The emergence and beginning of private collecting in Russia. The largest collectors of Russian art A private collector buys paintings of the late 19th century

At the end of the 19th century, advertising began to make its way into people's daily lives. At that time, many were not accustomed to intrusive ads, and they aroused genuine interest, and product cards became a collector's item.

A hundred years ago, almost anyone could become an unwitting advertising collector. Many people from the middle and upper classes collected so-called "commodity cards". These picture boxes were often included with purchased items, especially groceries. Special albums were even issued to decorate the collection, and collectors exchanged the missing copies.

More than 6500 cards of various goods are known to modern researchers. Many of them attribute useful and even healing properties to the advertised products. Enticing slogans claim that it is even possible to cure diseases and drunkenness. And advertising for Hires Root Beer promises that it "purifies the blood."

The ads of the Victorian era were not limited to the promise of health. The 100-year-old cards also promised a pleasant vacation, like Pabst beer ads depicting "luxury on the high seas."

People of the Victorian era also liked art, so the authors of advertisements carefully borrowed elements of their works from artists, poets and writers. That's why a portrait of Rembrandt, who died in 1669, graced the trade card of Enterprise flour.

The high popularity of trading cards was facilitated by a technological novelty: color printing. The magazines published at that time, even the most expensive ones, were black and white, less often two-color. That is why color applications in the form of cards have become widespread. Ironically, trading cards went out of fashion when magazines began printing their own color ads.

In our time, ads have become much more frivolous and “aggressive”. So, in the scandalous advertising of the Dutch clothing company

According to statistics, about 40% of people in the world collect something. Do not lag behind this trend and hobbies and well-known personalities around the world, who are the idols of many generations.

Arnold Schwarzenegger collects Hammer cars. Madonna buys Picasso paintings, Barbra Streisand buys 1930s furniture, and Demi Moore collects dolls. President Putin collects stamps with images of prominent people. Philately is also fond of Yuri Luzhkov and even Patriarch Alexy II.

Collectors are divided into 5 types:

True collectors (who are able to give any amount for the desired copy).

Collectors (the main thing for them is that the thing is expensive and elegant).

Lovers (for them, the collection is nothing more than a tribute to fashion or imitation of other people)

Owners (those who inherited the collections either by inheritance or by misunderstanding).

Eccentrics (those who do not understand what and it is not clear why they collect).

One eccentric American collects snowballs, which he keeps in the refrigerator. He blinded one of them during the heaviest snowfall in history. Another was made for him by the mayor of New York. This collector loves his exhibits so much that he even celebrates their birthdays. On this occasion, guests must come in all white, and the host serves them only white dishes.

A collector from San Francisco collects objects whose shape or appearance is similar to a smile. He has 600 different buttons, pencils, watches, cups, balloons of different materials, etc. These things make his life kinder and more fun. Thomas Edison had the most expensive collection! He had four thousand patents for his inventions, their value cannot even be estimated.

The fastest growing form of collecting is photography.

According to statistics, people who collect something often become wealthy people, apparently the craving for new exhibits makes them earn more.

The largest collection belongs to one eccentric from Philadelphia - he collects tram cars. Once he sent a letter to the Soviet Union with a request to send him a Russian tram for his collection. Muscovites and Leningraders consulted and sent the American as a gift two trams - Moscow and Leningrad.

The smallest collection belongs to the Yerevan master. He began by making a violin measuring 15 millimeters. Then he made a locomotive train that passes freely through the eye of a needle. Finally, on an ordinary human hair, he wrote with a piece of diamond - “Proletarians of all countries, unite!”. Now in the collection of this craftsman there are many miniatures, which can only be looked at through strong magnifying glasses.

Collecting is also a profitable business. If the money put into the bank doubles, usually within 10 years, then the value of a work of art increases 1.5 times faster. In addition, in the soul of every collector there is hope for extraordinary luck, when the value of the purchased work can increase a hundred or a thousand times. And this happens sometimes.

Vladimir Shainsky collects turtles, shells, starfish and other inhabitants of the deep sea. Moreover, the composer got all these trophies himself from the bottom of the seas, where he managed to visit. He has been diving for over 40 years. For many years, Valdis Pelsh has not changed his passion. His collection of military helmets (among which there is even a leather German helmet of the 19th century and a parade helmet of an officer of the Napoleonic army) could be the envy of any museum. Valery Meladze is famous for his collection of weapons. There are more than a dozen daggers in his office. Thanks to the fans, Oleg Gazmanov's collection of sabers and checkers arose. Alexander Rosenbaum is not limited to weapons. In his home arsenal, not only daggers and sabers, but also other military ammunition.

The most popular form of collecting in the world is numismatics (coin collecting). Psychologists believe that a person begins to collect a collection after he cannot fulfill his desires in real life. According to the collection, you can make a fairly accurate psychological portrait of a person. If all the exhibits are from India, a person has always sought to visit there. If you see a collection of soldiers in front of you is a hidden warrior and aggressor.

Singer Irina Otieva collects figurines of pigs. When asked why exactly pigs, Irina jokingly replies that if she collects “pigs” at home, there will be less of them in the world. The collections of Alexander Shirvindt and Mikhail Derzhavin have been in existence for many years. Heavy smoker Alexander Shirvind has been collecting pipes for many years, and fisherman Michal Derzhavin has been collecting fishing rods. Moreover, all their home exhibits are not stale on the shelves, but are used. Tatyana Bulanova until recently was a burning collector of hippos. Her passion went so far that Tatyana was already afraid to receive a live hippopotamus as a gift and decided to quit.

Experts believe that a full collection can be called:

Stamp collection - at least 10,000 pieces.

A collection of books - at least 1000 copies.

A collection of coins - at least 1000 pieces.

In addition, the collection must contain at least 1-2% of rarities.

The Kristovsky brothers from the Umaturman group collect beer mugs. Writer Alexandra Marinina collects rare Christmas bells - clay, crystal, porcelain, metal. Elton John collects cars. The garage on his estate contains 26 vintage cars.

One Brazilian captain collects the sound of the waves of all the oceans and seas, where he had a chance to visit. He also records the noises of passing ships, working ports, etc. The famous fat man Alexander Semchev collects good perfume. He does not forget about his other collection - models of helicopters and tanks, which he glues together at his leisure.

The most expensive type of collecting is the passion for antiques.

The advent of the 19th century brought a new understanding of art, cultural values ​​and their place in society, arose new collectible interests. The aesthetic tastes of Russian society in the 1800s-1820s were largely determined by the hopes for positive changes in Russian society, which were expected from Alexander I, and the patriotic upsurge caused by Russia's victory over Napoleon.

In the first quarter of the 19th century, the first periodicals devoted to the fine arts appeared. In 1807, the Bulletin of Fine Arts was founded, published by I.F. Boulet, but it quickly ceased to exist, since it was addressed only to a narrow circle of specialists and was of little interest to the general public. In 1820 in St. Petersburg under the editorship of V.I. Grigorovich, a new journal was created with the same name, which published art criticism, reviews of the artistic life of Russia, reports from the Academy of Arts and the Society for the Encouragement of Artists, but also did not last long, without a sufficient number of subscribers and dependent on state subsidies. Art history materials were published in other periodicals: Son of the Fatherland, Fatherland Notes, Russian Bulletin, etc. The patriotic upsurge aroused the interest of Russian society in the national school of painting. In this regard, a significant number of biographical dictionaries of Russian artists compiled by I.A. Akimov, I.F. Bule, P.P. Beketov, V.I. Grigorovich and others. Information about exhibitions at the Academy of Arts was constantly published in periodicals 1 . An important event in Russian cultural life was the creation in 1825 of the "Gallery of Artistic Works of the Russian School" in the Imperial Hermitage 2 .

The picture of artistic tastes and passions of Russian society in the first quarter of the 19th century cannot be complete without the Decembrists, who, according to Yu.M. Lotman, "some special behavior, a special type of speech and reaction inherent in a member of a secret society" distinguished them from other nobles. Their outlook was formed under the influence of romanticism 3 . The aesthetic system of the Decembrists, researcher P.V. Sobolev defined it as "The Theory of the Fine - the Theory of Action", which connects romantic ideals with revolutionary practice 4 . In the visual arts, the Decembrists were committed to romanticism, breaking their internal ties with the aesthetics of classicism. Elements of realism in the visual arts, manifested in the work of V.A. Tropinin and A.G. Venetsianov, were not accepted by the Decembrists 5 .

The era of hopes ended in 1825 with the defeat of the Decembrist uprising and the accession to the throne of Nicholas I, whose reign is characterized by tough domestic politics. But, at the same time, the Nikolaev era was productive in the field of literature and arts. At this time, outstanding Russian poets, writers, artists worked.

In the second quarter of the 19th century, a number of publications appeared dedicated to the largest art collections in Russia, primarily the Hermitage, which were published not only in Russia, but also abroad. In 1827, F. Gand's book Works of Art and Antiquities in St. Petersburg was published in Weimar, a significant part of which was devoted to the Hermitage. This edition was sold in Russia, but only in German, without Russian translation. Russian catalogs and descriptions of the Hermitage collections were created in 1833 and 1838. In 1845-1847 a description of 120 best paintings from the Hermitage collection was published. In 1842, a catalog was published with elements of the biographical dictionary of artists of the Museum of the Academy of Arts "Index of works in the Academy in alphabetical order of the names of artists and objects" 6 .

Historicism, as a style manifested in architecture, painting, arts and crafts 7, also contributed to the formation in Russian society of interest and figurative perception of domestic and foreign history, enriching everyday life with images of past eras.

Collecting interests Russian society was largely determined by the tastes of the emperors. Alexander I was interested in art, not without reason in the portrait by the French artist F. Gerard he is depicted as the “patron of the muses”, similar to Apollo or Mercury, representing the painting of Minerva 8 . Under Alexander I, the replenishment of the Hermitage collections became more active. The emperor personally took part in the acquisition of the largest collections, giving preference to French painting 9 .

Nicholas I, according to the famous art critic N.N. Wrangel "undoubtedly loved art, loved it in his own way" 10 . In 1829, the Academy of Arts was transferred to the Ministry of the Court, and the emperor interfered in the affairs of this educational institution. In 1845, Nicholas I visited Italy, where he purchased and ordered more than 30 statues and sculptural groups, busts, fountains and fireplaces, got acquainted with Italian masters and visited the workshops of Russian artists and sculptors who worked there at that time. Each of them received an order from the Emperor 11 . During the emperor's stay in Pompeii, he was presented with antiquities dug up in his presence on the orders of the Neapolitan king, among which are the bronze bust of Caligula and the marble sculpture "Boy with a Bird" (currently in the Hermitage) 12.

The personal tastes of the emperor were reflected in the collection of weapons, which he began to collect in 1811, as a grand duke, and this hobby remained with him throughout his life. The collection of Nicholas I included Western European armor of the 16th century, edged and firearms, oriental weapons. An important place in the collection was occupied by the trophies of the Persian war of 1826-1827 and the Turkish war of 1828-1829 13 . In addition, even before his accession to the throne, Nicholas began to collect collections of prints, caricatures, and old maps. They were in the Anichkov Palace, and the Grand Duke was organizing them 14 .

Collectors of the first half of the 19th century social composition mostly nobles, from representatives of the highest aristocracy to poor landowners and officials of various ranks. But collectors from the Raznochinsk intelligentsia begin to appear, whose interests were due to scientific pursuits or a sincere passion for collecting. At this time, the type rescue collectors, collecting something that was not included in the circle of traditional collectors' interests and could perish 15 . Such passionate collectors include the former serf Sheremetev N.I. Podklyuchnikov , restorer of paintings, which gave him the opportunity to get acquainted with many collections of his time. Gradually, the passion for collecting seized him, and he began to collect a wide variety of things: paintings, Masonic relics, Russian antiquities 16 .

The former serf of the Stroganovs, A.E. Teploukhov, made up an interesting archaeological collection, which was then continued to be collected by his son, F.A. Teploukhov 17 . Later, the chairman of the Moscow Archaeological Society P.S. Uvarova named F.A. Teploukhov "the only private owner who<…>took his collection seriously.

Cannot be separated from Russian culture collections of diplomats who stayed abroad for a long time and acquired works of art there. The collectors were the envoy in Tuscany N.F. Khitrovo and his wife E.M. Khitrovo 19 .

In the first half of the 19th century, many Russian people with means lived abroad for a long time, where they made up art collections. Unfortunately, not all of these collections came to Russia, many of them were sold at will or after the death of their owners.

Grand Duchess Maria Nikolaevna, after the death of her husband, Maximilian of Leuchtenberg, settled in Florence, at Villa Cuarto. There she became intimately acquainted with artists, and devoted much of her time and energy to collecting paintings 20 .

BEHIND. Volkonskaya 21, daughter of the famous collector and patron of the book. A.M. Beloselsky-Belozersky, whose house she called "the refuge of everything elegant" 22 , collected works of art, including ancient monuments. Contemporaries spoke of her collection with admiration. The poet M. Venevitinov wrote about the salon Z.A. Volkonskaya "She decorated her house with originals and copies of the most famous works of painting and sculpture, the rooms of her house, a real museum, she painted frescoes in the style of different eras" 23 . In 1829 Z.A. Volkonskaya left for Italy forever. The garden of her Roman villa was decorated with antique statues and bas-reliefs. In the arches of the ancient aqueduct located on the territory of the villa, grottoes were built, in which there were copies of the famous ancient statues 24 .

The son of a diplomat and collector N.N. Demidov, A.N. Demidov-San Donato lived most of his life abroad, where he collected an outstanding collection of works of art, which, after his death, was sold at auction, at which, according to a contemporary, “there was something to envy, get carried away or admire! Many of the items in this memorable auction reached truly fabulous prices” 25 .

Ways of forming collections. In the first half of the 19th century, an antique and art market was developed in Russia, as well as a market for old manuscripts 26 . The description of Moscow shops, for example, was given by P.P. Svinin: in the stores of Lukhmanov, Shulgin, Shukhov and other "paintings, marbles, bronzes, crystals<…>mountains with Chinese porcelain, collections of precious snuff boxes, ancient magnificent vessels made of silver and amber, statues and vases made of basalt and malachite<…>great rarities and jewels, which can not only be bought for a reasonable price, but also exchanged for things that are no longer liked and no longer needed.

There were other ways to form congregations. So, the historian M.P. Pogodin replenished his collections while traveling in Russia and the Slavic countries. He visited all significant cities and monasteries of Russia. He acquired a number of items at fairs, including the famous Nizhny Novgorod fair 28 . Ancient coins, manuscripts and other antique items could be bought at the crowded market. There were also connoisseurs of antiquity, who specifically sought out rarities for collectors.

Simultaneously with the growth in demand, the development making fake antiquities causing great damage to collectors. So, in Moscow, the manufacturer of fake ancient Russian manuscripts A.I. Bardin, whose products ended up in the collections of even such connoisseurs of antiquities as the historian M.P. Pogodin, collector and connoisseur of antiquities P.F. Karabanov 29 . In the collection of S.G. Stroganov, which had a high artistic and scientific value, there was a bronze figurine of Apollo, which was initially highly appreciated by contemporaries, including St. Petersburg archaeologist L. Stephani, who devoted an entire study to it, but turned out to be a fake of the 18th century

Collectors were guided in their activities by various motives.. In the first half of the 19th century, such an important motive for compiling a collection appeared as the desire to support and encourage young artists to create. The most striking example of such collecting is the meeting of the Minister and member of the State Council F.I. Pryanishnikov in Petersburg. He began to collect paintings by Russian artists, wishing to support them 31 . Pryanishnikov's gallery was highly appreciated by his contemporaries, noting that he "realized a marvelous idea: to bring together wonderful works of exclusively Russian artists" 32 . In 1854, while in St. Petersburg, Pryanishnikov's collection was examined by P.M. Tretyakov, who at the same time had the idea to create a gallery of national art. The only one of all private art galleries, the Pryanishnikov Gallery was bought by the treasury during the life of the owner, but was left for his lifetime use until his death in 1867. After the death of Pryanishnikov, the gallery was initially attached to the Museum of the Academy of Arts, but then it was decided to transfer it to the Moscow Rumyantsev Public Museum 33 .

Circle of collectibles corresponded to the interests of Russian society in the field of culture. A collector of wide and diverse interests, in many ways an innovator, was S.G. Stroganov, who was the first in Russia to start collecting paintings of the early Renaissance (“primitives”). In his collection there were also Western European paintings, antique works, numismatic monuments, characteristic of the collections of his time. In addition, he was interested in new collectibles: Chud antiquities, icons, mostly in Stroganov's writing, Mexican antiquities 34 .

In the first quarter of the 19th century the main directions of Russian collecting largely determined by the patriotic mood of Russian society, the growth of national consciousness, caused by the victory over Napoleon. A new impetus was given to the emerging in the second half of the 18th century collecting monuments of Russian antiquity. This type of collecting developed against the backdrop of increased interest in national history. An important event in the life of Russian society was the publication in 1818 of eight volumes of N.M. Karamzin. The controversy around this work involved wide sections of the educated part of society, not only in scientific publications, but also in monuments of the epistolary genre, diaries and epigrams. Pushkin and Zhukovsky 35 expressed their opinions about History.

An outstanding statesman and diplomat, Chancellor N.P. Rumyantsev 36 . In 1814 he retired, settled in St. Petersburg, in his mansion on the Promenade des Anglais, and devoted himself to scientific pursuits and collecting. N.P. Rumyantsev not only collected collections of antiquities himself, but united around him a circle of scientists - N.N. Bantysh-Kamensky, K.F. Kalaidovich, P.M. Stroeva, F.P. Adelunga, A.A. Vostokov and others. They searched for documents on the history of Russia in foreign archives, examined domestic archives 37 . Scientists have discovered unique monuments of ancient Russian writing, among them the Izbornik of Svyatoslav of 1073, the Sudebnik of 1497 and others. At the expense of N.P. Rumyantsev, publications of documents were undertaken: “Ancient Russian poems collected by Kirshey Danilov”, “Monuments of Russian literature of the XII century”, “Belarusian archive of ancient letters” 38 . After Rumyantsev's death, his collections were in his mansion on the Angliyskaya Embankment and were available for viewing, but from the 1850s, access to them was discontinued due to the dilapidation of the building. Therefore, at the initiative of the Moscow educational district, the Rumyantsev collection was transported to Moscow in 1861, where it was subsequently merged with the Moscow Public Museum. In 1862, the joint Moscow public Rumyantsev Museum was opened.

But the victory in the war with France caused significant damage to collecting. When Napoleon's troops approached Moscow, F.V. Rostopchin, who at that time was the Moscow Governor-General, himself set fire to the house in Voronovo, where his art collections were located, so that the enemy would not get it 39 . The fire of Moscow in 1812 destroyed the most valuable manuscript collections and book depositories of Moscow: the historian K.F. Kalaidovich, P.G. Demidova, D.P. Buturlin, professor of Moscow University F.G. Bauze and many others 40 .

The ideas of patriotism, the pathos of Russia's victory in the war against Napoleon were reflected not only in the selection of items in the collections, but also in how these items were exhibited. By placing objects in the room, the collector acted as an interpreter of his collection, giving the exposition an ideological sound. An example of this is the collection of the hero of the war with Napoleon, General A.I. Osterman-Tolstoy, who was forced to leave his military career after the Battle of Kulm in 1813, during which he lost his arm. After being wounded, the general spent a long time abroad: in France, Switzerland, Italy, Germany, where he communicated with many famous artists and sculptors, both foreign and Russian, who worked abroad, ordered them works of art, including his own portraits. Collections collected by A.I. Osterman-Tolstoy, were located in St. Petersburg, in his house on the Promenade des Anglais. The White Hall, decorated as a pantheon of Russian military glory, was, according to the description of a contemporary, "more like a temple than a room." The exposition of this room reflected the patriotic moods of Russian society in the first quarter of the 19th century, as well as the fate of the general himself, the brightest pages of which were connected with the war against Napoleon 41 .

In line with patriotic sentiments, the growth of national identity was collecting Russian art. The collection of the St. Petersburg collector A.R. Tomilov, in whose house the artists gathered: O.A. Kiprensky, A.G. Varnek, A.O. Orlovsky and others. A.R. Tomilov was one of the first to understand the significance of sketches and began to collect them. He showed interest in the works of realist artists of the 1830s and 1840s, which did not immediately attract the attention of collectors 42 .

Private collections of the first half of the 19th century occupied an important place in various spheres of Russian cultural life. At that time, there was an acute shortage of museums in Russia. The idea of ​​creating a Russian national museum arose as one of the manifestations of the growth of national consciousness after the victory over Napoleon. In 1817 - 1821, members of the circle of N.P. Rumyantseva - B. Wihman and F.P. Adelung - came up with projects to create a single all-Russian museum of antiquities, designed to promote historical knowledge 43 .

An important event in the cultural life of Moscow was the opening in 1802 of an art gallery at the hospital, created on the initiative and on the basis of the collections of cousins: D.M. Golitsyn, Ambassador Extraordinary of Russia in Vienna, and A.M. Golitsyn. The gallery existed until 1817-1819, when it was sold out. The gallery catalog has not been preserved 44 . This was the first time in Russia creating a museum based on a private collection for charitable purposes.

Writer and diplomat P.P. Svinin 45 opened a museum in 1826 on the basis of his private collection in St. Petersburg, in a house near the palace of Grand Duke Mikhail Pavlovich (now the State Russian Museum). P.P. Svinin wrote: "I already have such works of painting and sculpture that it is not a shame to put them among the works of the best masters of all known schools, that they would not be eclipsed in the first galleries." The Svinyin Museum also included a numismatic collection. The mineralogical collection supplemented the artifacts and complemented the idea of ​​Russia 46 . In 1829, due to financial difficulties, P.P. Svinin was forced to sell his collection. He offered the treasury to purchase it, but the purchase was delayed, and in 1834 the Russian Museum was sold at auction 47 .

In the Porechye estate in the 1840s, it was founded by Count S.S. Uvarov, President of the St. Petersburg Academy of Sciences, Minister of Public Education, one of the largest private museums in Russia, accessible for inspection 48 . In 1853, the "Index of the Porec Museum for Visitors" was published, which listed the main and most interesting items. The collection was supplemented by a library decorated with marble busts of historical figures. An organic addition to the museum was an extensive botanical garden.

A.F. Rostopchin is a collector, philanthropist, bibliophile, writer, son of F.V. Rostopchin, having inherited and significantly expanded his father's art collection, opened a public art gallery in his own mansion in Moscow in 1850. A catalog of the museum was published in French. However, two years later, due to financial difficulties, the gallery was closed 49 .

Recognizing the need for a public museum for Russia, Nicholas I created it on the basis of the imperial collections. In 1852, the museum was opened in a building known as the New Hermitage (architect L. Klenze). The construction of the building, the formation of collections and other issues of organizing the museum were under the personal control of the emperor 50 .

During the creation of the museum, an inventory of works of art in the Hermitage was carried out, and paintings that were the personal property of the imperial family were identified. Thus, it was emphasized that the paintings on display in the New Hermitage cease to be the personal collection of the tsar, although they are the property of the imperial house 51 .

The creation of the museum on the basis of the imperial collection inspired collectors to transfer the collections, in the form of a gift or will, to the name of the emperor. Thus, there was the process of transition of private collections into the category of museums. His huge collection, which included paintings by Italian, Spanish, Dutch, Flemish and Dutch artists, as well as sculpture and gems, bequeathed to Nicholas I D.P. Tatishchev, who was in the diplomatic service for a long time in Naples, Madrid, The Hague and Vienna 52. The collection was supplied with a catalog and a postscript: “I allow myself to make this loyal offering, because these things have already become known among European artists and patrons of the fine arts, who unanimously spoke of their merits with great praise” 53. The Moscow collector N.F. bequeathed his famous home museum of Russian antiquities to Nicholas I. Karabanov. A contemporary described Karabanov's collection as "the only private collection in our time in its completeness, diversity and richness" 54 .

Private collections were transferred to the Hermitage not only by donation or bequest, but also by purchase and sale. So, in 1851, for the New Hermitage, A.N. Demidov-San Donato was bought for 100 thousand rubles in silver, a collection of ancient sculpture collected by his father, envoy to Florence N.N. Demidov 55 .

Another way to make collections available for review and useful to the public was transfer of collections to educational institutions.

In 1821 A.N. Olenin handed over to the Academy of Arts, of which he was president, his collection of weapons, which became part of the Rustkamera he created, its items served artists and sculptors to create works of art on historical subjects 56 .

In 1852 F.F. Vigel, a writer and bibliophile, donated his collection to Moscow University, which included engravings and lithographs of cultural figures associated with Moscow University, writers and poets, actors, military leaders. The collection included an engraved portrait of A.S. Pushkin by N.I. Utkin from the original by O.A. Kiprensky. The collection was kept in excellent condition, the portraits were arranged in separate folders, with the owner's handwritten signatures and explanations 57 .

The lack of museums was to some extent made up for by private collections., which were not always complete and systematic, but in them things could be examined, touched, picked up 58 . The daughter of the sculptor F.P. Tolstoy, M.F. Kamenskaya, who had the opportunity during receptions to get acquainted with the collection in the mansion of I.S. and A.G. Laval on the English Embankment in St. Petersburg, noted that "it seems that no one, except Countess Laval, had such a multitude of Etruscan vases and things collected in one collection" 59 .

The general public had the opportunity to see works from private collections, previously inaccessible, on temporary exhibitions, organized on the initiative of the emperor's son-in-law, Maximilian Leuchtenberg at the Academy of Arts, in St. Petersburg, in 1851 and 1861. Their participants were the largest collectors, including members of the imperial family 60 .

collection centers were the capital of the Russian Empire - St. Petersburg and the ancient capital of Russia - Moscow.

From Petersburg collectors- members of the royal family, first of all, should be called the eldest daughter of Nicholas I, Grand Duchess Maria Nikolaevna and her wife Duke Maximilian of Leuchtenberg, who at one time held the post of President of the Academy of Arts. In St. Petersburg, their collections were in the palace at the intersection of the Moika and Voznesensky Prospekt, built according to the project of the architect A.I. Stackenschneider. The basis of the collection was the collection of Father Maximilian of Leuchtenberg, Prince Eugene of Beauharnais, Viceroy of Italy (stepson of Napoleon I). The collection of the Duke of Leuchtenberg included paintings and family heirlooms: portraits of Josephine Beauharnais by F. Gerard, and Eugene Beauharnais by Stieler, as well as battle paintings. Maximilian Leuchtenberg added to his father's collection, including paintings by Russian masters. Of the works of sculpture, we note the work of Canova "Three Graces" and "Mary Magdalene". Maria Nikolaevna and Maximilian Leuchtenberg also owned the Sergievka estate in old Peterhof. The interiors of the palace in Sergievka and the park were decorated with sculptures by Russian and Western European masters in originals and copies, as well as marble, bronze and galvanoplastic copies of antique works. Opposite the main entrance to the palace was a marble bust of Prince Eugene de Beauharnais. Unfortunately, not all sculptures from Sergievka have been preserved; many of them can now be seen only in old photographs and postcards 61 .

In the second quarter of the 19th century, among Moscow collectors the leading place was taken by the professor of Moscow University, the publisher of the magazine "Moskvityanin", the famous historian and philologist, the collector-scientist M.P. Pogodin, who collected the famous Ancient Storage, which included manuscripts, early printed books, autographs of scientists, writers, statesmen, both past and contemporaries. M.N. Pogodin also compiled collections of medals, seals, weapons, items from the Chud mounds. The section of Old Russian church and civil life was diverse, including Old Believer casting, Old Russian sewing, jewelry, more than 200 icons. In 1852, the Treasury purchased the Ancient Storage 62 .

The conditions for collecting also developed in large university cities, where it was possible to acquire books, art values, historical and natural scientific monuments, where there were learned societies, including university professors, who were able to become interested in and appreciate the efforts to collect collections. The collections of Professor of Therapy, Pathology and Clinic, Rector of Kazan University K.F. Fuchs 63 . In an article dedicated to Fuchs, he was characterized as "a doctor, a learned traveler, naturalist, linguist, anthropologist, numismatist, archaeologist, ethnographer, historian, writer." Fuchs's broad interests were reflected in his collections of Oriental coins, Old Believer manuscripts and early printed books, as well as extensive collections of natural sciences - mineralogical, botanical, etc. cupboards and chests in which this scientific wealth was carefully preserved” 64 .

Manor collecting takes on a different character than in the Enlightenment. Gone are the luxurious estates of Catherine's time, which were one of the characteristic features of the culture of the second half of the 18th century. In the first half of the 19th century, the Russian noble estate entered a new stage of development. The flora of manor parks is enriched, special importance is attached to rare, exotic plants, often in combination with the serious passion of the owner of the estate for botany and the formation of a special library. Architecture, landscape gardening, the life of the inhabitants of the estate are now subject to the aesthetics of romanticism. Memorial corners are created in the parks associated with events of family importance, reminiscent of relatives and friends - the "semantics of feelings" is cultivated. Memorial motifs in the estate, collecting rare plants - all this made collecting an organic part of the estate culture, revealing its contradictions 65 .

On the one hand, among the paintings in the landowners' houses one could see works of various artistic merit - from outstanding works of art to paintings created by self-taught serf artists. The most common were portraits of emperors and family portraits. On the other hand, many estates were known for their richest highly artistic collections, collected by their owners, intelligent people.

Many estates became centers of Russian culture, the atmosphere of which inspired writers and poets to create works of art. The annals of Russian culture included estates associated with the name of A.S. Pushkin: Mikhailovskoe, Trigorskoe, Boldino. A.S. Pushkin called the "Russian Parnassus" the estate that belonged to the poet P.A. Vyazemsky, Ostafievo. Here he worked on the "History of the Russian State" N.M. Karamzin. D. Davydov, E.A. Baratynsky, N.V. Gogol, V.A. Zhukovsky and other poets and writers 66 .

An example of an outstanding estate collection is the collection of the Baryatinsky princes in the estate of Maryino, Kursk province. The formation of his collections is associated with the name of I.I. Baryatinsky, in his youth a brilliant military man and diplomat. I.I. Baryatinsky collected family portraits in Maryina, as well as works by Russian and Western European artists, sculpture by Italian masters and the Danish sculptor Thorvaldsen, and a huge collection of engravings and drawings by Russian and Western European masters, including Rembrandt. During the 19th century, Maryin's collection was replenished. Let us especially note a series of paintings on the themes of the Caucasian wars, collected by A.I. Baryatinsky, an active participant in these wars 67 .

The estate Krasny Rog of the Bryansk province belonged to the writer A.A. Perovsky (a prose writer who wrote under the pseudonym Anthony Pogorelsky) The youthful years of the poet and writer A.K. Tolstoy (nephew of A.A. Perovsky), who later inherited this estate. The works of art that made up the collection of the estate were mainly acquired by A.A. Perovsky during his journey with the young A.K. Tolstoy in Italy in 1831. The collection, which included sculptures, paintings by Renaissance masters and Italian artists of the 18th-19th centuries, as well as a library, were located in the manor in a building called the Hunting Castle 68 .

Great opportunities for collecting opened up on the outskirts of the Russian Empire. This was especially evident in Novorossiya. , where, in the Northern Black Sea region, were the ruins of ancient Greek colonies. Novorossiysk Governor-General M.S. Vorontsov contributed to the study of the history of Novorossia, and was the honorary chairman of the "Odessa Society of History and Antiquities" established in 1839 69 . Works of art and collections of manuscripts, notes, old geographical maps 70 were in his Odessa house and in the Alupka Palace 71 .

In the first half of the 19th century in Russia, rethinking the legacy of antiquity. Travels, visits to authentic ancient monuments contributed to the figurative perception of antiquity. The ruins of Pompeii were especially arousing, allowing the tragic scenes of the death of the city to be recreated. The traveler could feel himself, wandering through the ruins of the ancient city, "descended into the realm of the dead, or wandering half asleep, as sometimes happens at the moment of waking up" 72 .

An important role in the perception of antiquity by Russian people was played by travel to the Crimea, acquaintance with the monuments of the Black Sea Greek colonies 73 . M.I. Kutuzov, in a letter to his daughter, E.M. Khitrovo, asked: “Have you been to Sevastopol? There are remarkable ruins of ancient Chersonesos” 74 . I.A. Stempkovsky, a connoisseur and collector of ancient antiquities, actively advocated a scientific approach to archeology, and subsequently founded the Kerch Museum 75 . House of the collector of ancient monuments I.P. Blaramberg, the first director of the Kerch Museum, was the center of the scientific life of the city, where lovers of antiquities, scientists, and travelers around the Crimea gathered 76 . THEM. Muravyov-Apostol in 1820 mentioned Blaramberg as "a pleasant and intelligent person", and highly appreciated his collection of antiquities 77 . P.A. Dubrux, a French soldier who was captured in 1812 and remained in southern Russia, studied archaeological sites. The results of his research have not lost their relevance to this day. Dubrux compiled his own collection of antiquities. Unfortunately, during his lifetime, he remained unappreciated by scientists, who undeservedly spoke of him with disdain 78 .

The interest of Russian society in the first half of the 19th century in antiquity manifested itself in the creation of collections a special subject complex - the "antique collection". Mandatory in it were sculpture and fragments of ancient statues and architectural decoration, works of arts and crafts, including Italian ceramics (known at that time as "Etruscan vases"). Characteristic of the collections was a small collection of antiquities from Pompeii and Herculaneum 79 . Genuine antique works often coexisted with plaster casts that decorated interiors, being included in antique collections 80 . An example of such a collection is that which belonged to the architect O. Montferrand, which he collected from 1816, turning his house in St. Petersburg into a small museum 81 .

Russian society actively responded to all the events taking place in the world, especially those that were associated with the knowledge of the new. So, after the Egyptian campaign of Napoleon in 1798 - 1801, the interest in ancient egypt. In 1827, the Egyptologist Grenville spoke at the Academy of Sciences, demonstrating a mummy from his collection, specially brought to St. Petersburg 82 . In 1825, the Egyptian Museum was created in St. Petersburg, which was originally located on the first floor of the Kunstkamera building, and since 1852 - in the New Hermitage 83 . An important event that maintained interest in Ancient Egypt was the delivery in 1832 to St. Petersburg of the sphinxes found in Thebes, the artistic and historical significance of which was highly appreciated by F. Champallion 84 . A.S. traveled in Egypt and Nubia. Norov 85 , through whose efforts an outstanding monument of ancient Egyptian art was delivered to St. Petersburg in 1837 - the temple statue of Mut-Sokhmet 86 . In 1840 A.S. Norov published notes about his travels 87 .

A small collection of ancient Egyptian items was owned by the architect O. Montferrand. His collection included two sarcophagi, a figurine of an Egyptian woman, limestone bas-reliefs depicting a sacrifice to the god Ra and worship of Osiris, a diorite bas-relief, and small plastic items 88 . Apparently, the interest in Ancient Egypt was reflected in Montferrand's unrealized project to install a granite statue of "God Osiris, patron of sciences and arts" on the Neva embankment 89 .

Collectors play an important role in the preservation and systematization of monuments, especially monuments of primitive culture. Since the beginning of the 19th century, European science has been searching for an “antediluvian man”. Since the 1830s, science and society have been shaken by news of the sensational discoveries of Boucher de Perth. Information about the finds of ancient people appeared in the journals "Library for Reading", "Picturesque Review", "Bulletin of Natural Sciences", in the "Mining Journal". In the 1820s-1830s, the Yenisei governor A.P. Stepanova . In the 1840s, stone tools originating from Karelia were assembled by Lieutenant General of the Corps of Mining Engineers N.F. Butenev 90 . In 1862, with the help of Academician K.M. Baer Butenev's collection was acquired by the ethnographic museum of the Academy of Sciences. A.M. also had a collection of primitive antiquities. Raevskaya 91, wife of N.N. Raevsky Jr., hero of the war of 1812. Her collection was highly appreciated by contemporaries. Subsequently, when the active study of primitive man began in the second half of the 19th century, private collections would become the main scientific material.

In the first half of the 19th century, the development numismatic collecting. In compiling collections, true collectors often invested not only a lot of money, but also their soul, true love for collecting. Collector S.A. Eremeev wrote about his hobby: "You have to be a numismatist to spend thirty years of your life behind coins in order to comprehend how you can suffer from numismatics" 93 .

An outstanding event that occurred at the turn of the 18th - 19th centuries, which significantly changed the view of scientists about Ancient Rus', contributed to an increase in interest in numismatics: the discovery of ancient Russian coins of the 10th - 11th centuries, the existence of which was not previously known to scientists. Despite the fact that these were isolated finds, each of them was a scientific sensation. These coins came to the Imperial Hermitage and to major collectors. A large hoard of ancient Russian coins was found in 1852 near the city of Nizhyn. Most of the coins from it then replenished the collections of A.D. Chertkova, A.S. Uvarova, S.G. Stroganov and other outstanding numismatist collectors. At present, almost all the coins of this hoard are in the Numismatics Department of the State Hermitage 94 .

An important role in the development of Russian numismatics was played by the Münzkabinet of the Imperial Hermitage, where outstanding numismatists and collectors worked: E.E. Koehler, a specialist in Russian numismatics F.I. Circle 95 .

In the first half of the 19th century, a new step was taken in the systematization of Russian coins based on the catalog of A.D. Chertkov. It was published in 1834, and then additions to it were published in 1837, 1838, 1842. This systematic catalog for a long time became the main guide for amateur numismatics 96 .

Large collectors are known who systematized coins on a scientific basis. Such a collector of Greek, Roman and Oriental coins was Lieutenant General I.A. Bartholomew 97 . An extremely complete collection (about 50,000 Russian and Western European coins and medals) belonged to Ya.Ya. Reichel 98 . The collector-numismatist was the historian, bibliographer, linguist F.P. Adelung, an active participant in the creation of the Rumyantsev Museum, whose collection included Greek and Roman coins 99 .

However, not all collectors were distinguished by a sincere interest in numismatics. Since numismatic collecting became more and more popular, becoming a fashion, some representatives of society, wanting to have a collection, but not finding interest in compiling it, ordered remakes from the mint. So, A.A. Arakcheev in 1824 ordered a new-made collection of coins on gilded and silver-plated copper mugs at the Mint. Alexander I, having learned about this, gave the order to make the same order in gold and silver as a gift to A.A. Arakcheev.

The development of numismatic collecting gave rise to the manufacture of counterfeit collectible coins. It received special development after the publication of the catalog by A.D. Chertkov, on the basis of whose illustrations fakes were made 100 .

The main directions and nature of collecting in the first quarter of the 19th century were largely determined by the hopes for reforms that were expected from Alexander I, and the patriotic upsurge after the victory over Napoleon. In this regard, national themes are of great importance in collecting, collecting domestic antiquities is put on a scientific basis. In the second quarter of the 19th century, in connection with the strengthening of civic positions, the desire to make the collections available for inspection by the general public, for the benefit of science and public education, was activated. The development of the cultural needs of society makes the lack of museums in the country obvious. In this regard, there is a tendency to transfer collections to museums and educational institutions, the creation of private museums, and exhibiting collections at temporary exhibitions.

Collecting centers are now not only St. Petersburg, Moscow and noble estates, but also university cities, lands newly annexed to the Russian Empire, especially those that are rich in archaeological monuments.

The social composition of collectors has expanded. In addition to aristocrats and high dignitaries, officials, poor nobles, representatives of officers, scientific intelligentsia actively collect, and collectors-rescuers from raznochintsy appear.

The range of collectibles has become wider. As part of the collections, a change in tastes in the field of art, an increase in patriotic sentiments, an interest in Russian history and painting, a new attitude to antiquity and other ancient civilizations, as well as to the natural sciences, found expression. In collecting, there are protective tendencies in relation to collectibles: to save, save from extinction.

Numismatic collecting actively developed, taking on an increasingly scientific character, which was largely facilitated by scientists who worked in the Münzkabinet of the Imperial Hermitage. At the same time, this type of collecting, becoming a fashion, contributed to the emergence of a large number of remakes.

As in the 18th century, representativeness, the representativeness of the collection, as well as the aesthetic appeal of the collectibles, is important. The cognitive function of collections has increased, collectors are attracted by information that can be extracted from outwardly unspectacular, but historically interesting items. When compiling collections, systematization, a scientific approach to the formation of a collection, is becoming increasingly important.

Chapter V

Similar information.

If you do not take into account the royal court and the aristocracy, then merchants began to collect in Russia. In Soviet times, there was no alternative in the "collector" nomination: the first and only place was given to P.M. Tretyakov, and the rest, as it were, did not exist. Until 1990, it was not allowed to write about collectors, the public knew the names of Tretyakov and Bakhrushin, since they were preserved in the names of museums, Morozov was sometimes mentioned.

I offer my rating of collectors in chronological order. According to the Hamburg account, the figures I have chosen are ambiguous. The ingenious collector of the "art of the future" S.I. Shchukin cannot be compared with P.I. Shchukin or G.A. Brocard, who bought antiquities in bulk. Perhaps, for the purity of the approach, the Petersburger Shuster should have been excluded from the list, then the picture of Moscow collecting would have been complete.

The history of Moscow collecting, as Abram Efros once noted, is the history of artistic tastes. The dominance of realism was created by P.M. Tretyakov, impressionism and cubism - S.I. Schukin. And between them fit all the other shades of Moscow collecting.

Pavel Mikhailovich Tretyakov (1832-1898)

Konstantin Flavitsky. "Princess Tarakanova"

Mikhail Nesterov. "Vision to the youth Bartholomew"

Collection of P. M. Tretyakov. The works of I.I. Sokolova, M.P. Botkin, Filippov, Makarov and others

Owner of the Kostroma linen manufactory. He loved art from his youth, but was very worried because of the lack of education and therefore constantly read books, even in the carriage. At the age of 28, he decided to bequeath his capital to create a gallery of Russian art. For 42 years, he spent more than a million rubles on paintings, becoming, in fact, the main sponsor of the Wanderers. Gave the gallery to Moscow.

Introverted, hardworking, humble. He lived according to the plan: in the morning - an office, in the evening - a gallery. On holidays, after mass - workshops and antique shops. Before the exhibition, he traveled around all the artists, and when the Traveling Exhibition opened, he already had all the best. Always bargained and never paid money in advance. From the window of the office I watched the people entering the gallery, wondering what they were watching. He said that he collected for the people and wants to know their opinion. The people especially liked Perov, Vereshchagin, Shishkin, Makovsky, and, of course, Repin and Surikov. If not for Tretyakov, it is unlikely that critical realism would have acquired such weight and scope in Russian painting.

Genrikh Afanasyevich Brocard(1836-1903)

Rembrandt. Christ driving the money changers (merchants) out of the temple

Main hall of GUM

A French subject and the most successful Russian perfumer. The owner of the millionth fortune and the largest collection ever collected by a private person in Russia - more than five thousand items - from paintings to glass, porcelain and fans. He did not spend money on the construction of a special mansion, and, nevertheless, in 1891 he put his untold wealth on public display. It was a brilliant move: to show the collection not just anywhere, but in the newly opened super-modern Upper Trading Rows, the current GUM, at the same time arranging an advertisement for the Brokar brand. This technique will be repeated a hundred years later by the owner of the Arbat-prestige perfume chain - he will repeat it exactly, exhibiting the collection in his stores. Brokar's factory will be nationalized and named "New Dawn", and "the labyrinth of antiquities and artistic rarities" will disappear without a trace. Only the best things will end up in the Pushkin Museum on Volkhonka, including the rarest early Rembrandt. The owner of Arbat Prestige, Mr. Nekrasov, will also lose his business and end up on trial, but he will keep the collection.

Sergey Ivanovich Shchukin (1854-1936)

Interior of S. Shukin's mansion in B. Znamensky Lane, Picasso Hall

Interior of S. Shukin's mansion in B. Znamensky Lane, Renoir Hall

Christian Cornelius. Portrait of Sergei Schukin

The greatest collector of the twentieth century. He headed a company that controlled the production and marketing of textiles. He started collecting at the age of 40, got carried away and bought 256 Impressionist and Post-Impressionist paintings, which are now estimated at three billion dollars. In the 1890s he bought Monet and Renoir, in the 1900s Gauguin and Matisse, in the 1910s Derain and Picasso. He showed his collection with pleasure, himself leading tours of the mansion on Znamenka. He did not buy contemporary Russian artists, but he willingly let him into the mansion. The materialized result of Shchukin's enlightenment is the art of the first Russian avant-garde. Pupils of the School of Painting painted under Cezanne, “matissnic”, crushed the form a la Picasso... You leaf through the albums of Russian avant-garde artists of the early twentieth century and understand which of the paintings sunk into the soul of young Larionov and Goncharova, which - to Udaltsova and Konchalovsky. It is possible to establish with accuracy when each of them first appeared in the mansion on Znamenka and what and how he began to write after that.

In 1907, Shchukin bequeathed the collection to Moscow, and in 1926 he rewrote the will, and now the heirs are demanding the return of the paintings. In 1918 he emigrated and died in Paris, never returning to collecting.

Shchukin's paintings were taken out in 1928 from the mansion in B. Znamensky Lane and "merged" with the collection of I.A. Morozov to the single Museum of New Western Art. In 1948, the GMNZI was liquidated, and the collections were divided between Moscow and Leningrad. If it were possible to re-divide the collections and give St. Petersburg, say, the Shchukin Museum, and Moscow - Morozov, then historical justice would at least partially triumph. This is what the heirs want.

Ilya Semenovich Ostroukhov (1858-1929)

Icon "The Miracle of Flora and Lavra"

A rare example of an artist-collector. From merchants. He did not have his own business, he served with his father-in-law, Botkin, the main Russian tea and sugar merchant. I collected from my youth: first butterflies and bird eggs, then drawings. He was an artist by profession and a collector and museum builder by vocation. For fourteen years he directed the Tretyakov Brothers Gallery, trying to turn it into the National Museum of Russian Painting. In his own mansion in Trubnikovsky Lane, he created the Museum of Personal Taste. With incredible temperament, excitement and genuine passion, he bought French painting and Russian graphics, oriental bronze and antique glass, Chinese varnishes and Russian icons. By the way, it is he who is credited with the discovery of the artistic phenomenon of the Russian icon, in which, before Ostroukhov, completely different virtues were valued than the picturesque ones themselves.

After the revolution, he became the director of the Museum of Iconography and Painting of his own name, which, after his death, was instantly liquidated, “dispersed” to numerous museums.

Ivan Abramovich Morozov (1871-1921)

Painting by Valentin Serov

Paul Cezanne "The Banks of the Marne"

Mansion of Ivan Morozov. 1930

Collection of I. Morozov. Cezanne Hall

Head of the Partnership of Tver Manufactory, millionaire. He spent money on paintings with ease - in Paris he was called "a Russian who does not bargain." The French collection cost him 1,410,665 francs (40 francs per ruble in 1913). Unlike Shchukin, he also bought modern Russian painting, and in commercial quantities. All this wealth was exhibited in his palace on Prechistenka, where outsiders were not allowed. Although Morozov was an amateur, he "planned" his museum as an experienced curator. He knew exactly what kind of work he needed, and kept free space for such paintings on the walls. He listened to the opinions of others, trusted the artists: from the Russians - Serov, from the French - Maurice Denis, whom he invited to decorate the Music Hall in the mansion. Morozov fled Russia and died before reaching his fiftieth birthday in Karlsbad, where he came for treatment. Russian paintings ended up in the Tretyakov Gallery, but most of them disappeared; French ones hang in Pushkin and the Hermitage, and the house on Prechistenka is occupied by the Academy of Arts and Zurab Tsereteli himself.

Alexey Vikulovich Morozov (1857-1934)

House of Alexei Morozov

Interior of A. Morozov's mansion on Pokrovka

Kuzen I.A. Morozova, a bachelor and a dandy. He was not interested in anything other than collecting, and even ceded the leadership of the textile factory to his brother. He collected porcelain, miniatures, engravings, popular prints, icons, glass, crystal, silver, snuff boxes, wooden carved toys, fabrics and embroideries. The most valuable part of the collection, located in a huge mansion on Pokrovka, was a collection of porcelain - almost two and a half thousand items. Part of the grandiose collection perished when the anarchists seized the house in 1918, the other went to numerous museums. Even the collection of porcelain, thanks to which the Museum of Porcelain was created in Moscow, was lost in the multi-thousand funds of the Museum of Ceramics and the Kuskovo estate.

Petr Ivanovich Schukin (1853-1912)

Interior of the P. Schukin Museum of Russian Antiquities on Bolshaya Gruzinskaya

Pyotr Schukin's mansion

Co-owner of the company "Ivan Schukin with sons" and brother S.I. Schukin. He collected the Museum of Russian Antiquities, for which he built a whole complex of houses in the Russian style on Bolshaya Gruzinskaya. He was immensely stingy, but he did not spare money for the collection and all his life he hunted for all kinds of curiosities: Persian carpets, Chinese porcelain, Japanese screens, Indian bronzes, embroideries, fabrics, weapons, keys, samovars, fans, orders, medals, dishes and jewelry.

In 1905, a grandiose collection, numbering almost 40 thousand items, bequeathed to the Historical Museum. After the revolution, the Shchukin collection was dispersed among museums: the Museum of Oriental Arts took something, something the Tretyakov Gallery, something the Armory, and little things like silver, a collection of antique buttons, earrings and jewelry were kept by the Historical Museum. The fabulous tower in Georgians went to the Biological Museum. Timiryazev, propagandist of "biological and atheistic knowledge".

Alexey Alexandrovich Bakhrushin (1865-1929)

Interior of the Bakhrushin Theater Museum

From a family of the richest leather suppliers and cloth makers. He began to collect “on a bet”: he said that he would collect a collection in a month, and he was so carried away that he collected a whole museum, which included exclusively items related to the theater. They laughed at Bakhrushin that he was trembling over the button from the trousers of the artist Mochalov and Shchepkin's boots, and he collected and collected everything: posters, programs, posters, engravings, paintings and photographs. From the theatrical relics, the first Theater Museum in Europe was born, for which he built a mansion that resembled an English cottage from the time of Shakespeare. In 1913 he donated the museum to the Academy of Sciences. After the revolution, he worked in the museum of his name as a researcher.

Isaac Izrailevich Brodsky(1883-1939)

Alexander Laktionov. "Portrait of the artist I. Brodsky"

Isaac Brodsky. Portrait of Ilya Repin 1912

Isaac Brodsky. "Lenin on the background of Smolny"

Boris Kustodiev "Issak Brodsky"

Artist, from a family of a small merchant. He began his career as a painter before the revolution and successfully continued it under the Soviet regime, which he was kind to. He began to collect while studying at the Academy of Arts, when his teacher Ilya Repin, the most fashionable and expensive artist in Russia, presented him with several sketches. The main part of the collection was acquired in the 1920s and 1930s with royalties from an inexhaustible stream of government orders. He used his official position: being the head of the academy, he knew where and what to buy, and what to pick up just like that. Lived in the former count's apartments; 600 paintings by Surikov, Levitan, Serov, Korovin, Kustodiev, Vrubel, Golovin fit in this luxurious apartment. In the 1930s, nowhere, except at Brodsky's, was the work of Russian avant-garde artists to be seen. Then he was under investigation in the case of buying antiques. I was forced to write a will and unsubscribe the collection to the state. Now the Museum-apartment of I.I. Brodsky on Arts Square in St. Petersburg - the second largest collection of Russian painting after the collection of the Russian Museum - more than two thousand items.

UDK 94(470)18.../19...

Pavlova Maria Alexandrovna

Kostroma State University [email protected]

PRIVATE COLLECTING IN RUSSIA XVIII - EARLY XX CENTURIES

(historical and cultural aspect)

The personality of any person is formed under the influence of cultural and historical events of his era. Therefore, the collector's collection reflects the level of his education, culture, economy, artistic fashion of a particular era. In Russia XVIII - early XX century. the cultural and historical situation influenced the subject composition of the collections, manifested itself in a change in the class affiliation of collectors. If the first half of the XVIII century. in collecting is associated with the highest aristocratic strata of society and Western European art, then in the second half of this century, the freedoms given to the nobility expand the composition of collectors; Russia's military successes and an active interest in national history encourage collectors to collect items of ancient Russian history. The industrial upsurge introduces the merchant class and the raznochintsy intelligentsia among collectors, striving to open their collections for public presentation.

Key words: collection, Russia, Western Europe, noble estate, museum, collecting, reforms, culture.

The word collection comes from the Latin "soPesio" "gathering". There are a number of definitions of this term in the literature. In reference literature, a collection is defined as "a systematized collection of homogeneous objects of scientific, artistic, literary, etc. interest ...". Similar definitions can be found in many dictionaries and reference books. Most researchers agree that a collection is, first of all, a systematized collection, the objects of which are united according to some attribute. This is the main feature of the collecting process. Initially, collecting was very often based on the acquisition and use of objects of artistic value for a utilitarian purpose; they served as an indicator of the financial viability of the owner, but not the fact of the purposeful collection of a particular collection. This is especially characteristic of the first Russian collections, formed before the 18th century. Collecting, on the other hand, implies the exclusion of an object from the sphere of economic use and its preservation in this capacity as an object of cultural heritage.

The composition of private collections is subjective, it reflects the financial capabilities of the collector, his interests and passions. The personality of any person is formed under the influence of cultural and historical events of the era. Therefore, the collector's collection reflects not only the level of his education and upbringing, but also the economy, artistic fashion, political events of a particular era. At the initial stage of the development of private collecting in Russia, collections of a universal type were most common, and only over time, with the development of art markets in Russia and Western Europe, with an increase in the level of socio-cultural development of society and its self-identity.

The fications of the collection began to acquire a narrow focus. The cultural and historical context of the development of society also influenced the formation of stereotypes, norms and basic requirements for the arrangement of external and internal space, characterizing class affiliation, therefore, in different historical periods, different classes occupied leading positions in collecting activities.

The activities of Peter I opened Russia to Western European influence. Representatives of the nobility, wishing to have a privileged place at court and earn the favor of the sovereign, had to master the European way of life in practice: behavior and living conditions. Travels of Peter I, his acquaintance with the collections of Holland, Saxony and other countries marked the beginning of his collecting and gave impetus to the collecting activities of the courtiers. Citizens were guided by the personal collections of royal persons, since the imperial meetings were public, supported the image of the state and set fashion trends in collection fashion. At first, as a tribute to fashion, the highest nobility brought from abroad everything unusual and unusual for a Russian person (paintings, objects of oriental culture, marble sculptures, anatomical preparations, exotic animals), so the collections were formed quite diverse in terms of the subjects of the objects presented. Collecting works of painting and sculpture, which required large financial outlays, was available only to a narrow circle of the Russian aristocracy, so numismatic collections became more widespread. The monetary reform of Elena Glinskaya in 1535 abolished the coins of specific principalities. Therefore, the presence of "old money" made it possible to compile, starting from the 17th century, the first numismatic collections, subsequently replenished with items from archaeological

© Pavlova M.A., 2017

Bulletin of KSU No. 4. 2017

excavations, the acquisition of exhibits from Western European collections, Russian coins, the abolished reforms of Peter I. Having established the production of commemorative medals dedicated to military and civil historical events in Russia, the Emperor not only acquired another instrument of political influence on society, but also gave impetus to collecting Western European and Russian items of medal art.

Russia's openness to Western European influence, the journey of Russian nobles to Europe influenced the formation of the artistic tastes of collectors of private collections. The arrangement of European courts served for the Russian nobleman as an example of the organization of public and private life. In Russia, the desire to do “better than in Europe” led not only to the large-scale stone construction of palaces, country residences and estate complexes, the organization of gardens and parks, but also to the desire to organize private life in the “European manner”, to make it open and public, demonstrating a high social status and the degree of enlightenment of its owner. Manor collections became an important part of this public presentation. Items for such private collections were purchased personally - directly in Europe or through intermediary agents. The French Revolution of 1789 and unrest in other European countries saturated the art market in Europe and Russia with the works of old masters, providing an opportunity for active replenishment of private collections of the Russian nobility. Palaces and estates, country residences of the emperor and his entourage became a model for which the society was guided.

Thus, the eighteenth century gave rise to the widespread collecting activities of the Russian aristocracy. This process was directly related to the state reforms initiated by Peter I, the cultural influence of the countries of Western Europe and Russia's orientation towards borrowing the way of life of Western European aristocratic circles. The first private collections were formed by persons close to the imperial court, who had great financial resources and focused in their collecting activities on the imperial collections.

The second stage of the widespread collection activity is associated with noble estates, which not only had economic functions, but were also centers of the cultural development of the province. The heyday of estate construction falls on the second half of the 18th - the first half of the 19th century. It is determined by the idea of ​​the nobility as the backbone of the monarchy in the field, which led to the creation of conditions

conditions for the growth of their financial well-being due to the right to own land and peasants.

The Age of Enlightenment breathed new strength into the development of Russian estate culture. One of the ideals of this time was the image of an enlightened person, indulging in reading books and contemplating objects of art in the bosom of nature. The small local nobility sought to form the architectural and landscape gardening ensemble of the estate, to organize the interior space and the order of the inner life following the example of the metropolitan aristocracy. The fashion for music, theater, painting, knowledge of foreign languages ​​was introduced into the private life of the manor house. Collecting fit into this scheme as a way of intellectual leisure. The fashion for reading and the natural sciences served to form manor libraries, collections of rare plants, mineralogical rooms. During this period, collections are formed in which a wide variety of heterogeneous objects are presented, which corresponded to the ideals of the Enlightenment.

Portrait galleries became an obligatory part of the estate collection. Following the example of the gallery of Empress Anna Ioannovna, who sought to emphasize the legitimacy of being on the Russian throne, including through the creation in the 1730s. galleries with portraits of relatives, members of the royal family, the nobles in their portrait galleries proved the nobility of their kind. Manor collections, representing portraits of ancestors, friends, relatives, members of the imperial family, proved the ancient origin of the owner's family, served to strengthen his personal prestige. But not all representatives of the nobility could order portraits from Western European artists or famous Russian masters. Often the collections were replenished with portraits painted by serf artists. The same artists made copies of famous paintings for the collection of the owner, who did not have the financial means to acquire genuine works of European masters. As a result, "their own" artists and sculptors were brought up in the noble estates.

During the Age of Enlightenment, collections begin to open up to the public. People come not only to admire works of art, but classes are held here with students, scientists work. Often such collections become part of a well-thought-out decoration presented to the visitors of the estate as an object of special security and education of the owner. For example, at Prince Nikolai Borisovich Yusupov, a well-known collector who carried out orders from Catherine II to purchase items for her personal collection and the Hermitage, the Arkhangelskoye estate near Moscow resembled, rather, a

Bulletin of KSU No. 4. 2017

zey than a residential building. Even the layout of the palace, the color of the walls, and the arrangement of the interior were determined by the owner’s collection: this is how the Venetian Hall, the Robber’s Salon, the Antique Hall, etc. were arranged.

At the end of the 18th - beginning of the 19th century. in the countries of Western Europe and in Russia, an active interest in national history and culture is awakening. The subject composition of the collections was influenced by the Egyptian campaign of Napoleon in 1798-1801. and archaeological excavations of Greek colonies in the Northern Black Sea region. Ancient Egyptian and antique objects appear in private collections in Russia. Among Russian collectors, especially in Moscow, an active formation of collections of ancient Russian manuscripts began. The largest collection belonged to Count A.I. Musin-Pushkin. It is noteworthy that historians could work with the exhibits of this unique collection. Unfortunately, in the Moscow fire of 1812, the collection of Alexei Ivanovich perished. The victory of the Russian army in the Patriotic War of 1812-1814. stirred up patriotic sentiments in society, collections of weapons, caricatures, engravings, portraits of heroes are being formed. Collectors replenish their collections with artifacts of national history. Indicative in this respect is the family collection of the Counts Uvarovs, which began with objects of ancient art and paintings by European masters and was replenished in the first half of the 19th century. old manuscripts, icons and archaeological finds relating to Russian history. As a collection of objects of ancient Russian history, the most famous are the unique collections of Mikhail Petrovich Pogodin, a collector of written monuments and Russian antiquities, the founder of a publicly accessible private “ancient repository”, known not only in Russia, but also among European scientists.

The publication in 1818 of an eight-volume work by N.M. Karamzin "History of the Russian State". In the 1820s members of the circle N.P. Rumyantsev presented a project to create an all-Russian museum of antiquities to study and display items of national history, but the project was not implemented. The opening by Nicholas I in 1852 of the public museum New Hermitage on the basis of the imperial collections gave impetus to many collectors to donate their private collections to the name of the emperor. Thus, the famous collections of the diplomat D.P. were transferred from private collections to museums. Tatishchev, an expert on Russian history, P.F. Karabanova and others. Such charitable steps made it possible for collectors to receive a title or an order, so the transfer of a private collection to society was also an opportunity to move to the nobility or receive a state award.

In general, in the second half of the 18th - the first half of the 19th century. in Russia, the development of society contributes to the expansion of collecting activities and the class composition of collectors. The presence of rich antique markets, the political situation in Europe, the desire to meet the ideals of the Enlightenment contributed to the concentration in private collections of great art values ​​not only of Western European origin, but also of national culture and history. The ideas of the Enlightenment became a guide for collectors to present their private collections to a wide range of viewers for inspection, education and scientific study.

The third period of collecting in Russia is associated with the gradual loss of the nobility in the second half of the 19th century. dominating financial positions and the growth of the welfare of entrepreneurs of the new format, many of whom came from merchants and peasants. Representatives of the new class strive to take their rightful place in the socio-cultural life of Russia. Industrialists and merchants join the noble culture, master its values: they receive a high-level education, travel, join European culture, etc. Therefore, the process of hobby for collecting among the merchants and the raznochintsy intelligentsia acquires even greater scope during this period. The ruin of landowners' estates, the forced sale of family collections leads to a redistribution of artistic and historical values ​​among new collectors. Understanding the role of displaying Western European art for the development of the culture of their country, the new collectors collected not only works by old masters, but also paintings by contemporary artists. Often, giving preference to the works of contemporaries, collectors who did not have a professional education protected themselves from fakes and financially supported the development of contemporary art. (P.M. Tretyakov, S.I. Morozov, P.I. Shchukin and others). One of the main features of this period in the history of collecting in Russia is the beginning of the process of active collection of objects of folk culture. The search for an ideal world in the historical past (a process characteristic of the turn of the 19th-20th centuries) led the nobility to the era of the domination of aristocracy, and the merchant class to patriarchal people's Russia. It was the new collectors - industrialists, people from the merchant-peasant environment - who presented the world with the aesthetics of folk culture. For example, in the Abramtsevo estate of Savva Ivanovich Mamontov, a collection of household items is collected. Items from this collection are not only exhibited, but also serve as objects of study and models for artists.

and students of the Abramtsevo workshops of folk crafts, leading the work on the revival of art crafts and folk art in Russia. Thus, at the beginning of the XX century. a large number of collections are being formed, representing the cultural and historical past of Russia, folk culture.

In the same period, the process of gathering in the provincial cities of Russia is activated. The main task of collectors was not only to collect, but also to present their collections to the public (through the opening of museums, the introduction of objects into scientific circulation, the organization of scientific communities). In Pskov, Novgorod, Yaroslavl, Kostroma, Ivanovo Voznesensk and other cities, unique collections were formed that influenced the cultural development of the region.

During this period, active work was going on among collectors not only to replenish, but also to present their treasures to the general public. Professional collectors saw their service to society in creating conditions for acquaintance of the general population with the cultural achievements of different countries and historical eras. They printed catalogs of their collections, presented their collectibles for exhibitions, donated them to museums, educational and scientific institutions, founded private museums for public viewing. The largest private museums at the turn of the century were the museums of S.I. Schukina, A.P. Bakhrushina, I.S. Ostroukhov. The organization of private museums and their transfer to public use, donations of private collections to state museums played a large role in the acquisition of museum funds. Private collections became the basis of the largest museums (the Tretyakov Gallery, the Theater Museum of A.A. Bakhrushin) or entered as an integral part of already existing museums (private museums of P.I. Shchukin, A.P. Bakhrushin and other collections that enriched the collection of the Historical Museum in Moscow). In addition to donations, the funds of many museums in Russia at the turn of the 19th-20th centuries were replenished by acquiring collections or individual items from private collections. Some collectors preferred to sell their collections to museums, even if it was financially unprofitable for them. These actions were largely dictated by the desire to save their collection from further resale, and therefore, in its entirety, and, of course, collectors wanted to do something for the benefit of society in order to preserve their name in history.

Organization of exhibitions involving private collections, popularization of large collections on the pages of periodicals, publication of catalogs, organization of private museums, numerous

donations and sales of collections to museums all played a big role in preserving the cultural heritage and familiarizing society with the most valuable cultural monuments that were in private possession. The general trend for collecting activities in Russia in the second half of the 19th - early 20th centuries. became its mass character and a wide class composition of collectors.

The third period in the history of Russian collecting is characterized by the public presentation of private collections to the public. A new generation of collectors appears, oriented in their activities to collecting objects of folk culture. Collections of contemporary Russian and Western European artists appear. Descriptions of collections and articles about collectors are published in the periodical press. Specialized magazines were founded: "World of Arts" (1898-1905), "Old Years" (1907-1916), "Artistic Treasures of Russia" (1901-1907).

Thus, private collecting in Russia in the period under review appears on the wave of Europeanization, begins with the Petrine reforms and includes three stages. At the first stage (the first half of the 18th century), familiarization with Western European culture and orientation towards the life of the courts of European monarchs intensified private and state collecting of cultural and art objects. This stage of private collecting in Russia can be described as court, as the leading collectors were the imperial family and the court aristocracy. The next period (the second half of the 18th - the first half of the 19th centuries) is associated with the development of the estate culture. The nobility, guided by European models in public and private life, formed a new type of intellectual leisure activity, which is an indicator of status and class affiliation. In the second half of the XIX - early XX century. there is an expansion of the social circle of collectors, familiarization with the collecting activities of provincial cities. Throughout all three periods, we can observe in private collecting a reflection of the economic and political events that took place in Russia and Europe (wars, revolutions, the economic situation and the development of the arts). The cultural and historical context of the development of society also influenced the formation of stereotypes, norms and basic requirements for the arrangement of external and internal space, characterizing class affiliation, therefore, in different historical periods, different classes occupied leading positions in collecting activities.

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