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2024: Opening of a new building on Kadashevskaya embankment
The idea of building a new building of the Tretyakov Gallery on Kadashevskaya embankment dates back to the 1940s to the concept of creating a single quarter of the gallery, proposed by the famous architect Alexei Viktorovich Shchusev. The first step towards its implementation was taken in 1995, when a foundation stone was installed. In 1996, work began on a project for a new building. Plans changed, work was suspended and resumed. In 2013, a pit appeared. For more information on construction progress and new technical solutions, see here.
2019
1993
93 was Tatiana Mavrina when she wrote this Easter still life. The artist practically did not leave the house, but continued to work a lot and fruitfully.
Depicting an Easter treat, Mavrina, as usual, squeezed the space and seemed to move the landscape outside the window to the table. This technique enhances the general feeling of spring joy.
1912
None of the numerous daughters of the rulers of this era married. Some of them were exiled to the monastery, others spent their whole lives as girls in the women's chambers. This was due to the fact that the princes were forbidden to marry a man below themselves in status. That is, in their native country, no one could become their fiancé.
Overseas princes remained. But when the princess was married, it was impossible to change religion. And where to get Orthodox princes? Byzantium had already fallen by that time. In theory, it was possible to marry a prince of another religion, provided that he did not insist on changing his wife's religion. But these simply did not exist in the XVI-XVII centuries.
For the image of the princess, Surikova was posed by his granddaughter Natalya Konchalovskaya. In her youth, she fled with her fiance to America, but quickly divorced and returned to Russia, where she met her second husband, Sergei Mikhalkov.
So in Surikov's last historical film, we see the face of the mother of directors Andrei Konchalovsky and Nikita Mikhalkov.
1881: "Three Princesses of the Underground Kingdom" by Vasnetsov
The painting "Three Princesses of the Underground Kingdom" in 1880 was ordered to Viktor Vasnetsov by the philanthropist Savva Mamontov. In 1878, he built the Donetsk Coal Railway, and the office of the board of the new enterprise decided to decorate the paintings of the young artist Viktor Vasnetsov.
The plot for the picture was the Russian folk tale "Three Kingdoms - Copper, Silver and Gold." Ivan Tsarevich went down to the underground kingdom to free his mother, Queen Anastasia the Beautiful, who was kidnapped by the villain Raven Voronovich. On the way, the Tsarevich met the prisoners of the Crow (in some editions of the fairy tale - daughters) - the Copper, Silver and Golden Princesses.
However, for his picture, Vasnetsov borrowed only the Golden Princess from the fairy tale. The artist wanted his characters to personify the wealth of the bowels of the Donetsk Territory, and created a new image for Russian art - the Princess of Precious Stones. And since the picture was intended for the cabinet of the Board of the railway, Vasnetsov decided to write the princess of Coal: black gold at that time ensured the movement of trains.
The Golden Princess and the Princess of Precious Stones are depicted dressed in a queen - a type of clothing common in pre-Petrine Russia with sleeves to the floor, in which there are slots for hands. And the younger princess is depicted in a modern for those years fitted dress with a short sleeve. With this contrast, the artist emphasized that people discovered the useful properties of coal only recently. This is the fossil of the future, and gold and precious stones are the "currency" of past centuries.
Vasnetsov wrote three works for Mamontov: "Three Princesses of the Underground Kingdom," "Carpet Plane" and "Battle of the Scythians with the Slavs." However, the Railway Board considered the plots not serious enough for the business situation of a large company, and Vasnetsov's paintings were not accepted. But these works largely determined the artist's further work: from that moment on, he often created canvases on the subjects of Russian folk skazok and epics.
1875
1871
1869
1827: Portrait of Pushkin by Kiprensky
One of the peaks of the work of the outstanding artist Orest Adamovich Kiprensky is rightfully considered a portrait of A.S. Pushkin in 1827.
Lyceum comrade and close friend of the poet A.A. Delvig (1798-1831) initiated the creation of this picturesque masterpiece. The artist at that time worked in a workshop arranged in the outbuilding of the palace of D.N. Sheremetyev (modern address: nab. Fontanka River, 34). From the end of May to the beginning of July 1827, sessions were held, during which Pushkin posed for Kiprensky.
Both the artist and the poet apparently held this portrait in high esteem. Kiprensky exhibited it at the annual autumn exhibition at the Academy of Arts, and in 1831 Pushkin bought his portrait from the widow of Delvig. After the death of Pushkin himself, he was kept in the family, and in 1916 he was acquired by the Tretyakov Galleries, where he remains to this day.
Kiprensky's painting served as the original for a huge number of Pushkin portraits: in his iconography there is a separate concept - "Kiprensky type." In addition to the external similarities noted by many contemporaries, the artist managed the main thing - to convey to the viewer the harmonious and completed image of the poet. For more information on the portrait, see Alexander Pushkin
1823
1762
The portrait of Catherine II in mourning is one of many portraits of the empress painted by her court painter, the Dane Vigilius Eriksen. He also painted her predecessor on the throne - Empress Elizabeth Petrovna.
Eriksen's reputation in the imperial court was extremely high. His main model was Catherine II. The artist's contemporary Jacob Stelin wrote: "The most similar and most complete portraits of Her Majesty came down from the easel of Eriksen." The Danish artist painted at least 30 portraits of the empress in various painting techniques, compositions, formats, costumes and poses. Eriksen wrote to Catherine in a magnificent, lush front toilet, in a national folk Russian costume, standing in the palace interior among mirrors and draperies. On his canvases, she is also represented among the greenery of the park, in a guards uniform, confidently sitting on horseback on a white horse. He wrote her full face, in profile, in full height and gritty. These portraits do not reveal the inner world of the depicted, they are rather the sum of knowledge and observations of the model.
Catherine was extremely pleased with these portraits. The empress sent some of them as gifts to her foreign correspondents and foreign courts. She talked about them in letters to the enlightening philosopher Baron M. Grimm. These works are in different museum collections - in the Hermitage, Tsarskoye Selo and others.
In a small chamber portrait, Catherine is depicted in mourning, in which she dressed after the death of Empress Elizabeth Petrovna (December 25, 1761). During a long mourning, Catherine almost did not depart from the coffin of the deceased empress, which greatly attracted many influential persons to Catherine at the Russian court. They saw this as a tribute and deep respect, which was given first by the Grand Duchess, and then by the Empress, a German by nationality, the deceased Russian queen.
Catherine bore mourning at first after her accession after the murder of her husband Peter III (July 7, 1762). Catherine also had intimate reasons that limited her participation in social life: a closed black dress and the opportunity to appear less often at public social events helped her hide her pregnancy. On April 11, 1762, the empress gave birth to a son, the future A.G. Bobrinsky, whose father was Grigory Orlov.
The mourning robe, which depicts Catherine, included a black wide dress with white stripes - plaques, as well as a headdress - a black cap with a schnip, completely covering the hair. On top of the dress on Catherine is a ribbon and the star of the Order of St. Andrew the First-Called, which she laid on herself on the day of the palace coup that enthroned her.
The miniature of the work, the attention to the details of the costume, as well as the cuteness of the model's face testify to the influence of the Rococo style.
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