Museums
Museums
Introduction
Art plays an important role in the life of a man and sometimes it is
next to impossible to live without it. It is natural that the first thing
that comes to my mind at the mention of the word ‘art’ is museums.
A museum is a stock of the world’s masterpieces, it is the place, where
you can enrich knowledge, you can look at the achievements of mankind, you
can satisfy your aesthetic taste. Museums give the possibility to be always
in touch with the past and every time discover something new for yourself.
Besides, museums play an important role in the life of any nation. A museum
is just the right place to find out lots of interesting things about
history, traditions and habits of different peoples. One may find in
museums papers, photos, books, scripts, works of art, personal things of
famous people etc. All this helps us to better understand historical
events, scientific discoveries, character and deeds of well-known
personalities.
I think museums somehow effect the formation of personality, his
outlook. Every educated person is sure to understand the great significance
of museums in our life, especially nowadays, when after the humdrum of
everyday life you may go to your favourite museum, relax there with your
body and soul and acquire inner harmony and balance.
I am a regular museum-goer. In fact I visited no less than 20 museums.
Among them: the Louver, the National Gallery, the Shakespeare House in
Stratford-on Avon, the Oxford story exhibition, Museum of Reading, Madam
Tussaud’s Exhibition ,the Tretyakov Gallery and others. We can hardly find
a town in our country without its «Fine Arts» Museum. I’ve been in
Voronezh, Kislovodsk, Essentuky and some other regional museums.
Now I want to write about the Tretyakov Gallery, Windsor Castle,
Westminster Abbey, Buckinngham Palace and Hermitage, about their history
and their collections.
The Hermitage
The State Hermitage in St. Petersburg ranks among the world’s most
outstanding art museums. It is the largest museum in Russia: nowadays its
vast and varied collections take up four buildings; its rooms if stretched
in one line would measure many miles in total length, while they cover an
area of 94240 square meters. Over 300 rooms are open to the public and
contain a rich selection from the museum’s collections numbering about
2500000 items. The earliest exhibits Date from 500000-300000B.C., the
latest are modern works.
The collections possessed by the museum are distributed among its seven
departments and form over forty permanent exhibitions. A common feature,
characterising these exhibitions is the arrangement of items (all of them
originals) according to countries and schools in a strictly chronological
order, with a view to illustrating almost every stage of human culture and
every great art epoch from the prehistoric times to the 20th century.
Fabulous treasures are gathered in the Museum. It contains a rare
collection of specimens of Soythian culture and art; objects of great
aesthetic and historical value found in the burial mounds of the Altai; a
most complete representation of exhibits characterising Russian culture and
art. The Oriental collections of the Museum, ranking among the richest in
the world, give an idea of the culture and art of the people of the Near
and the Far East; India, China, Byzantium and Iran, are best represented;
remarkable materials illustrative of the culture and art of the peoples
inhabiting the Caucasus and Central Asia, also from part of the collections
of the Department. The Museum numbers among its treasures monuments of
ancient Greece and Rome and those from the Greek settlements on the North
coast of the Black Sea.
World famous is the collection of West-European paintings, covering a
span of about seven hundred years, from the 13th to the 20th century, and
comprising works by Leonardo da Vinci, Raphael, Titian, El Greco,
Velazquez, Murillo; outstanding paintings by Rembrandt, Van Dyck, Rubens; a
remarkable group of French eighteenth century canvases, and Impressionist
and Post Impressionist paintings. The collection illustrates the art of
Italy, Spain, Holland, Belgium, Germany, France, Britain, Sweden, Denmark,
Finland and some other countries. The West European Department of the
Museum also includes a fine collection of European sculpture, containing
works by Michelangelo, Canova, Falkonet, Houdon, Rodin and many other
eminent masters; a marvellous collection of prints and drawings, numbering
about 600 000 items; arms and armour; one of the world most outstanding
collections of applied art, rich in tapestries, furniture, lace, ivories,
porcelain metalwork, bronzes, silver, jewellery and enamels. An important
part among the museum possessions is taken by the numismatic collection,
which numbers over 1 000 000 items and is regarded as one of the largest in
the world. A permanent exhibition of coins, orders and medals is open on
the 2nd floor, rooms 398-400. There are auxiliary displays of coins forming
part of exhibitions in other departments as well. A temporary exhibition of
West-European medals is on view in the Raphael Loggias (1st floor, room
227).
The seven departments of the museum, i.e. the Department of Russian
Culture, Primitive culture, Culture and Art of the peoples of the Soviet
East, Culture and Art of the Foreign Countries of the East, Culture and Art
of the Antique World, West-European Art, Numismatics, together with the
Education Department, the Conservation Department and the Library determine
the administrative and academic structure of the museum.
Within the past few decades the Hermitage has become one of the
country’s most important centres of art study with a research staff of
about 200 historians carrying out a vast program of research on art
problems, and responsible for the preservation of the museum treasures,
their conservation and restoration, and also for the scientific
popularisation of art. The results of this varied work are published in the
form of books, articles, periodicals, pamphlets, etc.
Since 1949 a post-graduate school has been functioning at the
Hermitage, specialists in art working here at their theses.
An important aspect of the Museum’s research activities is the work of
the annual archaeological expeditions organised by the Museum either
independently or in co-operation with other Soviet scientific
institutions. The most notable among them are: the Kazmir-Blur expedition
making excavations of the city of Taishebaini dating from the 7th century
B.C and situated on the Kazmir-Blur hill near Erevan; the Chersonese and
Nymphaeum expeditions working on the sites of the ancient Greek towns
in the Crimea, the Tadjik, Altai, Pskov and some other expeditions.The
material discovered by them is of exceptional value, for not only does it
throw fresh light on the problems of the history of the art and
culture, but it also serves to enrich the Hermitage collections.
Most helpful in the Museum’s research work is the Hermitage Library
which contains about 400 000 books, pamphlets, periodicals, and is one
of the largest among the art libraries in Russia. It was started in the
18th century and contains works on all branches of fine and applied arts.
In addition to the Central Library each Department has at its disposal
a subsidiary library of special literature. Of these, the library of the
Hermitage exchanges books with a number of Russian and foreign
museums. It is open to every student of art.
All these are but a few aspects of the varied work carried out by the
Museum and constantly achieving still greater scope and a few forms,
meeting the growing cultural demands of the Russian people.
THE MAKING OF THE COLLECTION
Although visited now by thousands of people the Museum
traditionally retains the old name of the Hermitage attached to it in the
1760’s and meaning «a hermit’s dwelling», or «a solitary place». The name
is due to the fact that the Hermitage was founded as a palace museum
accessible only to the nearest of the near to the court.
A number of objects of which but a small part was later incorporated in the
museum’s collections were acquired in different countries by Peter I. These
were antique statues Marine landscapes, land a collection of Siberian
ancient gold buckles. However, the foundation of the Hermitage is usually
dated to the year 1764 when a collection of 225 pictures was bought by
Catherine II from the Prussian merchant Gotzkowsky.
A feature characteristic of the 18th century accusations was the purchase
of large groups of paintings, sometimes of complete galleries, bought
en blok at the sales in Western Europe.Count Bruhl’s collection
acquired in Dresden in 1769, the Gallery of Crozat, bought in Paris in
1772 and the gallery of Lord Walpole acquired in London in 1779 were
the most prominent among the acquisitions made in the 18th century.
Together with numerous purchases of individual pictures, they supplied
the museum with most outstanding canvases of the European school
,including those by Rembraandt,Rubens,Van Dyck and other eminent
artists, and made the Hermitage rank among the finest art galleries of
Europe. Works , commissioned by the Russian court from European painters
also enriched the Picture gallery.By 1785 the Museum numbered 2658
paintings. Prints and drawings, cameos, coins and medals were likewise
represented at the Hermitage.
The acquisition of complete collections and of individual works of
art was continued in the 19th century but on a more modest scale than
during the previous period. Among the most notable acquisitions of the
19th century were: Mathew Malmaison Gallery of the Empress Josephine
bought in 1814; the collection of the English banker Coesvelt consisting
mainly of Spanish paintings, purchased in Amsterdam the same year; as well
as the paintings from the Barrbarigo Palace inVenice which gave the Museum
its best Titians.
As to the individual works of art, the acquisition in 1865 of
Leonardo da Vince’s «Madonna Litta»fromthe Duce of Litta collection and
the purchase of Raphael’s «Virgin and Child» from the Conestebite family
in 1870, were important landmarks in the growth of the treasures of the
Hermitage.
In 1885 the Hermitage received an important collection of objects
of applied art of the 12th – 26th centuries, gathered by Basilevsky; ,
together with the Armoury transferred from Tsarskoe Selo, notably
enriched the Museum with a new type of material
The first decade of the 20th century witnessed the acquisition
of a magnificent collection including 730 canvases by the Dutch and
Flemish artists, which had been in the possession of the eminent Russian
scientist Semenov-Tienshansky. Another most important acquisition was
Leonardo da Vinci’s «Madonna and Child» purchased in 1914 from the family
of the architect L.Benois.
The Great October Revolution created highly favourable conditions
for the further growth of the Museum collections and their systematic
study. Since October 1917, due to the care taken by Soviet Government for
the preservation of art treasures, the Museum was enriched with a great
number of first-class works of art. Among these were the best pictures
chosen by the Hermitage the nationalised private collections such as
those formerly owned by the Yussupovs, the Shuvalovs, the Stroganovs;
paintings transferred from the imperial palaces; art treasures, acquired
by exchange from other museums within the country.
The policy of planned distribution of art treasures among the
museums carried out by the state, enabled the Hermitage not only to fill
up many gaps and deficiencies by adding to its picture gallery Italian
paintings of the 13th-15th centuries, works of the Netherlandish school,
and of the French school of the 19th and 20th centuries but to form a
museum free from private taste , and made it possible to arrange the
collections systematically. The accumulation of materials which had not
been represented in the museum in the pre-Revolutionary period ,led to the
formation of new departments: the department of the history of culture and
art of the primitive society, of the culture and art of the peoples of the
East, and that of the history of Russian culture.
He immense growth of the collections made it necessary to extend the exhibition
space This is why the building of the Winter Palace was placed at the
disposal of the Hermitage, the name «The State Hermitage» being now
applied to the whole great museum thus formed.
BRITISH SCHOOL
The Hermitage is one of the very few on the Continent which contains
a special section for English pictures.
Portraiture, landscape painting and satire art in which England
excelled , are represented by a number of first-class paintings and
prints executed by the most outstanding artists of British School, mainly
of the 18th century. A number of 17th-19th century works are on show too.
There are also some notable specimens of applied art, among which is a fine
group of objects in silver and Wedgwood potteryware . English paintings of
the 17th century are extremely rare outside England.The Hermitage
possesses several works of this period. These are: the Portrait of Oliver
Cromwell by Robert Walker, two portraits by Peter Lely, of which the
«Portrait of a Woman» reveals the artist’s sense of colour to great
advantage; also the «Portrait of Grinling Gibbons» by Godfrey Kneller, to
name only the most outstanding canvases.
The collection has no paintings by William Hogarth, but some of his
prints selected from a large and representative collection possessed by
the Museum are usually on show.
Joshua Reynolds is represented by four canvases all painted in
the 1780-s.
An interesting example of his late work is the «Infant Hercules strangling
the Serpents», which is an allegory of the youthful Russia vanquishing her
enemies. The picture was commissioned from Reynolds by Catherine II, and
was brought to Russia
in 1789. In 1891 two other canvases were sent by Reynolds to Russia. One
was the «Continence of Scepic Africanus» , which , as well as the
«Infant Hercules», reveals Reynolds’s conception of the grand style in
art. The other was «Venus and Cupid»; presumably representing Lady
Hamilton .This is one of the versions of the piñture entitled «The Snake
in the Grass», owned by the National Gallery, London
Reynolds’s «Girl at a window» is a copy with slight modifications,
from Rembrandt’s canvas bearing the same title, and owned by the Dulwich
Gallery. It may be regarded as an example of Reynolds’s study of the «old
masters’» works.
A fair idea of the British artists’ achievements in the field of
portrait painting can be gained from the canvases by George Romney Thomas
Gainsborough, John Opie, Henry Rdeburn, John Hoppner and John Russell, all
marked by a vividness of expression and brilliance of execution typical of
the British School of portrait painting in the days when it had achieved a
national tradition. Highly important is Gainsborough’s superb «Portrait of
the Duchess of Beaufort» painted in a loose and most effective manner
characteristic of his art in the late 1770’s. For charm of expression and
brilliance of execution, it ranks among the masterpieces of the Museum.The
«Tron Forge» by Joseph Wright of Derby is an interesting example of a new
subject in English18th century art: the theme of labour and industry, which
merged in the days of the Industrial Revolution.
The few paintings of importance belonging to the British school of the
19th century include a landscape ascribed to John Constable; the «Boats at
a shore» by Richard Parkers Bonington; the «Portrait of an old woman» by
David Wilki, three portraits by Thomas Lawrence and portraits by George
Daive, of which the unfinished «Portrait of the Admiral Shishkov» is the
most impressive.
The collection was largely formed at the beginning of the 20th
century, a great part of it deriving from the Khitrovo collection
bequeathed to the Museum in 1916.
THE TRETYAKOV GALLERY
The Tretyakov Gallery , founded by Pavel Mikhailovich Tretyakov (1832-
1989), a Moscow merchant and art patron, is a national treasury of Russian
pre-revolutionary and Russian art.
The Gallery’s centenary was widely celebrated throughout Russia in
May 1956. Tretyakov spent his life collecting the works of Russian painters
which reflected the spirit and ideas of all progressive intellectual of
his day. He began his collection in 1856 with the purchase of
«Temptation» (1856) by N.Shilder and «Finnish Smugglers» (1853) by
V.Khudyakov. These paintings are on permanent exhibition. In order that
his collection better reflect the centuries-old traditions of Russian art
he acquired works of various epochs and also began a collection of antique
icons. Tretyakov was one of the few people of his time who realised the
great intrinsic value of ancient Russian art. He was on friendly terms
with many progressive , democratic Russian painters, frequenting their
studious, taking an active interest in their work, often suggesting themes
for new paintings, and helping them financially. His collection grew
rapidly; by 1872 a special building was erected to house it.
Tretyakov was aware of the national importance of his vast collection
of Russian art and presented it to the city of Moscow in 1892, thus
establishing the first museum in Russia. An excerpt from his will reads:
« Desirous of facilitating the establishment in my beloved city of useful
institutions aimed at promoting the development of art in Russia, and in
order to hand down to succeeding generations the collection I have amassed
I hereby bequeath my entire picture gallery and the works of art contained therein, as well as my half of the house, to the Moscow City Duma. By
special decree of the Soviet Government, Issued on June 3 1918 and signed
by V.I. Lenin, the Gallery was designated one of the most important
educational establishments of the country. It was also decreed that the
name of its founder be retained in honour of Tretyakov’s great services to
Russian culture.
The Gallerie’s collection has grown considerably in the years since
the Revolution. In 1893 it consisted of 1805 works of art, but by 1956 the
number had increased to 35276.The early Russian Art department and the
collections of sculpture and drawings were considerably enlarged, and an
entirely new department- Soviet Art- was created. By a Government decision
of 1956, a new house is to be built for the Gallery within the next few
years.
At present, the more interesting and distinctive works, tracing the
development of Russian art through nearly ten centuries, are exhibit in
the Gallery’s 54 halls.
BUCKINGHAM PALACE
Buckingham palace is the official London residence of Her Majesty The
Queen and as such is one of the best known and most potent symbols of the
British monarchy. Yet it has been a royal residence for only just over two
hundred and thirty years and a palace for much less; and its name, known
the world over, is owed not to a monarch but to an English Duke.
Buckingham House was built for John, first Duke of Buckingham, between
1702 and 1705. It was sold to the Crown in 1762. Surprisingly, since it was
a large house in a commanding position, it was never intended to be the
principal residence of the monarch.
Although King George III modernised and enlarged the house considerably
in the 1760s and 17770s, the transformations that give the building its
present palatial character were carried out for King George IY by Nash in
the 1820s, by Edward Blore for King William IY and Queen Victoria in
the 1830s and 40s, and by James Pennethoooorne in the 1850s.
In the reign of King Edward YII, much of the present white and gold
decoration was substituted for the richly coloured 19th century schemes of
Nash and Blore; and in the 1920s, Queen Mary used the firm of White Allom
to redecorate a number of rooms.
The rooms open to visitors are used principally for official
entertainment .These include Receptions and State Banquets, and it is on
such occasions, when the rooms are filled with flowers and thronged with
formally dressed guests and liveried servants, that the Palace is seen
at its most splendid and imposing. But of course the Palace is also far
more than just the London home of the Royal Family and a place of lavish
entertainment. It has become the administrative centre of the monarchy
where, among a multitude of engagements, Her Majesty receives foreign
Heads of State, Commonwealth leaders and representatives of the Diplomatic
Corps and conducts Investitures, and where the majority of the Royal
Houshold, consisting of six main Departments and a staff of about three
hundred people, have their offices.
THE QUEEN’S HOUSE
The Duke of Buckingham’s house, which George III purchased in 1762,
was designed by the architect William Winde, possibly with the advice of
John Talman, in 1702.
The new house, a handsome brick and stone mansion crowned with
statuary and joined by colonnades to outlying wings, looked eastward
down the Mall and westwards over the splendid canal and formal gardens,
laid out for the Duke by Henry Wise partly on the site of the royal
Mulberry Garden. This garden had been part of an ill-fated attempt by
James I to introduce a silk industry to rival that of France by planting
thousands of mulberry trees.
The building and its setting were well suited to the dignity of the
Duke, a former Lord Chamberlain and suitor of Princess Anne, and of his
wife, an illegitimate daughter of James II, whose eccentricity and
delusions of grandeur earned her the nickname of «Princess Buckingham».
The principal rooms, then as now, were on the first floor. They were
reached by a magnificent staircase with ironwork by Jean Tijou and
walls painted by Louis Laguerre with the story of Dido and Aeneas.
Under the architectural direction of Sir William Chambers and over
the following twelve years The Queen’s House was gradually modernised
and enlarged to provide accommodation for the King and Queen and their
children, as well as their growing collection of books, pictures and
works of art.
QUEEN VICTORIA’S PALACE
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