XE3F4840 - Portrait of M. P. Mussorgsky (1881), by Iliá Repin
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Iliá Yefímovich Repin, (ruso: Илья́ Ефи́мович Ре́пин; Chugúyev, Ucrania, Imperio ruso, 24 de juliojuliano/ 5 de agosto de 1844gregoriano. - Kuokkala, Finlandia (ahora Répino en el distrito de Kurortny de San Petersburgo), 29 de septiembre de 1930) fue un destacado pintor y escultor ruso del movimiento artístico de los Itinerantes. Sus obras, enmarcadas en el realismo, contienen a menudo una gran profundidad psicológica y exhiben las tensiones del orden social existente. A finales de los años 20 comenzaron a publicarse en la URSS detallados trabajos sobre su obra y alrededor de diez años después fue puesto como ejemplo para ser imitado por los artistas del realismo socialista.
Su padre, Yefim, era un militar y también un colono que se dedicaba al cultivo de la tierra. A los 13 años, Repin entró de aprendiz en el taller de un artista local dedicado a los iconos llamado Iván Bunakov. Igualmente comienza a estudiar la técnica del retrato. En 1866 se trasladó a San Petersburgo e ingresó en la Academia Imperial de las Artes.
Con su primera obra maestra, La resurrección de la hija de Jairo, ganó la medalla de oro de un concurso de la Academia, y con ella una beca para estudiar en Francia e Italia. Así es como Repin vivió en París, donde recibió la influencia de los impresionistas, lo que influyó decisivamente en su forma de usar la luz y el color. Sin embargo, su estilo continuó siendo más afín al de los maestros de la vieja escuela, especialmente Rembrandt, y nunca llegó a convertirse en un impresionista. A lo largo de su carrera retrató a la gente común, tanto ucraniana como rusa, aunque en sus últimos años también representó en sus obras a miembros de la élite del Imperio Ruso, la intelligentsia, la aristocracia y al propio zar Nicolás II.
es.wikipedia.org/wiki/Iliá_Repin
Ilya Yefimovich Repin (Russian: Илья́ Ефи́мович Ре́пин, tr. Il'ya Yefimovich Repin, IPA: [ˈrʲepʲɪn]; Finnish: Ilja Jefimovitš Repin; Ukrainian: Ілля́ Юхи́мович Рє́пін;5 August [O.S. 24 July] 1844 – 29 September 1930) was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature. He played a major role in bringing Russian art into the mainstream of European culture. His major works include Barge Haulers on the Volga (1873), Religious Procession in Kursk Province (1883) and Reply of the Zaporozhian Cossacks (1880–91).
Repin was born in Chuguyev, in Kharkov Governorate, Russian Empire (now Chuhuiv in Ukraine, Kharkiv Region) into a family of "military settlers". His father traded horses and his grandmother ran an inn. He entered military school to study surveying. Soon after the surveying course was cancelled, his father helped Repin to become an apprentice with Ivan Bunakov, a local icon painter, where he restored old icons and painted portraits of local notables through commissions. In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. He met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872 (they remained married for ten years). In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876.
Repin persistently searched for new techniques and content to give his work more fullness and depth. Repin had a set of favorite subjects, and a limited circle of people whose portraits he painted. But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals. Repin's search for truth and for an ideal led him in various directions artistically, influenced by hidden aspects of social and spiritual experiences as well as national culture. Like most Russian realists of his times, Repin often based his works on dramatic conflicts, drawn from contemporary life or history. He also used mythological images with a strong sense of purpose; some of his religious paintings are among his greatest.
His method was the reverse of the general approach of impressionism. He produced works slowly and carefully. They were the result of close and detailed study. With some of his paintings, he made one hundred or more preliminary sketches. He was never satisfied with his works, and often painted multiple versions, years apart. He also changed and adjusted his methods constantly in order to obtain more effective arrangement, grouping and coloristic power. Repin's style of portraiture was unique, but owed something to the influence of Eduard Manet and Diego Velázquez.
en.wikipedia.org/wiki/Ilya_Repin
es.wikipedia.org/wiki/Modest_Músorgski
en.wikipedia.org/wiki/Modest_Mussorgsky
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
en.wikipedia.org/wiki/Tretyakov_Gallery
XE3F4840 - Portrait of M. P. Mussorgsky (1881), by Iliá Repin
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Iliá Yefímovich Repin, (ruso: Илья́ Ефи́мович Ре́пин; Chugúyev, Ucrania, Imperio ruso, 24 de juliojuliano/ 5 de agosto de 1844gregoriano. - Kuokkala, Finlandia (ahora Répino en el distrito de Kurortny de San Petersburgo), 29 de septiembre de 1930) fue un destacado pintor y escultor ruso del movimiento artístico de los Itinerantes. Sus obras, enmarcadas en el realismo, contienen a menudo una gran profundidad psicológica y exhiben las tensiones del orden social existente. A finales de los años 20 comenzaron a publicarse en la URSS detallados trabajos sobre su obra y alrededor de diez años después fue puesto como ejemplo para ser imitado por los artistas del realismo socialista.
Su padre, Yefim, era un militar y también un colono que se dedicaba al cultivo de la tierra. A los 13 años, Repin entró de aprendiz en el taller de un artista local dedicado a los iconos llamado Iván Bunakov. Igualmente comienza a estudiar la técnica del retrato. En 1866 se trasladó a San Petersburgo e ingresó en la Academia Imperial de las Artes.
Con su primera obra maestra, La resurrección de la hija de Jairo, ganó la medalla de oro de un concurso de la Academia, y con ella una beca para estudiar en Francia e Italia. Así es como Repin vivió en París, donde recibió la influencia de los impresionistas, lo que influyó decisivamente en su forma de usar la luz y el color. Sin embargo, su estilo continuó siendo más afín al de los maestros de la vieja escuela, especialmente Rembrandt, y nunca llegó a convertirse en un impresionista. A lo largo de su carrera retrató a la gente común, tanto ucraniana como rusa, aunque en sus últimos años también representó en sus obras a miembros de la élite del Imperio Ruso, la intelligentsia, la aristocracia y al propio zar Nicolás II.
es.wikipedia.org/wiki/Iliá_Repin
Ilya Yefimovich Repin (Russian: Илья́ Ефи́мович Ре́пин, tr. Il'ya Yefimovich Repin, IPA: [ˈrʲepʲɪn]; Finnish: Ilja Jefimovitš Repin; Ukrainian: Ілля́ Юхи́мович Рє́пін;5 August [O.S. 24 July] 1844 – 29 September 1930) was a Russian realist painter. He was the most renowned Russian artist of the 19th century, when his position in the world of art was comparable to that of Leo Tolstoy in literature. He played a major role in bringing Russian art into the mainstream of European culture. His major works include Barge Haulers on the Volga (1873), Religious Procession in Kursk Province (1883) and Reply of the Zaporozhian Cossacks (1880–91).
Repin was born in Chuguyev, in Kharkov Governorate, Russian Empire (now Chuhuiv in Ukraine, Kharkiv Region) into a family of "military settlers". His father traded horses and his grandmother ran an inn. He entered military school to study surveying. Soon after the surveying course was cancelled, his father helped Repin to become an apprentice with Ivan Bunakov, a local icon painter, where he restored old icons and painted portraits of local notables through commissions. In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. He met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872 (they remained married for ten years). In 1874–1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876.
Repin persistently searched for new techniques and content to give his work more fullness and depth. Repin had a set of favorite subjects, and a limited circle of people whose portraits he painted. But he had a deep sense of purpose in his aesthetics, and had the great artistic gift to sense the spirit of the age and its reflection in the lives and characters of individuals. Repin's search for truth and for an ideal led him in various directions artistically, influenced by hidden aspects of social and spiritual experiences as well as national culture. Like most Russian realists of his times, Repin often based his works on dramatic conflicts, drawn from contemporary life or history. He also used mythological images with a strong sense of purpose; some of his religious paintings are among his greatest.
His method was the reverse of the general approach of impressionism. He produced works slowly and carefully. They were the result of close and detailed study. With some of his paintings, he made one hundred or more preliminary sketches. He was never satisfied with his works, and often painted multiple versions, years apart. He also changed and adjusted his methods constantly in order to obtain more effective arrangement, grouping and coloristic power. Repin's style of portraiture was unique, but owed something to the influence of Eduard Manet and Diego Velázquez.
en.wikipedia.org/wiki/Ilya_Repin
es.wikipedia.org/wiki/Modest_Músorgski
en.wikipedia.org/wiki/Modest_Mussorgsky
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
en.wikipedia.org/wiki/Tretyakov_Gallery