Statue of Catherine 2 French sculptor. Sculpture of Italy in Russia under Catherine II the Great

Statue of Empress Catherine the Second by the outstanding Russian sculptor A. M. Opekushin (1838-1923). Made of Carrara marble (height 260 cm and weighing more than 3 tons).

History of creation

In 1785, Empress Catherine the Second signed a very important document - "Letter of Letters for the Rights and Benefits of the Cities of the Russian Empire", thanks to which the cities received the right to self-government. 100 years after this event, the Moscow City Duma decided to commemorate this event by erecting a monument to the Empress on the square in front of the new Duma building. In 1885, a competition was announced for the best design of the monument. Mayor N.A. Alekseev and some members of the Duma put forward a proposal to get the creation of a monument to Mark Matveyevich Antokolsky. The sculptor, widely known by that time, was at that moment in Paris, but he was ready to come to Russia to work on the monument. For some unknown reason, the final decision in favor of Antokolsky was delayed. Only in 1888 did the sculptor begin work. By mid-December of the same year, he sent a model of the monument to Moscow, and a month later it was reviewed at a meeting of the Duma. The work received positive reviews, including from Emperor Alexander III. Despite this, permission to make a monument did not come. As a result, in 1890, the Duma was forced to refuse the services of Antokolsky, due to the rejection of the technical and construction committee of the Ministry of Internal Affairs of this model: "the proportions of the figure are unsuccessful and the general contour of the entire monument is not elegant."

In 1891 the question of the monument was raised again. This time the work was entrusted to the sculptor Alexander Mikhailovich Opekushin, who was well known as the author of the monument to A.S. Pushkin in Moscow. In March 1893, Opekushen presented his model of the monument for consideration by the Duma, which was highly appreciated by a specially invited connoisseur of art, Savva Ivanovich Mamontov. During the negotiations, it was decided to solemnly open the monument to the 100th anniversary of the death of Catherine the Great.

For 21 years, the statue of the Empress adorned the meeting room of the Duma. After the revolution, the marble statue was sent to the storerooms of the Museum of Fine Arts. A.S. Pushkin as a working material. In the 1930s, they wanted to use it to make marble busts of Karl Marx, V.I. Lenin and I.V. Stalin. The statue was doomed to perish. The director of the museum, sculptor Sergei Merkulov, saved her. In 1952, he secretly sent it to his friend, the chief architect of Yerevan, Mark Grigoryan. He assigned the statue to the national art gallery, where it stood for more than 30 years in the museum courtyard in a blue niche.

During a visit to Armenia in 2003 by Moscow Mayor Yuri Luzhkov, a decision was made to return the statue. In the same year, the marble empress flew to the capital on a special flight of the Ministry of Emergency Situations. It was not possible to install it in the Moscow Duma, the statue turned out to be too large for a modern building. The sculpture was temporarily placed in the Tretyakov Gallery, where for several years the restorers Olga Vladimirovna Vasilievna and Vladimir Ilyich Cheremikhin restored its original appearance. And in 2006, the monument was sent to "Tsaritsyno", where he received a permanent residence permit. The statue was placed in the main hall, which was soon named Catherine's.

Monument to Catherine II

Memory monumental

arts (fed.)

1863-1873 - arch. Grimm David Ivanovich - pedestal, general layout

Hood. Mikeshin Mikhail Osipovich -

Sk. Opekushin Alexander Mikhailovich - 9 statues on a pedestal

Sk. Chizhov Matvey Afanasyevich - the figure of Catherine II

Arch. Shroeter Viktor Alexandrovich

Back in the early 60s, academician of sculpture Mikeshin proposed to the Sovereign Emperor a project for a monument to Empress Catherine II, for staging in St. Petersburg. This project, however, did not please the Sovereign and was sent for consideration to the Imperial Academy of Arts, which, after listening to the conclusion of D. I. [Grimm], drew attention to the lack of due monumentality in the project and pointed out the need for its complete revision. The second project, revised by ac. Mikeshin, and re-introduced to the Academy of Arts, suffered the same fate. Then, already in the 70s, the Sovereign Emperor Alexander II instructed D.I. to draw up, together with Academician Mikeshin, a new project. This last one was approved by the Highest and immediately accepted for execution. In 1872, a monument to Empress Catherine, erected on the consequently named Catherine Square in St. Petersburg, was solemnly consecrated and D.I., as a sign of special royal approval, received the rank of Privy Councilor.

<…>work on the construction of a monument to Empress Catherine II in St. Petersburg until 1871 was carried out according to a project approved by the Highest on February 4, 1865. On December 24, 1870 and on February 15, 1871, the Highest Commands followed, according to which the design of the monument changed, namely: according to the first Highest Command, the slope of the bowstrings and steps was increased by three inches, according to the second, the base and cornice were expanded by six inches and increased pedestal volume. The latter is due to the need to place around the pedestal, in addition to seven statues determined according to the project of 1864, two more - Count Orlov-Chesmensky and Chichagov. Moreover, on July 6 of the current year, the Highest Command was ordered to build a square around the monument and arrange a sidewalk near it, and surround the monument with pedestals, connecting them with bronze chains, and put four candelabra. As a result, the cost of building the monument increased against the originally calculated amount (241,740 rubles) by 215,156 rubles. 85 k., thus amounting to 456.896 rubles. 85 k. For work on the construction of the monument, 327.428 rubles were allotted until 1872 inclusive. 67 k. Now the remaining 134.468 rubles are requested for appropriation for 1873. 18 k. (Moscow Ved.)

"Architect", 1872, Issue. 12, p. 195

Let us now turn to an extensive article by the closest assistant of D. I. Grimm - Nikolai Maximilianovich Bikhele:

Construction of a monument to Empress Catherine II

<…>As you know, in 1860 the Academy of Arts announced a competition [on the centenary of the accession to the throne of Empress Catherine II] to compose a project for a monument to Empress Catherine II, scheduled for staging in Tsarskoe Selo; by a certain date, the projects of the years were submitted for competition. professors: Jensen and von Bock, academicians: Shtrom, Zaleman and Mennert and the artist G. Mikeshin. The last project was approved by the experts of the Academy of Arts, and in 1862 the Sovereign Emperor deigned to honor the artist Mikeshin with an order for a monument to Catherine II, according to the model presented by him in 1861 for the competition. Almost at the same time, in one of the meetings of the St. Petersburg City Duma, the question of building a monument to Empress Catherine II in the Alexandrinsky Square belonging to the capital was sympathetically accepted, and the thought expressed the desire that the image of the actual Privy Councilor Betsky be placed on the pedestal of the monument; the former Governor-General, Prince of Italy, Count Suvorov-Rymniksky supported this idea, and the petition of the Duma, on May 29, 1863, was awarded the highest approval. Based on the location chosen for the erection of the monument in St. Petersburg, Mr. Mikeshin drew up a new sketch of the monument, with details in the style of the time of Louis XVI; This sketch was presented to the Sovereign Emperor in September 1863, along with a review of it by the rector of the Academy of Arts, Privy Councilor Ton, who found it necessary to change the height of the monument proposed by Mr. Mikeshin and reduce the bronze pedestal in the lower part by ⅓ against the drawing, through which the figure of the Empress would get a more majestic look. By the highest order, the artist Mikeshin in November 1863 redid the drawing, but this sketch was not approved by the Council of the Academy of Arts either; Finally, in August 1864, a new project of the monument was made, which His Majesty deigned to inspect on August 19, 1865, and on February 4, 1865, this project was awarded the highest approval. Following that, the Ministry of Communications provided Mr. Mikeshin with the execution of only the artistic part of the monument, that is, the production of clay and plaster models in real size.

The construction of the monument was supposed to be carried out in three years, starting from 1866, but as until 1869 the State Council refused to allocate funds for the execution of the monument, the work was limited to the manufacture of part of the plaster models in the studio of the artist Mikeshin. Then, according to the allocation of funds, work began on the construction of the monument. The general management of the production of works on the construction of the monument, with the exception of the sculptural works entrusted to Mr. Mikeshin, was entrusted, with the permission of the Sovereign Emperor, to Professor of Architecture D. I. Grimm; on the part of the Ministry of Railways, an engineer, a real state councilor, Lesnikov, was appointed an inspector of works, and after his retirement (in June 1870), an engineer, state councilor Stremoukhov, was appointed.<…>

I. Construction of the foundation and granite pedestal.

The builder of the monument was forwarded the original design drawings and an estimate for them; Professor Grimm, starting to consider the project from the constructive side, could not ignore the following necessary corrections and additions, which are very important for the monumental structure, namely:

a) Piles must be driven under the foundation.

b) According to the project, it was appointed to clad the rubble of the foundation below the surface of the earth with granite, which is not only unnecessary, but also harmful<…>.

f) The internal laying of the monument is made of slab backfill on lime mortar; there is no doubt that the internal rubble masonry, with all the desire to connect it firmly with granite facing, cannot present the strength that should be expected from a completely homogeneous material, and the inevitable settling of masonry from small stones can have a harmful effect on the entire structure: and therefore the builder proposed to build the entire monument entirely of granite stones, so as to avoid, if possible, the use of brackets, pyrons and other metal fasteners.

f) According to the project, the pedestal under the figure of the empress is to be made of a pillar of red granite, with a square base, with a Kyiv labrador cladding on the outside; not finding here a sufficient guarantee in the strength of the labrador facing of granite stone, the builder found it more appropriate to abolish the use of labrador altogether, and to make the pillar itself of dark gray granite.

g) Under the sidewalk around the monument, it was also necessary to lay a rubble foundation and make the sidewalk itself<…>from granite.

With these changes and additions, the amount of 241,740 rubles originally calculated for all three categories of work increased by 53,342 rubles.

On July 5, 1869, work began on the construction of the monument: the removal of trees and bushes, the excavation of the earth began.<…>

Upon reaching the proper depth of excavation, namely 4½ ars., began to drive piles.

The sole of the foundation under the monument and the sidewalk is a circle,<…>sole area is 57.3 square meters. soot; 293 pine piles are driven on this surface<…>.

After driving the piles and leveling their tops under the spirit level, the soil loosened on the surface was taken out between them and the compaction of the entire sole was started by driving between the piles on the edge of the delivered rubble slab<…>.

After checking the horizontalness of the entire artificial sole, rubble laying of the foundation has begun<…>.

For the entire pedestal, including the pedestal, red, light and dark gray granite 72,260 pounds was used,<…>all bronze figures and other parts and decorations weigh 2,815 pounds. Consequently, the weight of the entire monument is 200.222 poods.<…>.

The laying of the foundation was carried out so successfully that by October 23, 1869, that is, by the day originally appointed for the solemn laying of the monument, everything was prepared and for the laying itself in the foundation, the place necessary for the ceremony was left unfinished; the day appointed, however, was postponed for almost a month, i.e., on November 24 [on this day, according to the church calendar, St. Granite was used for the foundation stone, in which a nest was hollowed out to place a bronze ark with medals and coins: this ark was made at the Kohun factory, according to the drawings of Professor D. I. Grimm. In addition to gold, silver and copper coins, the following 8 medals were invested in it: the reign of Empress Catherine, for the accession to the throne of Catherine II, gold, and bronze: for the annexation of Crimea and Taman to Russia, for the entry of Georgia into Russian citizenship and for the return Russian regions from Poland; reign of Emperor Alexander II - for the coronation of the Sovereign Emperor, gold, and bronze: for the opening of the Millennium Monument, in memory of the liberation of peasants from serfdom and as a reward to the troops for the conquest of the Western Caucasus. The Sovereign Emperor, having locked the ark, handed over the key to it to Count Bobrinsky and personally lowered the box into the place prepared for it, which was covered with a bronze board attached to a marble slab. On this board is the inscription:

“In the summer of the Nativity of Christ 1869, the fifteenth reign of the Emperor of All Russia Alexander II, His Majesty laid this main stone of the monument to Empress Catherine II on the 24th day of the month of November.

When he was correcting the post of Minister of Railways, the retinue of His Majesty Major General Count Bobrinsky, and the drafter of the artist Mikeshin.

On top of this board, 32 bricks are laid in one row, specially prepared for this object from sandstone; after laying them by the Sovereign Emperor, members of the August Family and other persons, a covering granite stone was pulled over, placed on pyrons and filled with lead - this is the only stone in the entire monument, reinforced with pyrons.

A Byzantine silver dish with a relief cypher of Empress Catherine II, a silver spatula and a hammer with engraved cyphers were taken from Sazikov; from walnut masonry box (workbench) and bowls, with bronze hoops and embossed bronze monograms, made by carpenter Schutz; in general, all objects used during the laying, such as an iron spade, an iron sword, an oak tub, a towel, etc., were decorated with the monogram image of the Empress.

With the onset of winter, a temporary roof was erected over the entire foundation.<…>

The whole pedestal is composed of a solid mass of granite stones delivered from Finland, Vyborg province, Serdobolsk district, from the islands of Lake Ladoga, namely: red granite, used for the lower part, from breaking on the island of Putsala [now Putsaari], belonging to the Valaam Monastery, gray the granite used for the middle part of the monument, i.e. for the base and the cornice above it, was delivered from the island of Jannitsar [Janisari], which belongs to local residents, and finally, dark gray granite was delivered for the pillar, from the island of Syuskesalomi [Sneskesalmi], which is the property Valaam monastery.

Delivery of stones to St. Petersburg was carried out from Lake Ladoga by water, on ships specially adapted for transporting large stones. The main unloading was carried out on the Palace Embankment, between the house of His Imperial Highness Prince Peter Georgievich of Oldenburg and the Summer Garden, and from there the stones were dragged along the Swan Canal, along the Tsaritsyn Meadow, through the Inzhenerny Bridge and along Bolshaya Sadovaya Street to the place of work, using a specially arranged portable iron roads.<…>Another pier for unloading was located near the monument to Peter I, on the embankment near the pumping station: it was intended to unload small stones, each weighing no more than 500 pounds, since the transportation of stones to the place of work through the Police Bridge could be allowed only on the condition that the transported the load did not exceed 500 pounds.<…>

Of the granite stones used in the construction of the monument, the red granite from the breaks of Putsala represents a completely different structure than the Piterlak granite, usually and almost exclusively used in St. Petersburg; it is true that the lining of Putsala granite is a little more difficult, but on the other hand its surface withstands the highest polishing.<…>

The light gray stone represents a completely homogeneous mass, and although here in St. Petersburg we are accustomed to seeing Serdobol granite only as gray, nevertheless, the location of the break sometimes gives the stone a distinctive feature, for example: the stone from the Yanitsar break in its structure has like a fibrous structure, it has, so to speak, an end, which is clearly seen from the finished sample, where both the lobar fibers and their ends are visible<…>.

The dark gray granite from Syuskesalomi breaking in its uniformity in all respects, that is, both in color and in mass, deserves attention, and although it is inferior in strength to red granite in its structure, nevertheless, its hardness is not much yields to Janitsa.<…>

As already mentioned, the pedestal of the monument is made of three colors of granite stones: the base is made of red Putsala granite, consisting of 4 bowstrings arranged crosswise at right angles, and between them there are 4 steps in height, on the top platform of the stairs there is a plinth, above it is made of light of gray granite with broken Yanitsar base with a fillet and a cornice above it. The transition from this cornice to a pedestal at a height up to the bench, as if completely lined with bronze on the outside, is made of red granite: then the pedestal above the bench and the foot of the statue of the empress are made of dark gray granite from Syuskesalomi lomok.<…>

The entire granite masonry of the monument, including the granite pavement around it, with 26 pedestals, was carried out in a tent erected in the early spring of 1870.<…>.

II. Artistic models.

According to the project approved by the Highest on February 4, 1865, the monument to Catherine II was to consist of a colossal figure of the Empress and the figures of her associates: Prince Potemkin, Count Rumyantsev, Prince Suvorov, Princess Dashkova, Derzhavin, Prince Bezborodko and Betsky, four brackets, a cornice, a front shield with a monogram and a crown and a cartouche with an inscription on the back side; Subsequently, namely in 1869, it was appointed on the sides of the pedestal, where there are two free places, to place two small medallions: Orlov-Chesmensky and Chichagov, in bronze frames.

The artist Mikeshin was given the execution of models in clay and plaster. By 1869 he had made statues of the Empress, Derzhavin and Dashkova; as they were made, they were witnessed by the light of the Academy of Arts. In March of the same year, he again made models of statues: Field Marshals Prince Suvorov and Count Rumyantsev; in February 1870, a clay model of Prince Potemkin was completed.

His Highness, a friend of the President of the Academy, reported to His Majesty about the examination by the light of the Academy of Arts in clay of the statue of Potemkin made in clay, to which the Sovereign Emperor deigned to respond that, when presenting another bronze model of this monument, His Majesty drew attention to Potemkin's pose and at the same time, finding her too familiar, personally ordered Mikeshin to change it, and then His Majesty ordered to immediately begin to remake the aforementioned figure. The remaining figures - Bezborodko and Betsky - were completed much later. From the artist's studio, all models were transported to the Nichols and Plinke factory.<…>. The finished plaster model was examined by the Sovereign Emperor on February 15, 1871 and, in accordance with the opinion of the Council of the Academy and in addition to it, the Highest Command deigned:

1) the inscription designed for the monument should be placed from the front face on the plinth, below the statue of Count Rumyantsev and Prince Potemkin;

2) from the back face, instead of a large medallion, in which it was supposed to make an inscription, place two statues - Count Orlov-Chesmensky and Chichagov, while side medallions with images of the latter should be completely removed;

3) throw the folds of the porphyry more harmoniously and in accordance with the elasticity of the matter usually used for porphyries;

4) to bring the ornamental decoration of the monument into more one character, decent for the monument;

5) expand, as far as possible, the base of the monument and, accordingly, move apart all the lower figures somewhat;

6) carefully check the proportions of each statue relative to others and correct all errors in this regard, and especially pay attention to the body of Prince Suvorov;

7) replace the pillow under the foot of Prince Potemkin with some military attribute;

8) reduce the hat of Count Rumyantsev in proportion to his head;

9) straighten the statue of Derzhavin, too arched back, in accordance with the two new statues.

To fulfill the 4th paragraph of the Highest Command, His Highness, Comrade of the President of the Academy of Arts, instructed professors: A.I. Rezanov, D.I. Grimm, A.I. Krakau, R.A. Gedike and K.K. this case and present your opinion.

gg. professors, having examined the drawing and the small model of the monument approved by the Highest, came to the following conclusion: that the cornices, brackets, cartouches, etc., were made on the drawing and in the small model with full knowledge of the matter and can be considered quite satisfactory, with the following minor corrections:

1) to give more height to the upper cornice above the main figure and decorate it in the style of Louis XVI;

2) the lower part of the cartouche with the monogram of the Empress to give a more strict form, corresponding to the time of Louis XVI;

3) the upper part of the brackets separating the groups of figures should be somewhat broadened, in accordance with the upper bracing;

4) pay attention to a smoother transition at the joints of the brackets with the cornices, while maintaining the above-mentioned style.

When comparing all these parts with a real-size model, it turned out:

1) that the architectural parts, neither in character, nor in form, nor in ornamentation, nor in size, do not agree with the Highest approved project and small model;

2) that all parts, somehow: cornices, brackets, cartouches, are not executed with due care.

As a result of the foregoing, it follows: to redo all the mentioned parts of the large model, in accordance with the Highest approved small model and the comments made on it.

The artist Mikeshin dealt exclusively with the correction of plaster statues, while the Minister of Communications entrusted the execution of the architectural and ornamental parts of the monument to Academician Schreter, according to a sketch made by him on the instructions of the Council of the Academy of Arts. Upon completion of all these works, on May 12, 1872, they were again examined by His Highness the Comrade of the President and members of the Council of the Academy, and on June 14, 1872, the models of the monument were examined by the Sovereign Emperor, after which they began to mold the model for bronze casting.

III. Casting and installation of bronzes.

The casting and installation of the bronze parts of the monument to Catherine II was undertaken, according to the contract, by R. Ya. Kokhun, the Nichols and Plinke firm.

Having accepted from the treasury the plaster models of the monument installed at his factory, Mr. Kohun began to mold, but having examined the models from the point of view of the breeder, he could not ignore some, apparently insignificant, awkwardness in the models, which, however, , would give the bronze an unfinished look; so for example the fur edge of the porphyry was so sketchy that when looking at the part of the edge taken off for molding, one had to guess that this should depict fur, the only sign of which was the tails characteristic of the ermine. The wigs and hair on all the figures were also not completely finished, as well as the sewing on the uniforms, the eagles on the purple, and in general the little things that are not evident at first sight.<…>. And so the work began to boil: in a few days the models were cleaned properly, all the small errors were corrected and they started cutting them for molding, which began with the main figure.

The statue of the empress is divided and molded for casting as follows: head, upper body, both arms almost from the elbows; then the middle part of the torso, legs with a foot and, finally, a train. By cutting all other figures, they were separated into such parts that would simplify molding and would not make it difficult to subsequently assemble and set up statues.<…>

... bronze work was so successful that within 9 months, namely: by June 1873, all parts were not only cast, but assembled and installed in a prefabricated workshop, where they, before being sent to the construction site, were examined by the Sovereign Emperor.

The bronzes dismantled for transportation to the place of construction of the monument were weighed.<…>

In total [the weight of the bronze parts was] 2650 pounds. 33 pounds.<…>

With the installation of the statue of the Empress, the height of the entire monument is 6 fathoms. 2 arsh.

<…>It took a little more than two and a half months to install all the bronze parts of the monument and to finally clean them from dust.

At the monument, against four bowstrings, according to the project of Professor D. I. Grimm, four bronze candelabra are arranged on granite plinths, each with four lanterns, in the style of the times of Louis XVI. The base of these chandeliers consists of rubble masonry, in which cast-iron pyramidal bases are embedded; the height of granite socles is 10 inches, the height of the candelabra with a lantern is 9 ars. 12 inches; the bronze weight of each candelabra is 111 pounds. 16 lb.

The cost of building a monument is 456,896 rubles.<…>

According to the highest approved ceremonial, the grand opening of the monument was scheduled for November 24, 1873.<…>

In memory of the solemn opening of the monument to Catherine II, a medal and a token were knocked out. The drawing of the medal was made by Academician M. O. Mikeshin, the front side was cut by the medalist A. Semenov, the reverse side was cut by P. Meshcheryakov.

N. M. Bikhele.

"Architect", 1874, Issue. 7, pp. 83-90

November 24 in St. Petersburg was followed by the opening of the monument, built in memory of the deeds of Catherine the Great.

The celebration of the opening took place with the usual, on occasion, rites, in the presence of the Sovereign Emperor and persons of the August family. Good weather favored the celebration; in the evening the city was luxuriously illuminated and decorated with banners and flags; Nevsky Prospekt and Bolshaya Morskaya Street, flooded with the light of gas and sparklers, represented a vast avenue occupied by masses of pedestrians and carriages.

In front of the City Duma building, a massive crown placed on a lamppost, studded with colored glass over a wire skeleton, attracted attention; the burning gas hidden within the crown poured light over the glass; light rays, refracted in faceted beads, produced thousands of brilliant sparks, spectacularly flickering on the crown, due to the fluctuation of the gas flame.

Burning on the building of St. Isaac's Cathedral, in the corners, the gas did not produce the expected effect.

The monument of Catherine II was illuminated by means of four devices (in the form of pipes), reflecting the light of the flame of a special combustible composition onto the surface of the monument. There was a lot of soot and smoke, but there was no effect. The light turned out to be weak, did not reach the top of the central figure, and the pedestal found itself in semi-darkness.

By the way, we note that the iron grating, which surrounded the lawns around the monument, was completely broken - you can see where it is thin, it is torn there ....

"Architect", 1873, Issue. 10-11, p. 126

<…>At the sight of the monument, the first impression is quite pleasant, and it would be even more pleasant if its lower part, which occupies half of the entire height, was of more interest. The general shape is reminiscent of the monument to the Millennium of Russia, by the same author. The same round shape at the base, the same division, only instead of Vera and Russia - the figure of Catherine II, and the eras of Russian history are replaced by nine figures depicting famous figures of that time.

The Empress is depicted in porphyry, falling in wide, rich folds, covering behind a part of the pedestal: a scepter is put into her right hand, somewhat advanced and bent, and a laurel wreath half-hidden by folds of porphyry is put into her left, calmly lowered. The movement of the figure is indefinite, so to speak, dual. If we consider the statue en face - it stands; from the outside - it either flies or falls, as the movement of the legs is hidden under the folds of clothing. This duality harms the character of the statue: there is not that calm grandeur that the viewer expects to see in the image of the great Empress. The idea of ​​a laurel wreath in the hand is also incomprehensible; it would have significance on the forehead of the great Empress, but in the hand it has none.

On the front side of the monument, below the statue of Catherine II, the viewer sees a group of three famous field marshals: Prince Potemkin in the middle, on the right side of his Count Rumyantsev, on the left - Suvorov Rymniksky. The Prince of Tauride is depicted seated in the ceremonial court dress of that time, with his head thrown back, facing Prince Suvorov. Rumyantsev-Zadunaisky, also in a sitting position, leaned forward and apparently listened to Potemkin's conversation with Suvorov, who stands with his right knee leaning against the bracket, with his left hand leaning on a naked sword. The posture of Count Suvorov is very uncomfortable, and the viewer is surprised by the naked sword in the group of field marshals talking peacefully. Incomparably better conceived is a group of two figures: Bezborodko and Betsky, placed in the monument from the side of the Public Library. The motive lies in the mutual discussion of the plan of the orphanage, one of the charitable institutions of Catherine II. There is a lot of life in the group: Betskoy holds the plan on his knees and explains to Count Bezborodko its location.

From the side of the Anichkov Palace, next to Count Rumyantsev, a young lady is seen sitting coquettishly, with her head bowed and with a book on her knees. This statue is very attractive, but it is hardly possible to recognize in it the character of the energetic president of the Academy of Sciences, Countess Dashkova. Standing next to her in a heroic, partly theatrical pose is the famous poet Derzhavin, with a sheet of poems in his hand. In our opinion, both statues would have been closer to the truth if the artist had depicted the poet Derzhavin more modestly and given more energy to the image of Countess Dashkova. On the side of the Alexandrinsky Theatre, near the plume of porphyry, there are two figures depicting famous admirals: Count Orlov-Chesmensky and Chichagov. Both figures are seated; Orlov - with a naked sword in his hand, Chichagov - with a marine spotting scope. The statues of the associates of Catherine II are disproportionate, at least the statue of the standing Count Suvorov is slightly higher than the seated Prince Potemkin. If such a difference in height is historically correct, then the artist personifying them in the monument should have avoided such disharmony. We also find the place reserved for the nine figures ungrateful. Due to the nature of the place, the figures had to be depicted with their legs bent under the seat, which may be natural, but inelegant. Whether it was possible to avoid this and how - we will not talk about it.

The monument was composed by academician M. O. Mikeshin; the shortcomings indicated by us prove that the author of the monument, with all his talent, is not flawless in his writings. He still composes monuments, like everyday scenes. His drawings are very good, elegant, full of taste; but for a monument in the square, all this is not enough. Here it is necessary to carefully consider each movement, to express the character of historical figures, and Mr. Mikeshin, with his talent, is able to accomplish this if he seriously develops his abilities and is not carried away by success.

Models of statues are made with great taste and knowledge, according to the drawings of M. O. Mikeshin, by academicians of sculpture M. L. Chizhov and A. M. Opekushin.

In any case, the monument to Catherine is still one of the best monuments we have in St. Petersburg, and the area near the Alexandrinsky Theater and along Nevsky Prospekt, from the construction of the monument, the laying out of the square, the staging of candelabra, etc., has greatly benefited. It is decided not to recognize what was here before, and how beautifully the buildings of the Alexandrinsky Theater and the Public Library stood out. Now it remains to wait for construction on the same area of ​​​​empty places.

"Architect", 1873, Issue. 12, p. 143

Later, already in 1879, D. I. [Grimm] proposed a new breakdown of the terrain plan, that is, the sector, near the monument itself, distributing in it a number of statues and busts of the empress's associates; but, due to unfavorable circumstances in this case, I had to abandon this grateful idea.

"Architect", 1898, Issue. 11, p. 83

In growth should have been depicted: Count N. I. Panin, Admiral G. A. Spiridov, writer D. I. Fonvizin, Prosecutor General of the Senate Prince A. A. Vyazemsky, Field Marshal Prince N. V. Repnin and General A. I. Bibikov, former chairman of the Commission on the code. In the busts are the publisher and journalist N. I. Novikov, the traveler P. S. Pallas, the playwright A. P. Sumarokov, the historians I. N. Boltin and Prince M. M. Shcherbatov, the artists D. G. Levitsky and V. L. Borovikovsky, architect A. F. Kokorinov, favorite of Catherine II Count G. G. Orlov, admirals F. F. Ushakov, S. K. Greig, A. I. Cruz, military leaders: Count Z. G. Chernyshev, Prince V M. Dolgorukov-Krymsky, Count I. E. Ferzen, Count V. A. Zubov; Moscow Governor-General Prince M.N. Volkonsky, Governor of Novgorod Count Ya.E. Sievers, diplomat Ya.I. Bulgakov, pacifier of the “plague riot” of 1771 in Moscow P.D. Panin and I. I. Mikhelson, the hero of the capture of the fortress Ochakov I. I. Meller-Zakomelsky.

Derzhavin.

Chichagov - Orlov.

All photos - 02.11.2013

The monument to Catherine II is included in the list of objects of historical and cultural heritage of federal (all-Russian) significance, located in St. Petersburg, as a monument of monumental art. (Decree of the Government of the Russian Federation No. 527 of 10.07.2001)

And the building of the Public Library. The idea to erect a monument to Catherine II first arose in the first years of her reign. However, the empress herself was against this.

The reason for the implementation of such an idea was the 100th anniversary of the accession to the throne of the Empress, in 1862. Then a competition was announced for the design of the monument, which they originally wanted to install in Tsarskoye Selo, in the courtyard of the Tsarskoye Selo Palace. The winner of the competition was the sculptor Mikhail Mikeshin. He made a model of the monument to Catherine II in the rococo style, which received a medal of honor at the World Exhibition in London.

In April 1863, the "Joint Commissions on the Benefits and Needs of the Public", all estate departments of the City Duma and personally Baron Frederiks raised the issue of erecting a monument to Catherine the Great on Alexandrinsky Square, next to the building of the Public Library, "whose institution belongs to the late Empress" .

The project had to be redone for the new location. Based on a new drawing by Mikeshin, master Sokolov cast his model in 1/16 scale. This model was later kept in the Grotto pavilion in Tsarskoye Selo. The general idea in the new project remained the same. The Empress is located on a high pedestal, around which her confidants are seated. The personal wish of Baron Frederiks was:

"so that on the pedestal was placed the image of the real Privy Councilor Betsky, as the main collaborator of the Great Catherine on the organization of institutions of educational and philanthropic institutions and according to the project of which ... the Most Merciful Charter, unappreciated in its beneficial consequences, followed for the rights and benefits of the cities of the Russian Empire" [Cit. according to: 1, p. 141].

As a result, next to the empress, the sculptor placed nine persons who are in their thematic groups: P. A. Rumyantsev-Zadunaisky, G. A. Potemkin and V. A. Suvorov, G. R. Derzhavin and E. R. Dashkova, A A. Bezborodko and I. I. Betskoy, V. Ya. Chichagov and A. G. Orlov-Chesmensky. On the front facade of the monument to Catherine II there is a board with attributes of sciences, arts, agriculture, military, land and sea affairs. On the book, which is among these attributes, the word "law" and the phrase "To Empress Catherine II in the reign of Emperor Alexander II, 1873" are written.

The architect D. I. Grimm was appointed the head of all work on the creation of a monument to Catherine II. In addition to him and the sculptor Mikeshin, sculptors A. M. Opekushin and M. A. Chizhov, architect V. A. Shreter took part in the work.

The breaking of granite in Finland and the foundation of the monument began in 1869. All connections were made with lugs and sockets, without the use of nails, screws or iron bands.

"On the lower part of the pedestal of the pedestal, putsalo lomok granite was used, the base and cornice were made of gray granite from Janisari lomok, and on the pedestal - dark gray granite from Sneskesalmi lomok..." [Cit. according to: 1, p. 142].

When preparing the foundation, 1,200 eight-meter piles were driven into the ground. A foundation stone was laid on them with an ark inserted into it, created according to a drawing by Grimm, with samples of gold and silver coins, medals from the reign of Catherine II, Paul I, Alexander I, Nicholas I and Alexander II. A board with the name of V. A. Bobrinsky, who was then the chief manager of the communications lines and was present at the laying, was also laid under the foundation.

Granite for the monument to Catherine II was delivered from the Karelian Isthmus to St. Petersburg by water, unloaded on the embankment near the Summer Garden. Further, the stone was transported by a special portable railroad, manufactured at the San Galli plant. The figures for the pedestal were cast at the Kohun foundry (Nichols & Plinke firm). The pedestal is made up of over 600 pieces of granite. The cost of building the monument was 316,000 rubles, and together with the manufacture of commemorative medals, the organization of the opening ceremony and the reconstruction of Alexandrinsky Square - 456,896 rubles.

The opening of the monument took place on November 24, 1873. It was accompanied by a military parade and fireworks. After the opening ceremony, tables were laid in the Public Library to honor the authors of the monument.

Almost 20 years after the installation of the monument, damage was found in its base. The need for restoration was discussed at the beginning of the 1890s, but it was not carried out even on the 200th anniversary of the founding of St. Petersburg (by 1903). Only in June 1904, the City Council commissioned the repair of the monument to a certain Barinov. The lanterns surrounding the monument were repaired by the Werfel company, which completed work on November 3. By July 1, 1905, the monument to Catherine II was surrounded by a low iron fence, as reported by the architect Bobrov.

According to the monument to Ekaterina, the square in front of the theater is commonly called "Ekaterininsky", or simply "Katkin's Garden".

The sculpture of Catherine II by Opekushin is not just a historical monument, but

political sign - this is one of the wonderful female images in Russian culture

Cpasted statue of Catherine II returned to Moscow

January 24, 2006. Sergey KHACHATUROV, Vremya Novostei . On Monday, in the main hall of the Tretyakov Gallery, Moscow Mayor Yuri Luzhkov accepted as a gift a “marble grandmother” sculpture of Empress Catherine, which was presented to the capital by the Republic of Armenia. The ceremony was attended by the Ambassador of Armenia to Russia, Mr. Smbatyan. The Year of Armenia in Russia began so nicely. The anniversary year of the Tretyakov Gallery began so nicely and the priorities of the Moscow mayor in the monumental propaganda of the capital were outlined.

The history of the statue is very curious, it resembles the mystical, described in detail by Nathan Eidelman, the adventures of the “copper grandmother”, the statue of Catherine II, who invaded the family history of the Goncharov family and the biography of Alexander Sergeyevich Pushkin himself with the royal will.

It is already symbolic that two "monumental" stories, Pushkin's and Catherine's, are united by the name of the sculptor Alexander Opekushin. He immortalized both heroes. Cast on public money in 1880, the monument to Pushkin is still the most beloved and revered, he makes appointments, hold demonstrations and read poetry. But with Opekushinsky Catherine, made of one and a half human height (260 cm) from Carrara marble six years later than Pushkin (on the centenary of the death of the Empress), the problem came out.

That is, they were going to do exactly the same with her that Alexander Sergeyevich himself

wanted to do with his "copper grandmother" languishing in the cellars of the Goncharov estate– a statue of Empress Catherine the Great cast in German bronze. The poet, at the instigation of the bride's grandfather, was going to please the copper merchants and sell the illustrious grandmother for remelting.

So, after the revolution, they wanted to saw the Opekushinsky Katerina, who had decorated the hall of the City Duma since 1895, into pieces and make forty (!) Busts of Karl Marx out of them. And no wonder, because the City Duma has turned into the Museum of the leader of the proletariat!

In an absolutely fantastic way, the sculpture escaped the fate of other Opekushinsky creations in honor of the Romanov family tree: the monument to Emperor Alexander II, which he created for the Kremlin, and the monument to Alexander III, erected near the Cathedral of Christ the Savior, were destroyed in 1918-1919.

An excellent sculptor Sergey Merkurov stood up for Catherine the Great. Taking advantage of the high position of director of the Pushkin Museum, Merkurov prevented an act of vandalism, hid the statue and kept it in his studio for some time. And in 1952 he sent it to the Art Gallery of Armenia, where the “marble grandmother” stayed for half a century. In 2003, she was transported to Moscow by plane of the Ministry of Emergency Situations. Long and carefully restored. They returned the lost crown and the scepter knocked out of their hands. And now they were presented to the public and solemnly handed over to Moscow.

The action itself fits perfectly into the ideology of the monumental propaganda of Moscow Mayor Yuri Luzhkov. Let us recall how in recent years the capital has been transformed in its yearning for the sovereign past. They erect monuments to the kings. The Tsaritsyno Palace is being completed as something like a "reception house of the Moscow mayor's office", and it will be decorated with magnificent decorations on the theme of "the apotheosis of the reign of Empress Catherine the Great."

All noble court painters of the mayor will be involved– from Mikhail Posokhin, who was already “improving” the 18th century, to historical painters of the class of the Glazunov Academy. And there is a premonition that in the Tretyakov Gallery the “marble grandmother” will not stay for a long time. They will send her, dear, to serve at the new "Tsaritsyno" court.

Five best monuments to Empress Catherine II in Russia

1. During the life of the Empress, she was immortalized more than once by the best sculptors in Europe. Wealthy noble families considered it their duty to install the figure of the Empress in the specially built pavilions of the family park. The Empress seemed to always visit them and patronize them. However, the best of the lifetime monuments that appeared in Russia was created by Fedot Shubin in 1789– 1790 for the Potemkin Tauride Palace (Catherine is depicted as a Legislator; now a sculpture in the Russian Museum).

2. Another great monument to the Empress during her lifetime was ordered by Prince Potemkin in 1787 in Berlin to the German sculptors Meyer brothers in honor of the laying of the alleged new third capital of Russia, the city of Yekaterinoslav (now Ukrainian Dnepropetrovsk). However, Potemkin died, the capital did not happen. No one bought the monument from Berlin until the merchant Afanasy Goncharov, Natalya Goncharova's grandfather, looked after it and bought it there.

From that moment on, the mysterious story of the “copper grandmother” began. A huge bronze block with the image of the Empress in a Roman military armor and toga was brought to the Kaluga estate of the Goncharovs Linen Factory. There she lay in the dungeon for a long time. Then grandfather Athanasius, in order to give money as a dowry to his granddaughter– Pushkin's fiancee, unsuccessfully tried to sell her for melting down (forcing the future son-in-law to write a letter to the chief of gendarmes Benckendorff with a request to allow the image of the monarchine to be melted down).

Then Pushkin himself wanted not to melt down, but simply to sell the statue to Tsarskoye Selo (where there was no monument to Catherine) and pay off the debts of the “grandmother”. Like another grandmother from The Queen of Spades, Katerina tempted everyone with some kind of money, everyone participated in family affairs, everything was an obsession ... The most mysterious– Pushkin was doomed to toil with this statue all his life. The case didn't move. Only after the death of the poet, the statue was bought in Yekaterinoslavl. However, historical justice did not triumph for long. After the revolution, the statue was sent from the central square to the museum. During the Great Patriotic War, the Germans took it out. Traces of her are lost...

3. The third monument is associated with the same "copper grandmother". The fact is that at the request of the Minister of the Court, Prince Volkonsky, the monument from the Linen Factory was inspected by the rector of the Academy of Arts, sculptor Ivan Martos with three professors. Purpose: to find out how valuable the statue is in order to buy it from Pushkin and exhibit it publicly. Martos liked the statue. And he himself, by the way, back in 1812 decorated the ancient capital, Moscow, with the bronze “persona” of Catherine II. And it was the first gigantic monument to the empress in the ancient city, in the hall of the Moscow Nobility Assembly.

4. The most famous monument to Catherine is located on Ostrovsky Square in front of the Alexandrinsky Theater in St. Petersburg. This is already monumental propaganda of the new time (the date of discovery of the sculpture is 1873). The Empress in a stately pose stands on a high granite pedestal. At the foot– prominent people of Catherine's kingdom: Suvorov, Rumyantsev, Derzhavin, Betskoy, Dashkova, Orlov, Bezborodko, Potemkin, Chichagov. The author of the monument M.O. Mikeshin. Architect D.I. Grimm. The statue of Catherine was made according to the model of M.A. Chizhov, but nine courtiers were created by Alexander Opekushin, so this monument, in turn, is associated with the fifth monument.

5. The Opekushinsky statue just presented is rightfully one of the best monuments in honor of the most serene monarch.

Sculpture of Catherine II in temporary storage at the Tretyakov Gallery

25.01.2006 | Museums of Russia The Tretyakov Gallery handed over the sculpture of Catherine II by A. M. Opekushin from the Republic of Armenia as a gift to the city of Moscow.

This event was held by the Tretyakov Gallery, because the sculpture was received by the museum in 2003 for restoration. The sculpture was made by the famous sculptor Alexander Mikhailovich Opekushin. The creative heritage of the master is mainly known from the monument to A. S. Pushkin in Moscow.

Monuments to Alexander I and Alexander II Guardians were destroyed. Sculpture of Catherine II was created in 1892-1896 to be installed in the building of the City Duma. There she was exhibited in the Catherine Hall until 1917. After the revolutionary events, the sculpture was dismantled, it was expected by the fate of many monuments that did not meet the new political conditions. The sculpture was not destroyed, as it consists of valuable marble, it was intended for sawing, to create monuments to new political figures.

But experienced museum staff literally saved the sculpture by sending it away from Moscow - to Armenia. For a long time the sculpture was kept on the street until it was transferred to the Art Gallery in Yerevan. The sculpture is made of magnificent marble, but due to unskilled transportation, due to non-observance of proper storage conditions, it has losses.

She was sent to Moscow for restoration. The sculpture, packed in a special way, traveled in a wooden box-sarcophagus with sand. The weight of the work of art is 3 tons, and together with the packaging it is twice as heavy. Any manipulation of the sculpture is extremely complex. The restorers of the Tretyakov Gallery and the I. Grabar Restoration Center restored the missing details according to the documents.

It took a lot of time to remove the molds from the sculpture. But now, if some museum wishes to have a plaster copy of it or a bronze casting, it is possible. As a sign of friendly relations between Armenia and Russia, it was decided to donate the sculpture to the city of Moscow. Since the sculpture was created for Moscow and is of great importance for the Russian cultural heritage.

Everyone is concerned about the question, in what place in Moscow will the sculpture be exhibited permanently? Of course, the Tretyakov Gallery would love to have such a wonderful piece of Russian sculptural art in its collection. Museum staff say moving the sculpture is undesirable.

Director of the Tretyakov Gallery Valentin Alekseevich Rodionov noted that in the anniversary year, in the year of the 150th anniversary of the museum, the sculpture will be exhibited here and, of course, will attract great attention of the audience. Yuri Mikhailovich Luzhkov said that after the reconstruction of the Catherine Palace in the Tsaritsyno Museum, the sculpture would be transferred to the museum, where a special hall is expected.

There is another question: are gifts expected for Armenia in return? Representatives of Armenia noted that the sculpture is a gift from the heart, which does not require a reciprocal step. It turns out that the solution of political issues can have positive results for domestic art. Sculpture of Catherine II Opekushin's work is not just a historical monument, a political sign - it is one of the most remarkable female images in Russian sculpture (N. Tregub).

The monument to Catherine the Great is rightfully considered one of the most famous monuments of St. Petersburg. The empress, imprinted in granite, majestically looks at her subjects from a height, and her favorites sit humbly at her feet - people who determined the policy of that time, weaved intrigues, lost and gained power...

The history of the creation of the monument

The idea to immortalize the empress in stone arose in the first years of her reign (Catherine II came to power in 1762 and ruled the Russian Empire until her death in 1796), but the empress herself then categorically rejected this plan. However, her merits were appreciated not only by her own subjects, but also by her successors. So, Emperor Alexander II (the one who abolished serfdom in Russia and received the prefix "liberator" for this) ordered a competition to be announced for the best design of a monument to Catherine. They wanted to install the monument in Tsarskoye Selo, and entrust the project to the artist Mikeshin. As a result, the monument, based on the artist's model, was cast in bronze, safely went to an exhibition in London, where he was awarded honors and a medal.

In 1863, Prince Suvorov (grandson of the famous Russian commander) personally approached Emperor Alexander II in order to erect a monument in front of the Alexandrinsky Theater. Mikeshin significantly changed the design, which was already little like the previous model. About a year later, work on the manufacture of the model was completed. Permission was received "from above", and then the monument, finally, began to be erected.

The architect David Grimm was in charge of the construction work. Granite for the pedestal was delivered by water: it went along a rather bizarre route - from the Karelian Isthmus to the Neva embankment near the Summer Garden and from there to the right place by rail. Not only the monument to the Empress itself was created: in parallel with this, the square adjacent to the monument was also equipped.

In general, construction took a little more than 10 years and lasted from 1862 to 1873. The opening day of the monument was not chosen by chance: a solemn, surprisingly magnificent ceremony took place on the day of St. Catherine, at the same time the name day of Empress Catherine the Great herself was celebrated - November 24 (December 6), 1873. On a city scale, it was a real celebration: a solemn parade passed through the streets, fireworks thundered, and luxurious tables were laid in the National Library in order to properly honor the authors of the monument and those who took part in this grandiose construction.

More than 300,000 rubles were spent from the state treasury to create the monument, but in the long run it turned out to be a truly profitable investment: even many years after the opening of the monument, thousands of residents and guests of the city come with admiration to look at one of the most prominent monuments of Old Petersburg.

In memory of the first "Tsarskoye Selo project", a monument was erected in Tsarskoye Selo, similar to the one on Ostrovsky Square - about 1/16 the size of that one.

According to some sources, in the 1930s, the government of Soviet Leningrad intended to demolish the monument, replacing it with a statue of Vladimir Lenin. Instead of nine favorites of Catherine, respectively, it was planned to place members of the Politburo on the pedestal. However, these plans remained just plans, and the monument stoically survived even the siege of Leningrad. In the mid-1960s, the local granite Suvorov lost his sword, which then had to be restored.

The composition of the monument is as follows: Catherine, dressed in an ermine robe, clutches in her hands a symbol of power - a scepter and a symbol of triumph - a laurel wreath, and at her feet is the crown of the Russian Empire. Strict and calm, Catherine silently gazes at the city from a height of almost four and a half meters, and at the foot sit those who owed her their high position at court and left an important place in the history of the Russian Empire. In total, there are nine figures among the members of the "Catherine's circle" ...

Grigory Potemkin-Tauride - the founder of Dnepropetrovsk, Sevastopol and Nikolaev, according to rumors, was the secret spouse of Catherine the Great.

Alexander Suvorov is the greatest Russian commander who glorified Russia in triumphant military campaigns.

Gavriil Derzhavin - Russian poet and statesman who took part in the suppression of the uprising of Emelyan Pugachev.

Ekaterina Dashkova is one of Catherine the Great's close associates, her friend, who, in particular, took part in the coup of 1762, which allowed Catherine to ascend the Russian throne.

Alexander Bezborodko is a Russian statesman who initiated the partition of Poland.

Ivan Betskoy - Secretary of the Empress and President of the Imperial Academy of Arts.

Aleksey Orlov-Chesmensky is a prominent Russian figure and commander, who received a prefix to his surname for his triumphant participation in the Battle of Chesme.

Catherine's favorites are surrounded by various attributes of military affairs, arts, sciences, and agriculture. Among all this is a large book on which the word "law" is displayed and the inscription "To Empress Catherine II in the reign of Emperor Alexander II, 1873" is made. So Alexander honored the merits of the Empress before subsequent generations.