Art Center on Volkhonka 15. Exhibitions "Art Treasures of Russia

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The exhibition "The Best of Russian Collections: from Icons to Art Nouveau Painting" has opened - 300 rare canvases

Aivazovsky, Shishkin, Perov, Makovsky, Savrasov, Bryullov, Nesterov, Vasnetsov ... The list goes on. More than 300 rare canvases were presented at the Art Center. "That is under the Cathedral of Christ the Savior. They are unique in that they were painted mainly in the early or late period of the artists' work. Sometimes the author is not immediately recognized. All of these works are from the private collections of the generous Russian oligarchs. In general, you can see them only here - at the exhibition “Art Treasures. The best of the Russian collections: from icons to art nouveau paintings ”.

"Preobrazhenskoe" by Ivan Shishkin.

The gallery is like in the hold of a luxurious ship: a long corridor with halls, almost cabins, on the walls of a rich blue color there are canvases in gilded frames, chandeliers made of Venetian glass, and between the saloons there are glass portholes. By the way, they were made specifically for full immersion in the work of Aivazovsky, to whose hall we will soon reach. Meanwhile, the atmosphere is not at all pretentious, and does not crush emotionally, as is often the case in the pompous halls of classicism and rococo. The designer was none other than the Frenchman Julien Boaretto, the grandson of the muse of Salvador Dali Gala (or simply Elena Dyakonova). I just have time to look around as the tablet is being handed to me. They explain that he needs to be directed at the picture in order for it to “come to life”. I try, it works: the leaves begin to fall off, the flowers bloom, and the water splashes. In addition, using the device, you can find out information about the paintings and their authors.

The exposition is located in 12 halls. It starts from the Priroda hall, where the sea and mountain landscapes of Joseph Krachkovsky, Gabriel Kondratenko and Ivan Velts are fragrant. Here the subtropics of the peninsula come to life with pink blooming crimson, emerald palms and azure water. Flowers - the sea, inadvertently you begin to inhale sweetish aromas. And they are, because odors are sprayed over many canvases. Next in line are three halls with icons made by the masters of Palekh and Mstera. No vain exhibition atmosphere, sacred and spiritualized instead. I freeze at the "Lord Almighty" with a frame made of ornamental enamel of terracotta-orange colors. Of course, the "Old Testament Trinity" by Joseph Chirikov and "... The Prayer of the Saints at Our Lady of Theodorskaya" by Vasily Guryanov are of particular interest. The religious painting of Russian Art Nouveau by Viktor Vasnetsov and Mikhail Nesterov fits organically on a par with their works. You can't take your eyes off the frames: they are decorated with filigree, enamels and semiprecious stones. They were created by the masters of the famous manufactories Ivan Tarabrov and Pavel Ovchinnikov.

I continue my inspection in the "Treasury", in which cabinetry items made of crystal and malachite sparkle. All of them are from the 19th century. Then the so-called green living rooms came into vogue. It is noteworthy that some of these gizmos were owned by the imperial family. For example, the mantel clock with a view of the Winter Palace belonged to Princess Olga Nikolaevna, Queen of Württemberg, daughter of Emperor Nicholas I.

Following the route to another miracle room through a corridor with an alluring perspective, I cannot help but stop at the paintings of the genius of chiaroscuro and master of magical realism Ivan Schultze. I peer into the "Olive Grove": no doubt, it is realistic, but thanks to the color palette, the master gives it a unique magic. And next to it is the “Battle Scenes” section, where the most prominent place went to the “Attack of the Russian uhlans during the Hungarian campaign” by Alexander Villevalde. On the one hand, the battle scene of 1881 conveys the scale of the event, but at the same time emphasizes the importance of each character inscribed.

And finally: the Ivan Aivazovsky hall with 14 canvases. There is a stereotype that he wrote only the sea. Not only! In confirmation - "Otara sheep" 1884. 30 years before it was written, a storm passed on the Aivazovsky estate in the Crimea, a large flock of sheep perished. He decided to devote one of his works to this dramatic event, which he sold to an English collector for a tidy sum. And with the proceeds he bought new sheep. All canvases are with history. For example, after writing "Sunset over Ischia" the French awarded Aivazovsky the Order of the Legion of Honor in 1857. Nearby - "Moonlit Night at Sea", created in the year of the 50th anniversary of the creative activity of Aivazovsky, on the occasion of which the masters were solemnly honored at the St. Petersburg Academy of Arts. All masterpieces can be enjoyed not only with the help of sight, but hearing and smell: the smells of sea waves soar everywhere and the music of the surf sounds.

It is impossible to remain silent about the hall of secular painting with the works of Karl Bryullov, Boris Kustodiev, Vasily Perov and Ilya Repin. Here is the beloved maid of honor of Empress Maria Feodorovna, the beautiful Princess Stephanie Radziwill, Countess Wittgenstein Karl Bryullov. To the right - "Bear hunting in winter" by Vasily Perov, 1879. At this time, the critical focus of his early works gave way to "everyday life hunting scenes." On it, the hunters wait for the beast at the den: one with a rifle stands in front of the manhole, while the other sticks stakes in and begins to survive the bear. Actually, a hunter with a gun is a self-portrait of Perov himself, who was a passionate hunter. Secular painting smoothly flows into theatrical. The canvases by Mikhail Nesterov, Vasily Vereshchagin, Kuzma Petrov-Vodkin and Nicholas Roerich are illuminated in the semi-darkness of the hall. The painting "Vision to the youth Bartholomew, part II", depicting St. Sergius of Radonezh, is from the collection of Fyodor Chaliapin. The opera singer loved this plot so much that in a Paris studio he placed it next to the Kustodiev portrait. I admire Vereshchagin's "View of the Moscow Kremlin from Sofiyskaya Embankment", Petrov-Vodkin's "Apples and Eggs", when suddenly a ballerina starts to hover in the corner under Tchaikovsky's "Swan Lake". Dances, dances and suddenly dissolves into the darkness. What is it?!

- An innovative hologram, - explains "MK" exhibition curator, collector with experience Andrian Melnikov. - So far we are reproducing fragments of classical performances, but soon we will start giving full-length ballets and operas. Those who do not get into the Bolshoi will be able to comfortably watch the performance with us (laughs). Innovative technologies, harmoniously introduced into the space of the site, are designed to raise the contemplation of art to a new level, consonant with the peculiarities of perception of a modern person. Lighting solutions highlight the individuality of each painting. A highly directional sound emitter allows you not only to see the canvas, but also to hear it. And thanks to augmented reality technology, the viewer can learn about the picture and its author, see how it “comes to life” on the screen of a mobile device. In addition to regular exhibitions, our gallery conducts art courses and lectures, scientific conferences, open restoration and painting research, master classes for children and adults, and art events. And in general we are special: we do not have any “do not touch” signs; you can sleep on carved wooden benches that fit perfectly into Shishkin's forest landscapes; and our guests drink tea from a unique samovar with two taps and eat it with bagels.

It would seem that after the hologram it is difficult to surprise with anything, but there are three more halls ahead. In "Traditions and Faith", portraits of the royal and imperial families, sketches for the paintings of temples and landscapes of the churches of Konstantin Makovsky and Grigory Sedov prevail. The plot of the latter "Conversion of the Grand Duke Vladimir to Christianity" is based on the text of the "Tale of Bygone Years". The prince meets on the canvas with a Greek monk-philosopher who talks about the creation of the world, the human race and the Fall. The Wanderers Hall pampers with works by Mikhail Nesterov, Ilya Repin, Alexei Savrasov and Vladimir Makovsky. All of them were inspired by the ideas of populism, and the plots of their paintings unite interest in the life of the people and sincere admiration for the beauty of Russian nature. And finally - the lyrical landscapes of Ivan Shishkin, Isaac Levitan, Mikhail Klodt and Arkhip Kuindzhi. The composition "Kama near Yelabuga" was written by Shishkin in the place where he was born and raised. The painter glorified the impassability of the road, the lopsided gate, the endlessness of space, permeated with pure light, the foggy veil of the inviting distant horizon, the spreading crowns of trees, familiar to him from childhood. Despite the scale and epic scope of the work, the picture seems transparent and light. In the same 1895, Shishkin wrote an author's repetition of this work, which is kept in the Nizhny Novgorod Art Museum.

The Arts Center is an art territory in the heart of the city. Here, in front of the masterpieces of world art, one can easily forget about the megalopolis life boiling outside the walls of the gallery. Allow yourself to pause to absorb art with your eyes, soul and heart and look at the usual everyday life through the prism of comprehended beauty.

The center's activities cover educational and enlightenment areas. Cooperating with leading galleries in Russia and Europe, private and corporate collectors, the center regularly holds thematic exhibitions of painting, lectures, art actions, full-fledged theatrical performances and concerts that can become a noticeable event not only in exhibition practice, but also in the cultural life of the capital.

The center is located at 15 Volkhonka Street, on the territory of the Cathedral of Christ the Savior complex and covers an area of ​​over 2000 square meters.

Working hours:

• Tuesday-Sunday - from 10:00 to 19:00;
• Monday is a day off.

The exhibition "Unknown Aivazovsky" has been held since July 29, 2016, at the "Arts Center. Moscow ", which is in the lower tier of the Cathedral of Christ the Savior on Volkhonka. From the announcement it follows that it is part of the exhibition project “Art Treasures of Russia. The best of the Russian collections is presented here: from icons to art nouveau paintings. " The project is unique. Collectors and art connoisseurs have come together to show the world a precious collection of masterpieces previously hidden from viewers: paintings by Vasnetsov and Nesterov, Shishkin and Levitan, Repin and Aivazovsky, Bryullov, Petrov-Vodkin and many others. Sounds interesting, doesn't it!?!

I have never been to this exhibition space before. And, going out into the air after the exhibition, my friends and I were drawn to Andrey Remnev and Aivazovsky. About Remnev later, but it was impossible not to mention Aivazovsky and post a mini-reportage before the New Year. Therefore, this post is about a small exhibition, within the framework of a large-scale exhibition project under the motto "Masterpieces that the world has not seen."

Writing texts about Aivazovsky is not a gratifying thing, and therefore there will not be many words - instead of them, the works of Ivan Konstantinovich themselves will talk about him!

At the mini-exhibition Unknown Aivazovsky "there are only 14 paintings by the master. And, indeed, an unusual impression. We know many of Aivazovsky's works from childhood, and here - unknown and never exhibited works of the maestro from private collections
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I did not take pictures of the titles of the works especially for myself, but in some places, however, all the same, I will indicate them in the form of signatures under the photo - where I managed to make out them. But, most importantly, we enjoy the visual side of the "Unknown Aivazovsky" exhibition.
Let this post be a New Year's gift to my friends in LJ, FB and VK ...)
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View of Venice. San Giorgio Maggiore. 1851 year.

But in this work of the sea, it is almost impossible to guess ...
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Romantic and amazing paintings by Ivan Konstantinovich Aivazovsky, just from myself, from the bottom of my heart, I recommend that you see for yourself as it is ...
The photos were taken with a smartphone camera, and may not reflect all the shades and depths of these amazing works of the Artist.

“Artistic Treasures of Russia. The best of the Russian collections ”.

Exposition of the exhibition “Art Treasures of Russia. The best of the Russian collections: from icons to art nouveau paintings "is truly unique. For the first time in the last hundred years, collectors and art connoisseurs have united for such a noble cause. For almost a century, the masterpieces were carefully hidden from prying eyes in an attempt to save them, since historical cataclysms followed one after another: the First World War, then the revolution, emigration, repression, World War II, unstable times ...

Alexey Savrasov. Fishermen. 1859

Al. Savrasov. "Rural view in the vicinity of Moscow at sunset" 1858

Only now the masterpieces of Russian painting, which have never been shown to a wide audience, are ready to appear before the Russian audience. Lost and newly acquired icons, precious interior items of the Imperial House and representatives of noble families, unknown canvases of the most famous masters, without whose names it is impossible to imagine Russian culture, will appear before the public so that the viewer can feel the hitherto hidden richness of the artistic heritage of Russia of the past centuries.

M. Nesterov (1862-1942), "Girls on the River Bank"

Arkhip Kuindzhi. Landscape with a rainbow. 1890s

Almost no one has seen such works by Vasnetsov, Nesterov, Shishkin, Levitan, Kuindzhi, Aivazovsky, Petrov-Vodkin and other great masters - these works have never been exhibited. Undoubtedly, the luxurious interior items that belonged to the representatives of the imperial family and the brilliant noble families, carefully preserved and passed down from generation to generation, as well as precious icons that, after almost a century of wanderings, returned to their homeland to appear before the public in all their ways, will also cause awe. splendor.

Ivan Shishkin. Spill of the Kama river near Yelabuga. 1895

Many of the exhibits belonged to extraordinary personalities. For example, the painting by Mikhail Nesterov "The Phenomenon of the Youth Bartholomew, Part II", written especially for Fyodor Chaliapin. Pavel Tretyakov purchased two paired canvases by Alexei Sav-rasov for his home collection. The battle scene of Pavel Kovalevsky "The cavalry is advancing" hung in the study of Emperor Alexander II. The table clock made of malachite with the finest miniature depicting the Winter Palace was a gift from Nicholas I to his daughter, Grand Duchess Olga Nikolaevna. The carved wardrobe with secret drawers belonged to the Grand Duke Vladimir Alexandrovich, the third son of Alexander II. The stories of the existence of paintings, icons and objects from the exposition of the exhibition are worthy of adaptation, they are so interesting.

Ivan Fedorovich Schultze (1874-1939), Cote d'Azur (1920s).

Of course, the exhibition is able to surprise both the uninitiated and the sophisticated viewer. Thanks to its non-academic approach to showcasing academic exhibits, the exhibition space is not at all like a museum. The grandson of the muse of Salvador Dali, Gala, designer and architect Julien Boaretto helped to make the space harmonious.

"On the coast of Crimea", 1893. " This is a quiet sea for Those Who have lived a quarter of a century Without clouds and excitement,Happy and enviableBut, really, monotonous and boring "(a dedication poem that Ivan Konstantinovich Aivazovsky wrote on a piece of paper - probably in order to transfer it to the back of the picture, which he was going to present to someone close to him).

AND. Aivazovsky (1817 - 1900) "On the coast of Ischia", 1894.

Its the same. Sunset over Ischia, 1857

His “View of Constantinople at sunset. Golden Horn ", 1866

Innovative technologies introduced into the exhibition have raised the culture of contemplation of art to a new level: now both lighting and sound accompaniment of paintings help the viewer not only absorb new knowledge, but also leave the exhibition shaken to the core.

Sergei Evgrafovich Lednev-Shchukin (1875 - 1961), "Winter Day"

Mikhail Konstantinovich Klodt (1832 - 1902), "Field", 1870-1880.

Fyodor Vasiliev (1850 - 1873), "Peasant family in a boat", 1870

Unlike traditional expositions, the exhibition is not built according to chronological or typological principles: it is based on a rich emotional palette, and each room here is a certain emotion; the sequence of halls is a kind of symphony of feelings, orchestrated in such a way that the heart, carefully filled with art, beats faster.

The title of the exhibition - "Artistic Treasures of Russia" - refers us to one of the largest periodicals of the past dedicated to Russian art. The magazine of the same name was published before the revolution at the initiative of the Imperial Society for the Encouragement of Artists. The brightest representatives of the culture of that time, writers, artists and patrons of art united to publish the magazine. They proclaimed as their goal the revival of interest in the heritage of old Russian masters, the development of artistic culture and the attraction of the masses to the sphere of art.

Ivan Ivanovich Shishkin "Frosty Day", 1891

More than a hundred years later, the circle of Russian collectors continued the work of artistic and educational associations at the turn of the 19th and 20th centuries, interrupted by historical events.

“Feodosia on a moonlit night. View from the balcony of Aivazovsky's house to the sea ", 1881

Pavel Bryullov (nephew), Crimean Port.Pavel was no less talented than his illustrious uncle.“Artists said about Bryullov that he was a good mathematician, graduated from the university and attended lectures on mathematics in England. Mathematicians assured him that he was a musician who had graduated from the conservatory, and the musicians brought him back to the bosom of artists.His nature was already very gifted, and it seemed that it cost him nothing to study all three specialties. Indeed, he painted pictures, showed great knowledge in mathematics and played the cello and piano. "Yakov Danilovich Minchenkov, "Memories of the Itinerants".

A.A. Kiselev

Ivan Schultze "Olive Grove".

Timofey Andreevich Neff (1807 - 1876)."Portrait of the Grand Duchess Maria Nikolaevna in the Form of an Angel with a Candle and Censer".

Julius Clover "The Forest Tsar", 1921

The canvas was written based on a Danish folk legend known to the Russian-speaking public from Goethe's poem translated by Zhukovsky.Julius Clover (1850-1924) first read the ballad about the king of the elves at the age of 13, and for many years “nurtured” this story: “This“ Tsar ”made an indelible impression on me. I was scared, I was afraid of him for a long time, delving into the details of the legend indicated by the poet and supplemented by my imagination. She is covered with fogs. And I fell in love with them from early childhood. And in the very first years of consciousness I understood and felt the truth that the character and the mysterious spirit of the mysteries - beliefs, legends - arose under the intricate conditions of moonlight, imparting bizarre forms to everything. " You can feel the mysterious spirit of the mysteries in the hall of lyrical landscape near the canvas by Julius Clover.

Volkhonka, 15. Entrance through the KHS square.