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The Nikolskaya Tower (Russian: Никольская башня) is a tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square not far from the State Historical Museum.
The Nikolskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari. It was named after Nikolaevsky (Nikolsky) Greek Monastery, which is no longer there. In 1806, the tower was rebuilt in the neo-Gothic style by an architect Luigi Rusca. In 1812, the top of the tower was blown up by the retreating French army. It was restored in 1816 by an architect Osip Bove. The Nikolskaya Tower was once again severely damaged by the artillery fire in October 1917 and was later restored by an architect Nikolai Markovnikov. In 1935, the Soviets installed a red star on top of the tower. Its current height with the star is 70.4 metres (231 ft). The original icon of Saint Nicholas of Mozhaysk, placed above the entrance on Red Square had been plastered over by Soviet authorities and was uncovered and restored in 2010 - similar to what took place on the Spasskaya Tower.
Geographical coordinates:55.754421°N 37.617713°E
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The State Historical Museum (Russian: Государственный исторический музей, ГИМ, romanized: Gosudarstvennyy istoricheskiy muzey, GIM) of Russia is a museum of Russian history located between Red Square and Manege Square in Moscow. The museum's exhibitions range from relics of prehistoric tribes that lived in the territory of present-day Russia, to priceless artworks acquired by members of the Romanov dynasty. The total number of objects in the museum's collection numbers in the millions.
The place where the museum now stands was formerly occupied by the Principal Medicine Store, built by order of Peter the Great in the Moscow Baroque style.
The museum was founded in 1872 by Ivan Zabelin, Aleksey Uvarov and several other Slavophiles interested in promoting Russian history and national self-awareness. The board of trustees, composed of Sergey Solovyov, Vasily Klyuchevsky, Uvarov, and other leading historians, presided over the construction of the museum building. After a prolonged competition, the project was handed over to Vladimir Osipovich Shervud (or Sherwood, 1833–97).
The present structure was built based on Sherwood's neo-Russian design between 1875 and 1881. The first 11 exhibit halls officially opened in 1883 during a visit from the tsar and his wife. Then in 1894, Tsar Alexander III became the honorary president of the museum and the following year, 1895, the museum was renamed the Tsar Alexander III Imperial Russian History Museum. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henryk Siemiradzki, and Ivan Aivazovsky. During the Soviet period, the murals were proclaimed gaudy and were plastered over.
The best-known form of therianthropy, called lycanthropy, is found in stories of werewolves.
Etymology
The term therianthropy comes from the Greek thēríon [θηρίον], meaning "wild animal" or "beast" (implicitly mammalian), and anthrōpos [ἄνθρωπος], meaning "human being". It was used to refer to animal transformation folklore of Europe as early as 1901.[1] Sometimes the term "zoanthropy" is used instead.[2]
Therianthropy was used to describe spiritual beliefs in animal transformation in a 1915 Japanese publication, A History of the Japanese People from the Earliest Times to the End of the Meiji Era.[3] One source, The Human Predator, raises the possibility the term may have been used as early as the 16th century in criminal trials of suspected werewolves.[4]
History of therianthropy and theriocephaly
Therianthropy refers to the fantastical, or mythological, ability of some humans to change into animals.[5] Therianthropes are said to change forms via shapeshifting. Therianthropy has long existed in mythology, and seems to be depicted in ancient cave drawings[6] such as The Sorcerer, a pictograph executed at the Palaeolithic cave drawings found in the Pyrénées at the Les Trois Frères, France, archeological site.
Theriocephaly (Greek "animal headedness") refers to beings that have an animal head attached to an anthropomorphic, or human, body; for example, the animal-headed forms of gods depicted in ancient Egyptian religion (such as Ra, Sobek, Anubis).
Mythology of human shapeshifting
Main article: Shapeshifting
A frog changes into a princess in the painting Tsarevna Frog ("The Frog Princess") by Viktor Vasnetsov.
Shapeshifting in folklore, mythology and anthropology generally refers to the alteration of physical appearance from that of a human to that of another species. Lycanthropy, the transformation of a human into a wolf (or werewolf), is probably the best-known form of therianthropy, followed by cynanthropy (transformation into a canine) and ailuranthropy (transformation into a cat).[7] Werehyenas are present in the stories of several African and Eurasian cultures. Ancient Turkic legends from Asia talk of form-changing shamans known as kurtadams, which translates to "wolfman".[citation needed] Ancient Greeks wrote of kynanthropy, from κύων kyōn[8] (or "canine"), which applied to mythological beings able to alternate between animal form and human form, or who possessed combined animal and human anatomical features.[citation needed]
The term existed by at least 1901, when it was applied to stories from China about humans turning into dogs, dogs becoming people, and sexual relations between humans and canines.[9] Anthropologist David Gordon White called Central Asia the "vortex of cynanthropy" because races of dog-men were habitually placed there by ancient writers. The weredog or cynanthrope is also known in Timor. It is described as a human-canine shapeshifter who is capable of transforming other people into animals, even against their will.[citation needed]
European folklore features werecats, who can transform into panthers or domestic cats of an enlarged size.[10] African legends describe people who turn into lions or leopards, while Asian werecats are typically depicted as becoming tigers.[citation needed]
Skin-walkers and naguals
Main articles: Skin-walker and Nagual
Some Native American and First Nation legends talk about skin-walkers—people with the supernatural ability to turn into any animal they desire. To do so, however, they first must be wearing a pelt of the specific animal. In the folk religion of Mesoamerica, a nagual (or nahual) is a human being who has the power to magically turn themselves into animal forms—most commonly donkeys, turkeys, and dogs—but can also transform into more powerful jaguars and pumas.[citation needed]
Animal ancestors
In the Irish Mythological Cycle, the Children of Lir could transform into swans.
Stories of humans descending from animals are found in the oral traditions of many tribal and clan origins. Sometimes the original animals had assumed human form in order to ensure their descendants retained their human shapes; other times the origin story is of a human marrying a normal animal.
North American indigenous traditions mingle the ideas of bear ancestors and ursine shapeshifters, with bears often being able to shed their skins to assume human form, marrying human women in this guise. The offspring may be creatures with combined anatomy, they may be very beautiful children with uncanny strength, or they may be shapeshifters themselves.[11]
P'an Hu is represented in various Chinese legends as a supernatural dog, a dog-headed man, or a canine shapeshifter that married an emperor's daughter and founded at least one race. When he is depicted as a shapeshifter, all of him can become human except for his head. The race(s) descended from P'an Hu were often characterized by Chinese writers as monsters who combined human and dog anatomy.[12]
In Turkic mythology, the wolf is a revered animal. The Turkic legends say the people were descendants of wolves. The legend of Asena is an old Turkic myth that tells of how the Turkic people were created. In the legend, a small Turkic village in northern China is raided by Chinese soldiers, with one baby left behind. An old she-wolf with a sky-blue mane named Asena finds the baby and nurses him. She later gives birth to half-wolf, half-human cubs who are the ancestors of the Turkic people.[13][14]
Shamanism
Ethnologist Ivar Lissner theorized that cave paintings of beings with human and non-human animal features were not physical representations of mythical shapeshifters, but were instead attempts to depict shamans in the process of acquiring the mental and spiritual attributes of various beasts.[15] Religious historian Mircea Eliade has observed that beliefs regarding animal identity and transformation into animals are widespread.[16]
Animal spirits
A water spirit takes on a human form in The Kelpie, a painting by Herbert James Draper.
In Melanesian cultures there exists the belief in the tamaniu or atai, which describes the animal counterpart to a person.[17] Specifically among the Solomon Islands in Melanesia, the term atai means "soul" in the Mota language and is closely related to the term ata, meaning a "reflected image" in Maori and "shadow" in Samoan. Terms relating to the "spirit" in these islands such as figona and vigona convey a being that has not been in human form[18] The animal counterpart depicted may take the form of an eel, shark, lizard, or some other creature. This creature is considered to be corporeal and can understand human speech. It shares the same soul as its master. This concept is found in similar legends which have many characteristics typical of shapeshifter tales. Among these characteristics is the theory that death or injury would affect both the human and animal form at once.[17]
Fiction
In literary criticism, the ability of a fictional character to transform into an animal or human–animal hybrid is called animorphism. It is a common trope in the fantasy genre. In some cases, the transformation is involuntary, caused by magic, a curse, or some other supernatural force,[19] while in other cases, the transformation is voluntary and controllable. Animorphism may be used to explore themes of identity[20] and belonging. It has also be used to examine the relationship between humans and animals,[21] and to drive considerations about wider issues relating to animal rights.[22][23]
Psychiatric aspects
Among a sampled set of psychiatric patients, the belief of being part animal, or clinical lycanthropy, is generally associated with severe psychosis but not always with any specific psychiatric diagnosis or neurological findings.[24] Others regard clinical lycanthropy as a delusion in the sense of the self-disorder found in affective and schizophrenic disorders, or as a symptom of other psychiatric disorders.[25]
Modern therianthropy
Therians are individuals who feel that they are something other than a human in a non-biological sense. While therians mainly attribute their experiences of therianthropy to either spirituality or psychology, the way in which they consider their therian identity is not a defining characteristic of therianthropy; as long as a person identifies their sense of self as being that of a non-human animal, they can be considered a therian.[26][27] The animal which a therian identifies as is known by the community as a "theriotype", and this can refer to either the animal they identify as or, more specifically their own non-human animal identity. For example, a therian who believes in reincarnation may use the word "theriotype" to refer specifically to their past life or, more generally, to indicate that they are speaking about the animal species they identify as. Therians often use the term "species dysphoria" to describe their feelings of disconnect from their human bodies and their underlying desire to live as their theriotype.[28] The concept of species dysphoria has often been compared to gender dysphoria, in that there is a similar sense of incongruence between the person's physical body and their internal sense of self. Some non-human identifying people oppose this comparison, stating that "they are separate ... identities". Others intentionally parallel the two, highlighting the similarities.[29] Species dysphoria, or species identity disorder, has been proposed as a mental disorder.[30] A now-defunct therian website suggested a criterion for a diagnosis, based on the diagnosis of gender dysphoria. Gerbasi et al. noted the "striking" similarities between species and gender dysphoria, leading them to tentatively suggest a medical diagnosis of species identity disorder, however being a therian is not a disorder. [30] Others have compared species dysphoria with body dysmorphic disorder, terming it "species dysmorphia" instead.[31] A participant in Proctor's paper stated that they would consider it a form of neurodiversity, rather than a medical diagnosis, "unless it had major and negative impact on someone's life".[32] The identity "transspecies" is used by some, furthering the similarities between identifying as a different species and a different gender.[33]
Prevalence
In an online community survey of 523 non-human identifying people, 75.1% said they experienced species dysphoria, and 8.2% were unsure.[34] In four surveys of furries (n = 4338/1761/951/1065), depending on the sample, between 25% and 44% responded that they consider themselves to be "less than 100% human", compared to 7% of a sample (n = 802) of the general American population.[35]
Shifting
Many but not all therians describe experiences of temporarily feeling more in touch with their theriotype than they do at other times, and this phenomenon is known by the community as "shifting", with the experiences being known as "shifts". Shifts can vary indefinitely in the length of time for which they are experienced, and the intensity with which they are felt. They can also be triggered intentionally, or unintentionally, usually by stimuli relating to a person's theriotype. While shifting is often regarded as a positive experience, the disruption caused by unintentional triggers, and heightened feelings of species-dysphoria, can also lead to therians experiencing shifts as negative experiences too. Shifts are normally experienced in a state of consciousness, although dream shifts (in which a therian has the body of their theriotype) are an exception to this. Some therians attribute their knowledge of their own therianthropic identities to their experiences of shifting. For example, a coyote therian most likely will begin to identify as a coyote after experiencing dreams in which their body takes the form of a coyote.
The therian community is generally considered to be connected with the otherkin community, which consists of individuals who connect with any non-fictional being. However, unlike otherkin, therians psychologically or spiritually identify as animals, or the being that is themselves in their whole being, and the two movements are culturally and historically distinct. People often mistake therians and furries, but they are completely different.[28][page needed]
Viktor Mikhailovich Vasnetsov was a Russian artist who specialized in mythological and historical subjects. He is considered a key figure of the revivalist movement in Russian art.
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.
State Historical Museum was built to Sherwood's neo-Russian design between 1875 and 1881, and officially opened in 1894 by Tsar Alexander III. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
The State Historical Museum of Russia between Red Square and Manege Square in Moscow. / A moszkvai Állami Történelmi Múzeum a Lovarda téren.
Pictures taken in Moscow, Russia, May 2011. On my way to a conference, I stopped in the capital for one day.
Képek Moszkvában 2011. májusában, amikor oroszországi utamat egy napra megszakítottam a fővárosban, hogy az oroszkönyvekből ismert várost személyesen is megnézhessem (érdekes és nagyon jó érzés volt egy könyvekből és képekről ismert városban sétálgatni).
The State Historical Museum of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The present structure was built based on Vladimir Osipovich Shervud's (or Sherwood, 1833–97) neo-Russian design between 1875 and 1881. The first 11 exhibit halls officially opened in 1883 during a visit from the Tsar and his wife. Then in 1894 Tsar Alexander III became the honorary president of the museum and the following year, 1895, the museum was renamed the Tsar Alexander III Imperial Russian History Museum. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and were plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
Aeroflot - Russian Airlines,Airbus A320-214, VP-BQV (cn 2920) "V.Vasnetsov".
Viktor Mikhaylovich Vasnetsov (1848 — 1926), was a Russian artist who specialized in mythological and historical subjects. He is considered the co-founder of Russian folklorist and romantic modernist painting and a key figure in the revivalist movement.
www.airliners.net/photo/Aeroflot---Russian/Airbus-A320-21...
The Baptism of Prince St Vladimir, Equal-to-the-Apostles, in the Cathedral of the Holy Wisdom in the imperial capital of Constantinople in the 10th century.
Church of the Savior on Blood, St. Petersburg, Russia
Built in 1883-1907 to the design of Alfred Parland, on the site of the tragic attempt upon the life of Emperor Alexander II by terrorist I. Grinevitskij on 1 March 1881.
The masterpiece of art is the carpet-like mosaic decoration of the walls and vault executed to the design of Victor Vasnetsov, Mikhail Nesterov, Andrei Riabushkin and other.
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.
The church was closed for services in the 1930s, when the Bolsheviks went on an offensive against religion and destroyed churches all over the country. It remained closed and under restoration for over 30 years and was finally re-opened in 1997 in all its dazzling former glory. The view of the church from Nevsky Prospekt is absolutely breathtaking.
NOTE: Translations of the church's name vary between guidebooks and include The Church of the Savior on Blood, The Resurrection Church and The Church of the Resurrection of Christ.
Location: Naberezhnaia Kanala Griboedova. Reopened in late August 1997 after almost 30 years of restoration.
Source: www.saint-petersburg.com/virtual-tour/church-of-savior.asp
The State Historical Museum of Russia between Red Square and Manege Square in Moscow. Pictures taken during a long walk in the city center in the evening of my arrival. / A moszkvai Állami Történelmi Múzeum a Vörös téren - a képeket az első esti hosszú sétám alkalmával készítettem sötétedéskor a belvárosban.
Pictures from Moscow, Russia in May 2011. I stopped here for one day before continuing my flights to a conference in StPetersburg.
Képek Moszkva belvárosában 2011. májusában. Egy napot töltöttem itt, mielőtt továbbrepültem Szentpétervárra egy konferenciára.
The State Historical Museum of Russia is a museum of Russian history wedged between Red Square and Manege Square in Moscow. Its exhibitions range from relics of prehistoric tribes that lived on the territory of present-day Russia, through priceless artworks acquired by members of the Romanov dynasty. The present structure was built based on Vladimir Osipovich Shervud's (or Sherwood, 1833–97) neo-Russian design between 1875 and 1881. The first 11 exhibit halls officially opened in 1883 during a visit from the Tsar and his wife. Then in 1894 Tsar Alexander III became the honorary president of the museum and the following year, 1895, the museum was renamed the Tsar Alexander III Imperial Russian History Museum. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and were plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
built to Sherwood's neo-Russian design between 1875 and 1881, and officially opened in 1894 by Tsar Alexander III. Its interiors were intricately decorated in the Russian Revival style by such artists as Viktor Vasnetsov, Henrik Semiradsky, and Ivan Aivazovsky. During the Soviet period the murals were proclaimed gaudy and plastered over. The museum went through a painstaking restoration of its original appearance between 1986 and 1997.
The Voronezh Regional Art Museum named after I. N. Kramskoy is one of the largest cultural centers of Voronezh and the entire Chernozem region . The museum is located in a palace built in 1777-1779 in the Baroque style according to the design of the provincial architect N. N. Ievsky for the Voronezh governor, Lieutenant General I. A. Potapov . The building is an architectural monument of federal significance.
The museum collection contains over 22 thousand items. The museum presents a unique collection of works of Ancient Egypt, antiquity , Russian and Western European painting of the 18th-20th centuries, icons, graphics, decorative and applied arts, sculpture, paintings by famous fellow countrymen - I. N. Kramskoy , A. A. Buchkuri , E. A. Kiseleva , works by contemporary Voronezh artists. The museum has the largest exhibition hall in Voronezh, with an exhibition area of 1000 m².
The central exhibit is the sarcophagus of the royal scribe Nesipaherentahat (10th century BC).
The Ramose stele, ushabti figurines , amulets, miniature figurines of gods - a set of exhibits from Deir el-Medina.
The museum's antique collection includes about 500 monuments of art from Ancient Greece, Ancient Rome, the Northern Black Sea region of the 8th century BC - 2nd century AD, amphoras, aryballos , vases, there is an authentic ancient Greek marble female torso (5th century BC), a collection of ancient Roman small sculpture and marble sculpture (including the head of Antinous ).
Museum hall
Icon " Archangel Gabriel " of the Deesis tier .
Portrait of Paul I by A.P. Antropov, 1765
Portrait of E. S. Chertkova by an unknown artist of the late 18th century (one of the first evidence of artistic creativity in Voronezh).
"The Environs of Rome" and "Waterfall in Tivoli" by F. M. Matveyev (1810).
Sculptural portrait of Alexander I (1802) by F. I. Shubin .
Study of a portrait of Alexandra Feodorovna by Karl Bryullov .
Portrait of Princess Gagarina by P.N. Orlov (1847).
“Portrait of S. D. Nechaev” (1830) and “Portrait of N. P. Panina” (1855) by V. A. Tropinin ,
“View of Naples” by S. F. Shchedrin (1820).
"Preparations for the Wedding" by A. E. Karneev (1858), "The Failed Courtship" by V. N. Bovin , "Sea View" by I. K. Aivazovsky (1867), "The Dardanelles" by A. P. Bogolyubov (1873), winter landscapes by A. I. Meshchersky and Yu. Yu. Klever .
A typical example of genre easel sculpture is “Farewell” by E. A. Lanceray (1878), “How beautiful, how fresh are the roses” by V. A. Beklemishev (1890s), a reduced copy of “Christ before the people’s judgment” by M. M. Antokolsky (1870s).
The Museum's double-height ceremonial hall houses an exhibition of Russian art from the late 19th and early 20th centuries, including Seated Woman by V. E. Borisov-Musatov (1899), Evening of the Princely Hunt and Morning of the Princely Hunt by N. K. Roerich (1901), Province by B. M. Kustodiev (1906), Flowers by K. A. Korovin (1917), Province by M. V. Dobuzhinsky (1912), Reading the Decree by A. M. Vasnetsov (1918), as well as works by Voronezh artists A. A. Buchkuri (Wedding Train (1912), Fair (1916), Self-portrait (1941)), E. A. Kiseleva (Marusya (1913), Portrait of Her Son (1925)), P. D. Shmarova (portrait of I. A. Domogarova (1907)).
The hall of Russian art of the 20th century presents “The Departing Province” by K. F. Yuon (1920s), “The Storm is Coming” by G. G. Nissky (1959).
A copy of the altarpiece "Adoration of the Magi" by Gentile da Fabriano (1423), "Madonna with the Sleeping Child" by Andrea del Piccinelli (circa 1515). The art of Italy of the 17th-18th centuries is represented by works "Peasant Meal" by J. F. Chipper , paintings "Hermits by the River" and "Hermits under a Tree" by A. Magnasco . Also on display are "Breakfast" by Pieter Claesz (1648), "Self-Portrait" by Samuel van Hoeckstraeten (late 1640s), a landscape by Jacob van Ruisdael (second half of the 17th century), "Portrait of an Old Man" by Franz Lenbach (19th century), "Defense of the Banner" by Aristide Croisy, "Battle" by Jacques Courtois (Bourguignon) (17th century). The exhibition presents the only work in Russia by Michael Ostendorfer, “Christ” (16th century).
The Voronezh Museum of Fine Arts was founded in 1933. The museum collection was based on the collection of the art department of the Voronezh Regional Museum of Local History and the collection of the Museum of Antiquities and Fine Arts of Voronezh University, opened in 1918 on the basis of the Imperial Yuryev University evacuated to Voronezh. Mikhail Pavlovich Kroshitsky became the director of the new museum. The first rector of Voronezh University V. E. Regel and the director of the university museum E. R. Felsberg did a great deal of work on the establishment of the museum .
The collection of ancient Egyptian art kept in the museum is the oldest in Russia. It was collected in Egypt in 1815 by the Dorpat traveller and orientalist Otto Friedrich von Richter and became an object of scientific interest for many Russian orientalists – B. A. Turaev , E. S. Bogoslovsky , O. D. Berlev , S. I. Khodzhash , V. V. Solkin.
In the 1920s, some works of art from central museums were transferred to Voronezh; in addition, there were contributions from voluntary donors and from private nationalized collections; church property was transferred, etc.
During the Great Patriotic War, part of the museum collection was lost, in particular, the collection of ancient Russian art, icons from northern schools and Stroganov workshops, works by N. Goncharova , V. Kandinsky , P. Konchalovsky , A. V. Kuprin , M. Larionov , K. Malevich , I. Mashkov , A. Rodchenko , O. Rozanova , N. Sinezubov and a collection of paintings from the 1920s and 1930s. However, most of the exhibits were saved thanks to evacuation to Omsk . In the post-war period, the lost collections were restored, with the artist Leonid Afanasyev taking part in the restoration .
In 2015, under the scientific supervision of the famous Russian Egyptologist V. V. Solkin, a new exhibition of Ancient Egyptian art was created in the museum, dedicated to the 200th anniversary of the collection of antiquities of Otto Friedrich von Richter, which is kept in the museum.
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.
The Voronezh Regional Art Museum named after I. N. Kramskoy is one of the largest cultural centers of Voronezh and the entire Chernozem region . The museum is located in a palace built in 1777-1779 in the Baroque style according to the design of the provincial architect N. N. Ievsky for the Voronezh governor, Lieutenant General I. A. Potapov . The building is an architectural monument of federal significance.
The museum collection contains over 22 thousand items. The museum presents a unique collection of works of Ancient Egypt, antiquity , Russian and Western European painting of the 18th-20th centuries, icons, graphics, decorative and applied arts, sculpture, paintings by famous fellow countrymen - I. N. Kramskoy , A. A. Buchkuri , E. A. Kiseleva , works by contemporary Voronezh artists. The museum has the largest exhibition hall in Voronezh, with an exhibition area of 1000 m².
The central exhibit is the sarcophagus of the royal scribe Nesipaherentahat (10th century BC).
The Ramose stele, ushabti figurines , amulets, miniature figurines of gods - a set of exhibits from Deir el-Medina.
The museum's antique collection includes about 500 monuments of art from Ancient Greece, Ancient Rome, the Northern Black Sea region of the 8th century BC - 2nd century AD, amphoras, aryballos , vases, there is an authentic ancient Greek marble female torso (5th century BC), a collection of ancient Roman small sculpture and marble sculpture (including the head of Antinous ).
Museum hall
Icon " Archangel Gabriel " of the Deesis tier .
Portrait of Paul I by A.P. Antropov, 1765
Portrait of E. S. Chertkova by an unknown artist of the late 18th century (one of the first evidence of artistic creativity in Voronezh).
"The Environs of Rome" and "Waterfall in Tivoli" by F. M. Matveyev (1810).
Sculptural portrait of Alexander I (1802) by F. I. Shubin .
Study of a portrait of Alexandra Feodorovna by Karl Bryullov .
Portrait of Princess Gagarina by P.N. Orlov (1847).
“Portrait of S. D. Nechaev” (1830) and “Portrait of N. P. Panina” (1855) by V. A. Tropinin ,
“View of Naples” by S. F. Shchedrin (1820).
"Preparations for the Wedding" by A. E. Karneev (1858), "The Failed Courtship" by V. N. Bovin , "Sea View" by I. K. Aivazovsky (1867), "The Dardanelles" by A. P. Bogolyubov (1873), winter landscapes by A. I. Meshchersky and Yu. Yu. Klever .
A typical example of genre easel sculpture is “Farewell” by E. A. Lanceray (1878), “How beautiful, how fresh are the roses” by V. A. Beklemishev (1890s), a reduced copy of “Christ before the people’s judgment” by M. M. Antokolsky (1870s).
The Museum's double-height ceremonial hall houses an exhibition of Russian art from the late 19th and early 20th centuries, including Seated Woman by V. E. Borisov-Musatov (1899), Evening of the Princely Hunt and Morning of the Princely Hunt by N. K. Roerich (1901), Province by B. M. Kustodiev (1906), Flowers by K. A. Korovin (1917), Province by M. V. Dobuzhinsky (1912), Reading the Decree by A. M. Vasnetsov (1918), as well as works by Voronezh artists A. A. Buchkuri (Wedding Train (1912), Fair (1916), Self-portrait (1941)), E. A. Kiseleva (Marusya (1913), Portrait of Her Son (1925)), P. D. Shmarova (portrait of I. A. Domogarova (1907)).
The hall of Russian art of the 20th century presents “The Departing Province” by K. F. Yuon (1920s), “The Storm is Coming” by G. G. Nissky (1959).
A copy of the altarpiece "Adoration of the Magi" by Gentile da Fabriano (1423), "Madonna with the Sleeping Child" by Andrea del Piccinelli (circa 1515). The art of Italy of the 17th-18th centuries is represented by works "Peasant Meal" by J. F. Chipper , paintings "Hermits by the River" and "Hermits under a Tree" by A. Magnasco . Also on display are "Breakfast" by Pieter Claesz (1648), "Self-Portrait" by Samuel van Hoeckstraeten (late 1640s), a landscape by Jacob van Ruisdael (second half of the 17th century), "Portrait of an Old Man" by Franz Lenbach (19th century), "Defense of the Banner" by Aristide Croisy, "Battle" by Jacques Courtois (Bourguignon) (17th century). The exhibition presents the only work in Russia by Michael Ostendorfer, “Christ” (16th century).
The Voronezh Museum of Fine Arts was founded in 1933. The museum collection was based on the collection of the art department of the Voronezh Regional Museum of Local History and the collection of the Museum of Antiquities and Fine Arts of Voronezh University, opened in 1918 on the basis of the Imperial Yuryev University evacuated to Voronezh. Mikhail Pavlovich Kroshitsky became the director of the new museum. The first rector of Voronezh University V. E. Regel and the director of the university museum E. R. Felsberg did a great deal of work on the establishment of the museum .
The collection of ancient Egyptian art kept in the museum is the oldest in Russia. It was collected in Egypt in 1815 by the Dorpat traveller and orientalist Otto Friedrich von Richter and became an object of scientific interest for many Russian orientalists – B. A. Turaev , E. S. Bogoslovsky , O. D. Berlev , S. I. Khodzhash , V. V. Solkin.
In the 1920s, some works of art from central museums were transferred to Voronezh; in addition, there were contributions from voluntary donors and from private nationalized collections; church property was transferred, etc.
During the Great Patriotic War, part of the museum collection was lost, in particular, the collection of ancient Russian art, icons from northern schools and Stroganov workshops, works by N. Goncharova , V. Kandinsky , P. Konchalovsky , A. V. Kuprin , M. Larionov , K. Malevich , I. Mashkov , A. Rodchenko , O. Rozanova , N. Sinezubov and a collection of paintings from the 1920s and 1930s. However, most of the exhibits were saved thanks to evacuation to Omsk . In the post-war period, the lost collections were restored, with the artist Leonid Afanasyev taking part in the restoration .
In 2015, under the scientific supervision of the famous Russian Egyptologist V. V. Solkin, a new exhibition of Ancient Egyptian art was created in the museum, dedicated to the 200th anniversary of the collection of antiquities of Otto Friedrich von Richter, which is kept in the museum.
The Voronezh Regional Art Museum named after I. N. Kramskoy is one of the largest cultural centers of Voronezh and the entire Chernozem region . The museum is located in a palace built in 1777-1779 in the Baroque style according to the design of the provincial architect N. N. Ievsky for the Voronezh governor, Lieutenant General I. A. Potapov . The building is an architectural monument of federal significance.
The museum collection contains over 22 thousand items. The museum presents a unique collection of works of Ancient Egypt, antiquity , Russian and Western European painting of the 18th-20th centuries, icons, graphics, decorative and applied arts, sculpture, paintings by famous fellow countrymen - I. N. Kramskoy , A. A. Buchkuri , E. A. Kiseleva , works by contemporary Voronezh artists. The museum has the largest exhibition hall in Voronezh, with an exhibition area of 1000 m².
The central exhibit is the sarcophagus of the royal scribe Nesipaherentahat (10th century BC).
The Ramose stele, ushabti figurines , amulets, miniature figurines of gods - a set of exhibits from Deir el-Medina.
The museum's antique collection includes about 500 monuments of art from Ancient Greece, Ancient Rome, the Northern Black Sea region of the 8th century BC - 2nd century AD, amphoras, aryballos , vases, there is an authentic ancient Greek marble female torso (5th century BC), a collection of ancient Roman small sculpture and marble sculpture (including the head of Antinous ).
Museum hall
Icon " Archangel Gabriel " of the Deesis tier .
Portrait of Paul I by A.P. Antropov, 1765
Portrait of E. S. Chertkova by an unknown artist of the late 18th century (one of the first evidence of artistic creativity in Voronezh).
"The Environs of Rome" and "Waterfall in Tivoli" by F. M. Matveyev (1810).
Sculptural portrait of Alexander I (1802) by F. I. Shubin .
Study of a portrait of Alexandra Feodorovna by Karl Bryullov .
Portrait of Princess Gagarina by P.N. Orlov (1847).
“Portrait of S. D. Nechaev” (1830) and “Portrait of N. P. Panina” (1855) by V. A. Tropinin ,
“View of Naples” by S. F. Shchedrin (1820).
"Preparations for the Wedding" by A. E. Karneev (1858), "The Failed Courtship" by V. N. Bovin , "Sea View" by I. K. Aivazovsky (1867), "The Dardanelles" by A. P. Bogolyubov (1873), winter landscapes by A. I. Meshchersky and Yu. Yu. Klever .
A typical example of genre easel sculpture is “Farewell” by E. A. Lanceray (1878), “How beautiful, how fresh are the roses” by V. A. Beklemishev (1890s), a reduced copy of “Christ before the people’s judgment” by M. M. Antokolsky (1870s).
The Museum's double-height ceremonial hall houses an exhibition of Russian art from the late 19th and early 20th centuries, including Seated Woman by V. E. Borisov-Musatov (1899), Evening of the Princely Hunt and Morning of the Princely Hunt by N. K. Roerich (1901), Province by B. M. Kustodiev (1906), Flowers by K. A. Korovin (1917), Province by M. V. Dobuzhinsky (1912), Reading the Decree by A. M. Vasnetsov (1918), as well as works by Voronezh artists A. A. Buchkuri (Wedding Train (1912), Fair (1916), Self-portrait (1941)), E. A. Kiseleva (Marusya (1913), Portrait of Her Son (1925)), P. D. Shmarova (portrait of I. A. Domogarova (1907)).
The hall of Russian art of the 20th century presents “The Departing Province” by K. F. Yuon (1920s), “The Storm is Coming” by G. G. Nissky (1959).
A copy of the altarpiece "Adoration of the Magi" by Gentile da Fabriano (1423), "Madonna with the Sleeping Child" by Andrea del Piccinelli (circa 1515). The art of Italy of the 17th-18th centuries is represented by works "Peasant Meal" by J. F. Chipper , paintings "Hermits by the River" and "Hermits under a Tree" by A. Magnasco . Also on display are "Breakfast" by Pieter Claesz (1648), "Self-Portrait" by Samuel van Hoeckstraeten (late 1640s), a landscape by Jacob van Ruisdael (second half of the 17th century), "Portrait of an Old Man" by Franz Lenbach (19th century), "Defense of the Banner" by Aristide Croisy, "Battle" by Jacques Courtois (Bourguignon) (17th century). The exhibition presents the only work in Russia by Michael Ostendorfer, “Christ” (16th century).
The Voronezh Museum of Fine Arts was founded in 1933. The museum collection was based on the collection of the art department of the Voronezh Regional Museum of Local History and the collection of the Museum of Antiquities and Fine Arts of Voronezh University, opened in 1918 on the basis of the Imperial Yuryev University evacuated to Voronezh. Mikhail Pavlovich Kroshitsky became the director of the new museum. The first rector of Voronezh University V. E. Regel and the director of the university museum E. R. Felsberg did a great deal of work on the establishment of the museum .
The collection of ancient Egyptian art kept in the museum is the oldest in Russia. It was collected in Egypt in 1815 by the Dorpat traveller and orientalist Otto Friedrich von Richter and became an object of scientific interest for many Russian orientalists – B. A. Turaev , E. S. Bogoslovsky , O. D. Berlev , S. I. Khodzhash , V. V. Solkin.
In the 1920s, some works of art from central museums were transferred to Voronezh; in addition, there were contributions from voluntary donors and from private nationalized collections; church property was transferred, etc.
During the Great Patriotic War, part of the museum collection was lost, in particular, the collection of ancient Russian art, icons from northern schools and Stroganov workshops, works by N. Goncharova , V. Kandinsky , P. Konchalovsky , A. V. Kuprin , M. Larionov , K. Malevich , I. Mashkov , A. Rodchenko , O. Rozanova , N. Sinezubov and a collection of paintings from the 1920s and 1930s. However, most of the exhibits were saved thanks to evacuation to Omsk . In the post-war period, the lost collections were restored, with the artist Leonid Afanasyev taking part in the restoration .
In 2015, under the scientific supervision of the famous Russian Egyptologist V. V. Solkin, a new exhibition of Ancient Egyptian art was created in the museum, dedicated to the 200th anniversary of the collection of antiquities of Otto Friedrich von Richter, which is kept in the museum.