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Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
St. Sergius of Radonezh lived in the 1300s, and is considered by Orthodox and Eastern Catholic Christians alike to be one of the greatest Russian saints. He made his home at one point in the wilderness, like the hermits of old. Under various forms and in various times did the devils attack Sergius, but so exhausted did they become of the saint’s rectitude that they attempted to frighten him out of the wilderness with wild animals. Wolves, bears, and other beasts frightened the ascetic, but did not cause him to forget prayer, and eventually the animals let him be. All except for one bear.
Sensing that this bear came not to frighten him but rather was searching for food, the Russian anchorite began sharing his only food with the bear—a slice of bread. The bear made a habit of eating with Sergius, since food was difficult to find elsewhere. More than once, when there was only one slice of bread to eat, Sergius would give it all to the bear rather than let it go hungry.
It is unknown how or when or even if St. Sergius’ Bear met its demise. For all we know, the Russian Bear has been living a lonely eremitical existence in the Russian wilderness for the last seven hundred years, quietly waiting for someone to bring him a piece of bread in exchange for a story about its old master. St. Sergius, pray for us!
theradtrad.blogspot.com/2015/12/st-sergius-and-his-bear.html
Mijaíl Vasílievich Nésterov (en cirílico: Михаил Васильевич Нестеров; Ufá, Imperio ruso; 31 de mayo1 de 1862-Moscú, 18 de octubre de 1942) fue un pintor ruso, el más destacado representante del simbolismo religioso en su país.
Recibió clases de Pável Chistiakov en la Academia Imperial de las Artes de San Petersburgo y más tarde se unió al grupo de pintores realistas rusos autodenominados los Peredvízhniki. Su lienzo La visión del joven Bartolomé (1890-91), donde plasma la conversión de Sergio de Rádonezh, está considerado como el inicio del Simbolismo ruso y su primera obra maestra. De 1890 a 1910, Nésterov residió en Kiev y en San Petersburgo, ciudades en las que pintó frescos en la Catedral de San Vladímir (Kiev) y en la Iglesia del Salvador de la Sangre Derramada (San Petersburgo). En 1910 se instaló en Moscú, donde pasará el resto de su vida trabajando para el Convento de Marta y María (Marfo-Mariinski). Fiel devoto de la Iglesia Ortodoxa rusa, no apoyó ni simpatizó con la Revolución de Octubre (1917), pero permaneció en la Unión Soviética hasta su muerte.
Aparte de sus cuadros de asunto religioso, fue un excelente retratista, aunque no abordó este género hasta 1906, ya en plena madurez.2 Entre otras personalidades, pintó a Iván Ilyín, Iván Pávlov, Otto Schmidt, Vera Mújina o a Pável Florenski.
es.wikipedia.org/wiki/Mijaíl_Nésterov
Mikhail Vasilyevich Nesterov (Russian: Михаи́л Васи́льевич Не́стеров; 31 May [O.S. 19 May] 1862, Ufa – 18 October 1942, Moscow) was a Russian and Soviet painter; associated with the Peredvizhniki and Mir Iskusstva. He was one of the first exponents of Symbolist art in Russia.
He was born to a strongly patriarchal merchant family. His father was a draper and haberdasher, but always had a strong interest in history and literature. As a result, he was sympathetic to his son's desire to be an artist, but insisted that he acquire practical skills first and, in 1874, he was sent to Moscow where he enrolled at the Voskresensky Realschule.
In 1877, his counselors suggested that he transfer to the Moscow School of Painting, Sculpture and Architecture, where he studied with Pavel Sorokin, Illarion Pryanishnikov and Vasily Perov,[1] who was his favorite teacher. In 1879, he began to participate in the school's exhibitions. Two years later, he entered the Imperial Academy of Fine Arts, where he worked with Pavel Chistyakov. He was disappointed at the teaching there and returned to Moscow, only to find Perov on his deathbed, so he took lessons from Alexei Savrasov
His first major success came with his painting, "The Hermit" which was shown at the seventeenth exhibition of the Peredvizhniki in 1889. It was purchased by Pavel Tretyakov and the money enabled Nesterov to take an extended trip to Austria, Germany, France and Italy. Upon returning, his painting, "The Vision to the Youth Bartholomew", the first in a series of works on the life of Saint Sergius, was shown at the eighteenth Peredvizhniki exhibition and also purchased by Tretyakov. This series would eventually include fifteen large canvases and occupy him for fifty years.
His first major success came with his painting, "The Hermit" which was shown at the seventeenth exhibition of the Peredvizhniki in 1889. It was purchased by Pavel Tretyakov and the money enabled Nesterov to take an extended trip to Austria, Germany, France and Italy. Upon returning, his painting, "The Vision to the Youth Bartholomew", the first in a series of works on the life of Saint Sergius, was shown at the eighteenth Peredvizhniki exhibition and also purchased by Tretyakov. This series would eventually include fifteen large canvases and occupy him for fifty years.
In 1905, after the Revolution began, he joined the Union of the Russian People, an extreme right-wing nationalist party that supported the Tsar.[citation needed] As a result, he was in some danger after the October Revolution. In 1918, he moved to Armavir, where he became ill and was unable to work. He returned to Moscow in 1920 and was forced to give up religious painting, although he continued to work on his Saint Sergius series in private. From then until his death, he painted mostly portraits; notably Ivan Ilyin, Ivan Pavlov, Otto Schmidt, Sergei Yudin, Alexey Shchusev and Vera Mukhina.[1]
In 1938, toward the end of the Great Purge, his son-in-law, Vladimir Schroeter, a prominent lawyer, was accused of being a spy and shot. His daughter was sent to a prison camp in Zhambyl, where she was brutally interrogated before being released. He was also arrested and held for two weeks at Butyrka Prison.[2]
In 1941, he was awarded the Stalin Prize for his portrait of Pavlov (created in 1935). It was one of the first given to an artist. Shortly after, he received the Order of the Red Banner of Labour. As the war progressed, his health and financial situation deteriorated rapidly. He had a stroke while working on his painting "Autumn in the Village" and died at Botkin Hospital [ru].
His unfinished memoirs, which he had begun in 1926, were published later that year under the title "Bygone Days". In 1962, he was honored with a postage stamp. In 1996, his likeness appeared on the 50 Ural franc banknote and, in 2015, a monument to him was unveiled at the Bashkir State Art Museum [ru] in Ufa.
en.wikipedia.org/wiki/Mikhail_Nesterov
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.
Baptism of Saint Prince Vladimir by Viktor Vasnetsov, 1890.
...was the grand prince of Kiev who converted to Christianity in 988, and proceeded to baptise the whole Kievan Rus'...The Primary Chronicle reports that in the year 987, as the result of a consultation with his boyars, Vladimir sent envoys to study the religions of the various neighboring nations whose representatives had been urging him to embrace their respective faiths. The result is amusingly described by the chronicler Nestor. Of the Muslim Bulgarians of the Volga the envoys reported there is no gladness among them; only sorrow and a great stench, and that their religion was undesirable due to its taboo against alcoholic beverages and pork; supposedly, Vladimir said on that occasion: "Drinking is the joy of the Rus'." Russian sources also describe Vladimir consulting with Jewish envoys (who may or may not have been Khazars), and questioning them about their religion but ultimately rejecting it, saying that their loss of Jerusalem was evidence of their having been abandoned by God. Ultimately Vladimir settled on Christianity. In the churches of the Germans his emissaries saw no beauty; but at Constantinople, where the full festival ritual of the Byzantine Church was set in motion to impress them, they found their ideal... - enWikipedia
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Moscow. The facade of the State Tretyakov Gallery, Tretyakov Gallery is made to the design of V.Vasnetsov, detail, Lavrushinsky Lane, 10 (1900-1906)
Detail from the colorful wall.
"Built on the spot where Tsar Alexander II was assassinated in 1881, the foundation stone was laid in 1883 and it took nearly a quarter of a century to complete. With its distinctive cupolas the Muscovy design is unique in St. Petersburg and provides a dramatic contrast to the Neo-Classical architecture which dominates the city center.
The preferred Russian name for this great church is Khram Spasa na Krovi, but each English-language tourist publication seems to list it under a different name. The moniker of "Spilled Blood" is most popular in preference to the likes of the Church of the Resurrection, Church of our Savior on the Blood, Cathedral of the Ascension, Resurrection of the Christ, or Assumption, Church of the Redeemer, or any permutation of the above.
All architects were invited to submit plans for the building of this permanent monument and the definitive designs of Alfred Parland (1842-1920), [Russian despite the name] were accepted after he won the competition set up by Alexander III, which stipulated that it had to be in the 'purely Russian style of the 17th century'. He built the church in conjunction with the archimandrite Ignati Malyschew, who had studied architecture at the St. Petersburg Academy of Fine Arts before becoming a monk at a nearby monastery.
From when the foundation stone was laid in October 1883 progress was a slow process. The marshy ground demanded a solid basis and this preparatory work took three years. Then almost another three to compact a granite basement and build the foundation walls. The glazed brick and polychrome tiles are trimmed with shining marble however it is the mosaics that are the real treasure. Most of which were made by the Frolov brothers.
The flamboyant exterior of the building is adorned with icons in a riot of color and becomes more mind boggling the closer you get. Amongst this colorful exterior are 20 granite plaques recording the historic events of Alexander II's reign. Inside there is almost 7,000 sq. meters of Italian marble and over 20 different Russian minerals, embellished with opulent mosaics based on paintings by Nikolai Bruni, Mikhail Nesterov, Viktor (Vassili) Vasnetsov, Andrei Ryabushkin and other religious artists of the late 19th century. Christ and the Apostles are portrayed within the cupola, whilst the walls and pillars are totally adorned with other Biblical scenes or images of saints. Mosaics fill the niches, crevices and cornices and no surface is left bare of embellishment.
The highest steeple is 81m (265 ft) high and the bell tower seen on the left has 144 individual mosaic coats of arms. These represent provinces, cities and towns of the Russian empire and were intended to reflect the nation's grief after the murder of their Tsar. Intricate detailing adorns every single surface beneath the golden or varicolored onion-like domes and even the window frames are flanked by ornately carved Estonian marble.
Alexander III did not live to see the Eclectic monument to his father completed. Construction ended three years after his demise and the internal decoration took another ten years.
It is said that the followers of Lenin originally wished to demolish this monument to Tsardom until it was suggested that because large buildings were scarce, it would serve well as a warehouse and that is how it has spent half its life. The Bolsheviks performed one of their many sacrilegious acts in 1931 by opening a Museum of The People's Will in the church, which commemorated the terrorist act which founded the building. Three years later it was closed on the orders of Stalin, who thought it may promote terrorism or an assassination attempt against himself. In the early 1940's a Russian Workers Social Democratic committee decided to demolish the building, but ironically it was saved by the onset of the Blockade which gave the city more important matters to consider. In 1967 the descendants of the mad Bolsheviks again proposed demolition of this increasingly popular monument to Christianity, but sanity ruled and by 1969 a preservation order was made on the building and responsibility for its upkeep was handed to the Museum of Religion based in St. Isaac's Cathedral." (Cited from: www.nevsky-prospekt.com/khram.html).
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
in the background, the Senate Building and the Senate Tower (Сенатская башня)
The existing Kremlin walls and towers were built by Italian masters over the years 1485 to 1495.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (and Russian, despite his name). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
Inside The Church of Our Savior on the Spilled Blood, St. Petersburg, Russia.
This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881. After assuming power in 1855 in the wake of Russia’s disastrous defeat in the Crimean war against Britain, France and Turkey, Alexander II initiated a number of reforms. In 1861 he freed the Russian serfs (peasants, who were almost enslaved to their owners) from their ties to their masters and undertook a rigorous program of military, judicial and urban reforms, never before attempted in Russia. However, during the second half of his reign Alexander II grew wary of the dangers of his system of reforms, having only barely survived a series of attempts on his life, including an explosion in the Winter Palace and the derailment of a train. Alexander II was finally assassinated in 1881 by a group of revolutionaries, who threw a bomb at his royal carriage.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.
Masterpiece of the Tretyakov Art Gallery (Moscow, Russia).
The Tretyakov Gallery houses one of the most celebrated and extensive collections of Russian art and artifacts in the world. The gallery was named after the financier and entrepreneur Pavel Tretyakov (1832-98), who donated approximately 2,000 works of Russian art from his own private collection to the city of Moscow at the end of the 19th century. These works formed the basis from which today's impressive collection grew. Without Tretyakov's extensive and generous patronage of the arts many Russian artists would not have been able to achieve the artistic success that they did and the world of Russian art would be considerably diminished. Along with his paintings, Tretyakov also generously donated his own house and surrounding buildings, which became the original premises of the gallery. These buildings were united under one neo-Russian facade, designed by the famous Russian artist Viktor Vasnetsov, and the gallery was opened to the public. The gallery is still housed on the same site, but in an extended and recently renovated complex of buildings, and its collection now comprises the entire spectrum of Russian art. Exhibition halls feature icons (most notably an impressive collection of icons by the artist Andrei Rublyov, 18th century portraits, 19th century Realist works, 20th century Romantic, Symbolist and avant-garde canvases and displays of graphic and applied arts. The Tretyakov's magnificent collection of Soviet art is now housed independently in the enormous Central House of Artists, opposite Gorky Park, and is well worth a visit for those admirers of 20th century art.
A visit to the Tretyakov Gallery is a definite must for anyone interested in Russian art and culture.
The Church contains over 7500 square metres of mosaics—according to its restorers, more than any other church in the world. This record may be surpassed by the Cathedral Basilica of St. Louis, which houses 7700 square meters of mosaics. The interior was designed by some of the most celebrated Russian artists of the day—including Viktor Vasnetsov, Mikhail Nesterov and Mikhail Vrubel — but the church's chief architect, Alfred Alexandrovich Parland, was relatively little-known (and Russian, despite his name). Perhaps not surprisingly, the Church's construction ran well over budget, having been estimated at 3.6 million roubles but ending up costing over 4.6 million. The walls and ceilings inside the Church are completely covered in intricately detailed mosaics — the main pictures being biblical scenes or figures — but with very fine patterned borders setting off each picture.
This marvelous Russian-style church was built on the spot where Emperor Alexander II was assassinated in March 1881. After assuming power in 1855 in the wake of Russia’s disastrous defeat in the Crimean war against Britain, France and Turkey, Alexander II initiated a number of reforms. In 1861 he freed the Russian serfs (peasants, who were almost enslaved to their owners) from their ties to their masters and undertook a rigorous program of military, judicial and urban reforms, never before attempted in Russia. However, during the second half of his reign Alexander II grew wary of the dangers of his system of reforms, having only barely survived a series of attempts on his life, including an explosion in the Winter Palace and the derailment of a train. Alexander II was finally assassinated in 1881 by a group of revolutionaries, who threw a bomb at his royal carriage.
The decision was taken to build a church on the spot where the Emperor was mortally wounded. The church was built between 1883 and 1907 and was officially called the Resurrection of Christ Church (a.k.a. The Church of Our Savior on Spilled Blood ). The construction of the church was almost entirely funded by the Imperial family and thousands of private donators. Both the interior and exterior of the church is decorated with incredibly detailed mosaics, designed and created by the most prominent Russian artists of the day (V.M. Vasnetsov, M.V. Nesterov and M.A. Vrubel). Interestingly, despite the church’s very obviously Russian aspect, its principle architect, A. Parland, was not even Russian by birth.