I really like it. :)
1920-1921. P.N. Filonov - Formula of the Petrograd proletariat.
1926. S.A. Luchishkin - Skiers.
1934. V.V. Kuptsov - ANT-20 "Maxim Gorky".
OK it's all over Now. Finally, I ran into the last hall before leaving and took a photo of such a plate.
I again went out onto the main staircase of the Mikhailovsky Palace.
Coming down from which he was waiting for me gift shop. They sell books, plates, magnets, nesting dolls, calendars and even copies of paintings.
The post turned out to be very informative, perhaps even too complete. But this is only a small part of what we saw. In fact, as I said at the beginning, it is impossible to capture everything! But believe me, it was so difficult to select the photographs I took in the museum. Not all of them came out well enough to properly convey the atmosphere of the paintings, mainly due to poor lighting. Many of the paintings are behind glass, or hanging very high. There was a lot of glare. As a piece of advice, it’s better to come to such museums in the evening, when it’s already dark outside. You will have at least one artificial light source. Nevertheless, the museum is magnificent! He is rightfully considered one of the best in the country!
Today the Russian Museum can rightfully be considered a unique repository of artistic treasures! This is a whole library of art, coming to which everyone has the opportunity to look at a stunning collection of masterpieces outstanding artists, definitely belonging to the world cultural heritage. Therefore, I recommend everyone not to be lazy, come to St. Petersburg and go see everything with your own eyes!
You can know the Hermitage exhibitions thoroughly, you can perfectly navigate the Tretyakov Gallery, you can be ready at any moment to give your friends an impromptu tour of the Pushkin Museum, but still not consider yourself an expert in Russian artistic arts. And why all? Because without the Russian Museum there is no way in this matter! Today we remember the history of the museum, which houses one of the most large collections Russian painting in the world.
Art lover Alexander III
On April 13, 1895, Emperor Nicholas II issued a decree according to which the “Russian Museum named after Emperor Alexander III” was to be established in St. Petersburg. But the museum was officially opened only on March 8, 1898. But the idea of creating a museum came to the mind of Alexander III and long before that. In his youth, the future Emperor Alexander III was interested in art and even studied painting himself with Professor Tikhobrazov. A little later, his wife, Maria Fedorovna, shared his passion, and the two of them continued their studies under the strict guidance of Academician Bogolyubov.
Alexander III with his wife and three older children. 1878 Having assumed power, the emperor realized that it was impossible to combine governing the country and painting, and therefore abandoned his art. But he did not lose his love for art, and squandered significant sums from the treasury on the purchase of works of art that no longer fit either in Gatchina, or in the Winter Palace, or in the Anichkov Palace. It was then that Alexander decided to create a state museum in which paintings by Russian painters could be stored, and which would correspond to the prestige of the country, raise patriotic moods and all that.
It is believed that the emperor first expressed the idea after the 17th exhibition of the Association of Itinerants in 1889, where he purchased Repin’s painting “Nicholas of Myra delivers three innocently convicted people from death.”
Special status of the Russian Museum
By 1895, they managed to create a project for the construction of the building of the Museum of Russian Art at the Academy of Arts and even finish the estimate, but on October 21, 1894, Alexander III died, and it seemed that the museum would never become a reality. But Nicholas II got down to business. He decided to give the Mikhailovsky Palace, purchased to the treasury, for the needs of the museum.
The regulations on the museum in 1897 emphasized its special status. Special rules for creating a collection were established, for example, works contemporary artists They had to first be in the museum at the Academy of Arts for 5 years and only then, at the choice of the manager, they could be placed in the Russian Museum.
Objects of art placed in a museum were supposed to remain there forever - that is, they could not be taken away or transferred to some other place.
The manager was appointed by the highest by personal decree and must necessarily belong to the Imperial House.
Charlemagne I. I., View of the Mikhailovsky Palace from the park and square. 1850s. From the world one by one - a collection to the museum
At first, the museum’s collection was made up of paintings collected by Alexander III, which were transferred from the Academy of Arts, the Hermitage, for example, famous painting Karl Bryullov "The Last Day of Pompeii". Winter, Gatchina and Alexander palaces. Part of the collection was acquired from private collections. As Nicholas II decided, in the future the collection was to be replenished from the treasury, which even introduced a separate section for the museum, and thanks to possible donations.
Surprisingly, there were many of these, the size of the collection grew rapidly and almost doubled compared to the original 1.5 thousand works and 5,000 exhibits from the Museum of Christian Antiquities. The first staff of the museum included the “color of the nation” - the most outstanding scientists, art critics and historians, for example, A. P. Benois, P. A. Bryullov, M. P. Botkin, N. N. Punin and others.
Life of the museum in the 20th century
Thanks to the State Museum Fund, which worked in the first years after October revolution, the museum’s collection grew rapidly after 1917. Large gaps in the collection were filled; for example, for some time some movements of Russian painting were not represented in the museum at all, and the collection of some was extremely meager.
In 1922, the museum’s exhibition was for the first time built on a scientific-historical principle, which brought the museum to a qualitatively new level. But the building of the Mikhailovsky Palace alone was not enough for the expanding collection, and gradually the museum began to “conquer territory.” In the 30s, the Benoit wing of Rossi in the Mikhailovsky Palace, which had been occupied until then by tenants, was vacated and transferred to the Russian Museum, and a little later the ethnographic department “moved out” from the parent nest of the Russian Museum, which became State Museum ethnography of the peoples of the USSR. In the 40s, the Benois building and the Mikhailovsky Palace were even connected by a special passage.
Large living room of the Mikhailovsky Palace in St. Petersburg by Luigi Premazzi. Where to go and what to see?
IN beginning of XXI century, the Summer Garden with a collection of marble sculptures passed into the possession of the Russian Museum (yes, yes, in Summer Garden now only copies stand), as well as the Summer Palace of Peter I, Coffee and Tea houses located in it. The house of Peter I on Petrovskaya Embankment, which also belongs to the Russian Museum, was first built of logs, but after some time it was covered with a stone, and a little later - with a brick cover.
Among the most famous works art stored in the Russian Museum, one can name the icons of Andrei Rublev and Simon Ushakov, Bryullov’s canvases “Italian Noon” and “The Last Day of Pompeii”, Aivazovsky’s “The Ninth Wave” and “Wave”, “Barge Haulers on the Volga” by Repin, “The Knight on crossroads" by Vanetsov, "Suvorov's Crossing of the Alps" by Surikov, "Portrait of Ida Rubinstein" and "The Rape of Europe" by Serov, "Portrait of F. I. Chaliapin" by Kustodiev. But this is only a small part of those beautiful paintings by Russian painters that are kept in the Russian Museum.
Valentin Serov. Portrait of Ida Rubinstein It’s better to see once - if you plan a trip to St. Petersburg, be sure to visit the Russian Museum.
Creativity I.E. Repin (1844-1930) is one of the most significant phenomena in Russian art. In his works he captured history and modernity, created a whole gallery of portraits wonderful people of his era.
Ilya Efimovich Repin. Alexander Glazunov (1865 - 1936)
Ilya Efimovich Repin. Portrait of Shishkin
Ilya Efimovich Repin. Portrait of Efim Repin
His works are distinguished by their vivid characterization of images, life-like authenticity and amaze with amazing pictorial skill. The artist’s great talent was already evident in the painting “The Resurrection of Jairus’s Daughter” (1871), created as a graduation program upon Repin’s graduation from the Academy of Arts.
Ilya Efimovich Repin. Resurrection of Jairus' Daughter
The versatility of the artist’s talent was already evident then in the fact that, simultaneously with work on this canvas, he was working on a work that was completely different in plot and painting objectives.
Ilya Efimovich Repin. Barge Haulers on the Volga
These were “Barge Haulers on the Volga” (1870-1873). The painting became an innovative work in Russian art. For the first time, people from the people appeared on canvas in close-up, each with their own character, masterfully conveyed by the artist.
Ilya Efimovich Repin. Sadko
The painting “Sadko” (1876) on display in the hall was created during a trip abroad after graduating from the Academy of Arts as a report work, for which the painter was awarded the title of academician.
Hall 34
One of central works in the work of Repin, a work to which he gave great importance, is the painting “Cossacks writing a letter to the Turkish Sultan” (1880-1891). While hatching the idea, the artist studied historical documents and visited Zaporozhye and Kuban. This topic fascinated Repin so much that it did not let him go for more than ten years. Repin, with amazing freedom and skill, depicted the different characters of people and shades of laughter on their faces - from the subtle smile on the intelligent face of Ataman Ivan Serko to the roaring laughter of a mustachioed Cossack in a red zhupan.
I.E. Repin. Cossacks write a letter to the Turkish Sultan
In the same room are Repin’s paintings “Seeing Off a Recruit” and “Nicholas of Myra Delivers Three Innocently Convicted from Death,” portraits of the critic V.V. Stasov, composer A.G. Rubinstein and physiologist I.R. Tarkhanov.
I.E. Repin. Seeing off a new recruit
Repin Ilya Efimovich. Nicholas of Myra saves three innocently convicted from death
Repin Ilya Efimovich. Portrait of the artist S.M. Dragomirova
Ilya Efimovich Repin. Portrait of singer A.N. Molas. 1883
I.E. Repin - Portrait of the critic V.V. Stasov.
Repin I.E. Portrait of physiologist I.R. Tarkhanov. 1892.
Repin Ilya Efimovich. Portrait of the composer A.G. Rubinstein
The hall displays the paintings “What a space!”, “Belarusian”, portraits of the composer N.A. Rimsky-Korsakov, Countess N.A. Golovina, timber merchant and promoter of Russian music M.P. Belyaev.
I.E. Repin. What space!
Repin Ilya Efimovich. Belarusian
I.E. Repin portrait of composer N.A. Rimsky-Korsakov
I.E. Repin portrait of M.P. Belyaev
I.E. Repin. Portrait of Countess N.P. Golovina
The painting “October 17, 1905” is a response to the manifesto of Nicholas II of October 17, 1905 “On the improvement public order", published during the days of the revolutionary upsurge in the country.
Repin wrote: “The painting depicts a procession liberation movement Russian progressive society... mainly students, female students, professors and workers with red flags, enthusiastic; singing revolutionary songs...lifted onto the shoulders of the amnestied and crowd of thousands moving across the area big city in the ecstasy of general rejoicing."
Hall 36 and further
Collection of works by V.I. Surikov is one of the most significant in the collection of the Russian Museum. The genre painting “The Capture of a Snow Town” (1891), painted by the artist in his homeland in Krasnoyarsk, opens a new period in his work, associated with the creation of three monumental canvases based on the subjects heroic story Russia. “Two elements meet” - this is how Surikov defines the main idea of the epic painting “The Conquest of Siberia by Ermak” (1895), with the creation of which he seemed to confirm his connection with Siberia, with the Cossacks. The painting “Suvorov's Crossing of the Alps” (1899) is dedicated to the legendary event of 1799. “The main thing in the picture,” said Surikov, “is movement. Selfless courage - obedient to the word of the commander, they go..."
IN AND. Surikov. Taking the snow town
IN AND. Surikov. Conquest of Siberia by Ermak
IN AND. Surikov. Suvorov's crossing of the Alps
In Surikov’s last large canvas “Stepan Razin” (1907), one can feel the tendencies of the new Russian pictorial realism - eventlessness, poeticization of history, extreme activity of the landscape and the search for monumental forms of expression.
In the halls dedicated to creativity painter, in addition to historical paintings and preparatory work Among them, you can see both early academic compositions and magnificent portraits of the late period. “Portrait of an Unknown Woman on a Yellow Background”, “Siberian Woman” is the embodiment of Surikov’s favorite type of feminine beauty, full of harmony. “Self-portrait” of 1915 is the last of fourteen images created by the artist.
Surikov Vasily Ivanovich. Stepan Razin
IN AND. Surikov. Portrait of an unknown woman on a yellow background
IN AND. Surikov. Siberian
IN AND. Surikov. Old gardener 1882
Surikov Vasily Ivanovich. View of the monument to Peter I on Senate Square in St. Petersburg
Surikov Vasily Ivanovich. Belshazzar's Feast
V.M. Vasnetsov combined in his beliefs the democratic humanism characteristic of the “Wanderers” with deep religiosity and national feeling.
The artist did not immediately find his theme. The painting “Showrooms in the vicinity of Paris” (1876) gives an idea of early period creativity, close to the works of genre artists of the 1860-1870s with their critical and accusatory orientation.
V.M. Vasnetsov. Booths in the vicinity of Paris
In the early 1880s, Vasnetsov created the first fairy-tale battle paintings: “The Battle of the Scythians with the Slavs” (1881) and “The Knight at the Crossroads” (1882). By choosing national historical themes for his paintings, the artist combines knowledge folk epic with the skill of a genre artist, transforms Russian historical genre, immersing the motifs of Medieval Rus' in the atmosphere of a poetic legend or fairy tale.
Vasnetsov Viktor Mikhailovich. Battle of the Scythians with the Slavs
Vasnetsov Viktor Mikhailovich. Knight at the crossroads
Vasnetsov Viktor Mikhailovich. Accordion
Vasnetsov Viktor Mikhailovich. At the Bookseller's (1876)
Vasnetsov Viktor Mikhailovich. Portrait of Tatyana Vasnetsova, the artist’s daughter
In the same room, the image of the Mother of God with the Child Christ in her arms is presented - one of the sketches for the paintings of the Vladimir Cathedral in Kyiv, on which Vasnetsov worked for more than ten years.
Vasnetsov Viktor Mikhailovich. Our Lady
Repin’s most significant works include the monumental canvas “The Ceremonial Meeting of the State Council on May 7, 1901, on the centenary of its establishment” (1903), a grandiose group portrait painted by order of the government in 1901-1903. Repin attracted two of his students to perform it - B.M. Kustodiev and I.S. Kulikov. In the film, Repin brilliantly decided difficult task natural and free placement of more than sixty figures of meeting participants (the round columned hall of the Mariinsky Palace in St. Petersburg is depicted).
In the process of preparing the painting, Repin painted many portrait sketches of members of the State Council, some of which are also displayed in the hall.
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Virtual walks at the Russian Museum. Saint Petersburg. Part 7.
The last time I was in the Russian Museum was a long time ago, back in school. And now, almost twenty years later, I was ready to go there consciously.
It turned out to be quite difficult for an ordinary Russian person to get into the Russian Museum. And for a completely banal reason: they ran out of numbers in their wardrobe. The entrance was blocked by a strict aunt with a walkie-talkie and only excursion groups and citizens with children were allowed in. After standing for almost an hour and not budging, we went to desperate step- They publicly swore that they wouldn’t even look in the direction of the wardrobe. And, lo and behold, they let us through.
With such an organization, for example, the queue to the Vatican Museums would go around the Vatican. But we are not the Vatican, it’s suddenly cold outside.
To take photographs in the museum, the camera had to buy a separate ticket for the same price as me - 250 rubles (entrance for foreigners is a hundred rubles more).
I am a person far from art, so for me the main criterion for evaluating any creativity is “like” (beautiful) / “don’t like” (ugly). For example, I absolutely don’t like the picture in the title photo.
I will show what I liked below.
K. Bryullov. The last day of Pompeii. 1833.
A painting that seems to have become a documentary chronicle historical event. It is huge in size, and if you come close, your gaze rests on the stones of the pavement, covered with ash, scattered things under the feet of the heroes - something that you don’t see in the illustrations. This greatly adds realism to what is happening. When I walked around Pompeii, it was absolutely impossible to get this image out of my head: the red sky, everything was collapsing and figures frozen in horror.
The erupting Vesuvius is balanced by Aivazovsky with many paintings of the sea elements on the opposite wall of the hall.
Russian squadron on the Sevastopol roadstead. 1846.
Relevant. Judging by the museum's exhibition, Crimea was generally a very popular topic for Russian artists.
Wave. 1899.
A very small fragment of a picture with a stormy sea, where a ship is sinking in the corner and sailors on a broken mast are sailing almost off the edge of the canvas without a chance of salvation.
The first rooms with art from the early 19th century are interesting; you can sit there for half a day, fortunately there are sofas. The following 18th-century rooms begin to tire a little with portraits and palace interiors.
Ceiling: 
Trellis: 
Animal fight at a watering hole. Petersburg Trellis Manufactory. 1757.
Mosaic: 
Ust-Rudnitskaya factory M.V. Lomonosov. Portrait of Catherine II. 1762.
Presented to the Empress on the occasion of her coronation.
The last halls of the floor are occupied by ancient Russian art, that is, iconography: 
It seems to me that this is where M. Larionov drew his inspiration.
Peter's head - Bronze Horseman on the Grand Staircase.
V. Perov. Hunters at rest. 1877.
Repeat the picture. The first version hangs in the Tretyakov Gallery.
I. Shishkin. Snitch-grass. Pargolovo. 1885.
Surprisingly - a weed against the backdrop of a crooked fence, and hanging in the Russian Museum. Joke.
A. Savrasov. Thaw. Yaroslavl. 1874.
It's time to go to Yaroslavl - there is a gap in my geography.
A little about foreign countries in large-scale canvases: 
V. Smirnov. Death of Nero. 1888.
The women came to pick up the corpse of the suicidal emperor. The red wall is like the main character.
G. Semiradsky. Phryne at the festival of Poseidon at Eleusis. 1889.
About a woman who imagines herself to be a goddess, and for this reason publicly undressed. A very sunny and positive picture.
V. Surikov: 
Old gardener. 1882.
About unwashed Russia.
View of the monument to Peter I on Senate Square in St. Petersburg. 1870.
About the capital.
Suvorov's crossing of the Alps. 1899.
Lighting has been provided in some museum halls in a unique way: the pictures glare in them so that they are simply not visible at all. You have to study it in fragments, changing your angle of view.
Taking the snowy town and the river, between which the colonnade of the Round Hall of the Mariinsky Palace can be seen.
Grandiose paintings by I. Repin: 
Ceremonial meeting State Council May 7, 1901 in honor of the centenary of its establishment. 1903.
81 people are depicted, each of whom posed individually. How did he manage to arrange the composition in such a way that no one would fall out? Nicholas II sits under a portrait of Nicholas II by Repin. Recursion.
Opposite the painting hangs another portrait of Nicholas: 
Portrait of Nicholas II. 1896.
The Cossacks write a letter to the Turkish Sultan. 1891. On right Belarusian. 1892, left Portrait of S. M. Dragomirova. 1889.
Barge Haulers on the Volga. 1873.
A fragment directly with barge haulers - very colorful characters.
To conclude Repin's theme: 
Black woman. 1876.
On a turf bench. 1876.
A. Kuindzhi: 
Sea. Crimea. 1908.
Night. 1908.
Duma on the fate of Russia: 
M. Antokolsky. Mephistopheles. 1883.
Mower: 
G. Myasoedov. Time of suffering(Mowers). 1887. Fragment.
It's always interesting to look at the details of paintings where the subject is a scene from real life distant and not so distant past, some action is taking place, a lot of people:
K. Savitsky. To war. 1888.
Seeing off the soldiers to the Bulgarians who are victorious for us Russian-Turkish war 1877-1878.
K. Makovsky. Transfer of the sacred carpet to Cairo. 1876.
About the meeting of pilgrims from the Hajj. A tourist's impressions of visiting Egypt were clearly more interesting before.
V. Polenov. Christ and the sinner. 1888. Fragment with a sinner and a donkey. The donkey seems to be telling us: “Now they will stone them again as much as possible.”
Finishing the oriental theme: 
V. Vereshchagin. At the door of the mosque. 1873.
Photographic quality pattern on the door. Considering that the picture is practically life-size, I involuntarily wanted to touch it to see if it was made of wood. The handprint on the wall attracts attention. By the way, the door is visible a little through the right figure.
Another version of thoughts about the fate of Russia from Antokolsky: 
Ivan groznyj. 1871.
For some reason, next to the souvenir shop.
Let's move a little away from painting.
Folk art: 
Ladle. 1753.
Patchwork bedspread.
"Mossies". Beginning of the twentieth century.
Gloomy Vyatka peasant toys.
Valance. Late XVIII V.
Intricate pattern.
Imperial/State/Leningrad Porcelain Factory: 
A lion. 1911.
Does he really look like Lenin? What is he doing with his right front paw...
"He who works, eats."
The propaganda china from the 1920s is simply beautiful.
Service with Suprematist ornaments. 1932.
Let's continue about the paintings.
The 20th century begins: 
I. Levitan. Lake. Rus. 1900. Fragment.
The artist's last, unfinished painting.
K. Yuon. Spring sunny day. Sergiev Posad. 1910.
M. Vrubel. Bogatyr. 1898.
Fragment with a bird.
M. Nesterov. Venerable Sergius of Radonezh. 1899.
V. Serov. Bathing the Horse. 1905.
B. Kustodiev. Merchant's wife having tea. 1918.
N. Goncharova. Cyclist. 1913.
P. Filonov. Spring formula and active forces. 1928.
A small fragment.
V. Kuptsov. ANT-20 "Maxim Gorky". 1934.
Over Strelka V.O., where he never flew.
The largest plane in the world, just built in 1934, will crash a year later over Moscow during a demonstration flight with members of the families of aircraft manufacturers. And six months later Kuptsov would commit suicide.
A. Samokhvalov. Conductress. 1928.
Soviet Russia as it is.
They were taking selfies long before it became mainstream: 
K. Petrov-Vodkin. Self-portrait. 1927.
L. Kirillova. Self-portrait. 1974.
Crimea again: 
A. Deineka. Defense of Sevastopol. 1942.
And this is about my time: 
V. Ovchinnikov. Dovecote. 1979.
At all good museum. I like it.
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