The most interesting thing in the Russian museum. Russian Museum: how to get there, prices, excursions, halls, paintings. Paintings in the Russian Museum

Painting second half of the 19th century century - early 21st century

Among the paintings transferred to the Russian Museum at the time of its foundation, noticeable and significant in artistically Some of them consisted of works by leading masters of the second half of the 19th century. (I.K. Aivazovsky, V.M. Vasnetsov, K.E. Makovsky, I.E. Repin, V.D. Polenov, V.I. Surikov). Despite the fact that the selection of paintings for the museum in the first two decades of its existence was somewhat limited by the conservative tastes of the Council of the Academy of Arts, the range of paintings represented in the collection was constantly expanding. This is a huge merit of the museum staff, such as Albert Benoit and Alexander Benois, I.E.Grabar, P.I.Neradovsky and others. Important steps were taken to complete the collection of paintings contemporary artists. Individual paintings and entire groups of works came from the exhibitions of I.I. Levitan (in 1901 - posthumous), V.V. Vereshchagin (in 1905 - posthumous), Ya.F. Tsionglinsky (in 1914 - posthumous) , Mobile Associations art exhibitions(S.Yu. Zhukovsky, N.A. Kasatkin, I.I. Levitan, V.E. Makovsky), New Society of Artists (B.M. Kustodiev, N.M. Fokina), from the authors (A.Ya. Golovin, V.A. Serov, M.V. Nesterov), from random owners (“Meal” by V.G. Perov, “Portrait of O.K. Orlova” by V.A. Serov, etc.).

A notable contribution to the collection of paintings were the sketches of M.A. Vrubel and paintings by K.A. Somov from the extensive collection of V.N. Argutinsky-Dolgorukov, which were transferred to the museum in 1918. Soon the museum received N.I.’s collection for storage. and E.M. Tereshchenko, consisting mainly of works by artists late XIX- beginning of the 20th century (including “The Hero” and “The Six-Winged Seraph” by M.A. Vrubel), the collection of A.A. Korovin, which included paintings by V.A. Serov, F.A. Malyavin, M.V. Nesterov, K. A. Korovin, as well as representatives artistic associations“World of Art”, “Blue Rose” and “Jack of Diamonds”.

Replenishment of the collection of paintings of the second half of the 19th - early 20th centuries. did not stop in the 1930s. At this time, from the Museum of the Revolution, among other works, “The Ceremonial Meeting of the State Council” by I.E. Repin was transferred. From the State Tretyakov Gallery, the Russian Museum received paintings by masters poorly represented in the latter’s collection (“Guitar Player” and “Portrait of Ivan Sergeevich Turgenev” by V.G. Perov, “Self-Portrait” by N.V. Nevrev, “Student Student” by N.A. .Yaroshenko, “Flying Demon” by M.A. Vrubel and “Baba” by F.A. Malyavin).

Over the past twenty years, the museum has received about two hundred works of painting from the second half of the 19th - early 20th centuries. Most of these works were donated in 1998 by the brothers I.A. and Y.A.Rzhevsky. An extensive collection of paintings by Russian artists, including paintings by I.K. Aivazovsky, I.I. Shishkin, N.N. Dubovsky, B.N. Kustodiev, K.Ya. Kryzhitsky and many other masters, now represents permanent exhibition museum in the building of the Marble Palace. It is also necessary to note several sketches and paintings domestic artists late XIX - XX centuries (S.Yu. Zhukovsky, E.I. Stolitsa, A.B. Lakhovsky and others), donated in 2009 from N.P. Ivashkevich. Notable acquisition recent years became I.E. Repin’s painting “Portrait of a Military Man,” which previously belonged to one of the North American companies.

In 1926, in addition to the Art Department of the Russian Museum, a Department was created the latest trends. Its funds began to be purposefully replenished with works of avant-garde artistic directions And creative associations the first quarter of the twentieth century, including the works of N.S. Goncharova, V.V. Kandinsky, P.P. Konchalovsky, P.V. Kuznetsov, M.F. Larionov, A.V. Lentulov, K.S. Malevich, L.S. Popova, V.E. Tatlin, R.R. Falk, P.N. Filonov, M.Z. Chagall and many others.

By 1927, the exhibition of the Russian Museum consistently presented numerous new trends from post-impressionism to non-objective art. The department of modern trends lasted only three years, but it essentially laid the foundation for the Department of Soviet Painting of the State Russian Museum (1932-1991), which at the moment(as part of the Department of Painting of the 2nd half of the 19th-21st centuries) has constantly replenished funds. These funds, exceeding 6,000 storage units, cover almost all areas, schools, trends, main types and genres of development of Russian art of the 20th - early 21st centuries.

The Russian Museum has one of the largest collections of works of the early Russian avant-garde and its leading masters. The collection of paintings presents the main innovative movements of the mid-1910s: abstractionism (V.V. Kandinsky) and its purely Russian branch - Rayonism (M.F. Larionov, N.S. Goncharova), neo-primitivism (M.F. Larionov , N.S. Goncharova, A.V. Shevchenko, K.S. Malevich), cubo-futurism (D.D. Burlyuk, K.S. Malevich, I.A. Puni, L.S. Popova, N.A. Udaltsova, A.A. Exter and others), Suprematism (K.S. Malevich, I.A. Puni, O.V. Rozanova, I.V. Klyun), constructivism (V.E. Tatlin, A.M. .Rodchenko, A.A.Exter, L.V.Popova), analytical art (P.N. Filonov). Unique in their completeness are the collections of works by masters who created innovative art systems(K.S. Malevich, P.N. Filonov, K.S. Petrov-Vodkin), as well as individual major painters, including those whose creative path started already in Soviet era(S.V. Gerasimov, P.P. Konchalovsky, P.V. Kuznetsov, B.M. Kustodiev, V.V. Lebedev, A.A. Rylov, A.V. Shevchenko, N.M. Romadin). Also in the museum's collection are works by artists - representatives of significant schools that existed in Soviet times (for example, the Leningrad school landscape painting 1930s - 1950s).

The art of socialist realism, demonstrating high artistic merit, plot clarity, and a programmatic inclination towards the “grand style”, is reflected in the paintings of A.A. Deineka, A.N. Samokhvalov, A.A. Plastov, Yu.I. Pimenov and many others Soviet artists, who continued to work during the Great Patriotic War, and in the second half of the twentieth century. To the gold fund Soviet art also included works by representatives of “ harsh style"and related search directions soviet painting 1960s-1970s The museum's collection contains works by such masters of post-war art as N.I. Andronov, V.V. Vatenin, D.D. Zhilinsky, V.I. Ivanov, G.M. Korzhev, E.E. Moiseenko, P.F. .Nikonov, P.P.Ossovsky, V.E.Popkov, V.M.Sidorov, V.F.Stozharov, brothers A.P. and S.P. Tkachevs, B.S. Ugarov, P.T. Fomin and others, created in a wide genre range - from historical painting to still life.

Took place in the 1970s–1980s. the actualization of previously rejected artistic experience gave rise to official art a galaxy of masters who worked in line with the “picture of ideas” associated with a metaphorical, multifaceted understanding of the surrounding world and human life(O.V. Bulgakova, T.G. Nazarenko, N.I. Nesterova, I.V. Pravdin, A.A. Sundukov, etc.). During the period of “perestroika” (1985-1991), the collection of the Russian Museum was replenished with a number of names of artists who worked within the underground. Nowadays the collection modern painting- a very mobile and fast-growing part of the funds of the 20th - early 21st centuries, but the comprehensive formation of the entire pictorial collection continues.

Yaroshenko N.A. Portrait of the artist Nikolai Ge.

1890. Oil on canvas.

Roerich N.K. Overseas guests.

1902. Oil on cardboard.

Guests of the Russian Museum can directly exhibition halls learn interesting details from the history of the creation of paintings. To do this, just install the Artefact augmented reality application on your phone and point the gadget’s camera at the exhibit. Now available - interesting facts about five of them are told by the portal "Culture.RF".

“The Barn” by Alexey Venetsianov, 1822

The painting was first shown at the XV exhibition of the Association of Traveling Art Exhibitions in 1887. The emperor bought it there Alexander III. For some time the painting was in the Winter Palace, but in 1897 it moved to the newly formed Russian Museum.

“The ceremonial meeting of the State Council on May 7, 1901, on the day of the centenary of its establishment” by Ilya Repin, 1903

Ilya Repin received an order for the painting in April 1901 from the Russian Emperor. The painter was helped by Boris Kustodiev and Ivan Kulikov.

“The master himself remained the owner, commander and true creator; the students were only his obedient hands.”
Igor Grabar

Even before the anniversary, artists created sketches of the interior in the Round Hall of the Mariinsky Palace. And on the day of the ceremonial meeting, Ilya Repin took photographs and sketches here - the painters used all the materials while working on the painting. The painting took three years to complete.

The plot of the film centers on Nicholas II and representatives of the imperial house: the Tsar’s younger brother Mikhail, Grand Dukes Mikhail Nikolaevich and Vladimir Nikolaevich, who was then the president of the Imperial Academy of Arts. Next to them are persons who held the most important positions in the state. In total, the painting depicts 81 people.

1. The Russian Museum was created in 1895 by decree of Emperor Nicholas II in the building of the “Mikhailovsky Palace with all its outbuildings, services and garden.”

2. The palace itself was built in 1819-1826 for Prince Mikhail Pavlovich, the younger brother of Emperors Alexander I and Nicholas I.

3. The architect was the famous Carl Rossi.

4. The initial collection was based on works received by 1898 from the Academy of Arts (122 paintings), the Hermitage (80 paintings), Winter Palace, suburban palaces - Gatchina and Aleksandrovsky (95 paintings), as well as purchased from private collections.

5. By the opening of the Russian Museum, the collection included 445 paintings, 111 sculptures, 981 drawings, engravings and watercolors, as well as about 5 thousand ancient monuments: icons and products of ancient Russian decorative and applied art.

6. In 1941, most of the collection was evacuated to Perm, the rest was removed from the exhibition, packed and hidden in the basements of the building. During the Great Patriotic War, not a single museum exhibit was damaged.

7. At the end of XX - beginning of XXI century, the Russian Museum included 92 marble sculpture buildings, the Marble Palace, the Stroganov Palace, .

8. The interiors of the palace are no less impressive than the collections contained within.

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11. The walls are decorated with magnificent European tapestries.

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14. There are a couple of sculptures on display on the stairs. Here fragment of a statue from the roof of the Winter Palace, by J. Beumchen.

15. Sculptor M.A. Kolo, model of the head for the monument to Peter I.

16. Icons from the 12th to 15th centuries are widely represented in the section of ancient Russian art.

17. These are works by Andrei Rublev, Dionisy, Simon Ushakov and other masters.

18. The oldest icon in the collection is the “Golden Haired Angel”, dating from the second half of the 12th century. Most experts attribute it to the Novgorod school of icon painting.

19. The most complete collection of works fine arts XVIII - first half of the XIX centuries.

20. Three sketches and numerous studies for the painting “The Appearance of Christ to the People” by Alexander Ivanov.

21. The epic canvas measuring 5.4 by 7.5 meters was created by Ivanov over 20 years, from 1837 to 1857. It is now on display in Tretyakov Gallery, studies and sketches - in the Russian Museum.

22. Also in the hall is a sculpture in the antique style. V. Demut-Malinovsky, “Russian Scaevola”.

23. N. Pimenov, “A young man playing knucklebones.”

24. Karl Bryullov, portrait of the architect Konstantin Ton, author of the Cathedral of Christ the Savior.

25. “Christ and the Sinner,” Vasily Polenov, 1888.

26. It was written under the influence of the already mentioned “The Appearance of Christ to the People.”

27. In the picture, the author sought to tell the biblical parable “he who is without sin among you, let him be the first to throw a stone at her” as a real historical event.

28. The painting was exhibited at the XV Traveling Exhibition in St. Petersburg and Moscow, where it was purchased by Alexander III for his collection.

29. Fragment of the painting “Phryne at the festival of Poseidon in Eleusis”, G.I. Semiradsky, 1889.

30. The Russian historical series includes works based on fairy tales. M.A. Vrubel, “Bogatyr”, 1898-1899.

31. Also Vrubel, dish “Sadko”, 1899-1900.

32. The same stone with the inscription from the painting by V.M. Vasnetsov “The Knight at the Crossroads”, 1882.

33. Majolica fireplace “Volga and Mikula” from Bazhanov’s house. Made according to sketches by the same Vrubel.

34. Positive ships from Nicholas Roerich’s painting “Slavs on the Dnieper.”

35. Leonid Pozen, “Scythian”, 1889-1890.

36. A.L. Ober, "Tiger and Sepoy".

37. Many paintings depict nature. "Wave" by Ivan Aivazovsky.

38. Beautiful in its minimalism, “Lake” by Isaac Levitan.

39. Landscape genius Arkhip Kuindzhi, “Rainbow”, 1900-1905.

40. “Mordvin oaks” by Ivan Shishkin.

41. His “Stream in a birch forest”.

42. And here is Ivan Ivanovich himself, a portrait by Ivan Kramskoy, 1880.

43. Ilya Repin, “Belorus”, 1892.

44. Boris Kustodiev opens a collection of paintings with Russian national flavor. “The Merchant's Wife at Tea,” written for the last time, only in 1918.

45. In the background is patriarchal Russia.

46. F. Malyavin, “Two Girls”, 1910.

47. “Spring Sunny Day” by Konstantin Yuon - the picture is light in mood, it’s good to write essays on it.

48. A similar painting by Boris Kustodiev - “Maslenitsa”.

49. A portrait of Fyodor Chaliapin in a similar style was painted by Kustodiev in 1921.

50. Background for a great artist.

51. Another portrait of Chaliapin, made in 1911 by K.A. Korovin, filled with the light and ease of pre-war life.

52. Vasily Perov’s painting “Hunters at a Rest”, replicated across millions of Soviet kitchens, was painted in 1871. In terms of recognition, it can be compared with “The Unknown” by Ivan Kramskoy.

53. Part of another famous painting - “The Capture of a Snowy Town”, Vasily Surikov, 1891.

54. And this is another picture familiar to everyone from childhood.

55. “Barge Haulers on the Volga” was written by Ilya Repin in 1870-1873.

56. Nearby you can see one of the sketches for the painting with a completely different composition.

57. Another picture of him shows a playful student. "Preparation for the exam", 1864.

58. Vasily Petrov’s painting “Monastery Meal” can be looked at for a long time.

59. It was written in 1865 and is a vicious satire on the clergy.

60. An important dignitary with a swaggering lady and an obsequious priest bowing before them, counting on donations for the monastery. A beggar woman with hungry children hopelessly reaches out for alms. And below, a priest is climbing somewhere.

61. Multi-figure canvas by K.A. Savitsky “To War,” created in 1880-1888, is dedicated to seeing off soldiers at Russian-Turkish war.

62. Now they would say, “the patriotic son did not find support from his liberal father”?

63. One of the episodes of that war was depicted by battle painter V.V. Vereshchagin - “Skobelev near Shipka”.

64. Everyone remembers “Girl with Peaches”; Valentin Serov’s style is difficult to confuse. This painting is called “Children”, in which the artist depicted his sons Sasha and Yura.

65. Serov’s fame as a portrait painter became a real bondage and curse for him. After 1895, he painted many portraits commissioned by the bourgeois and aristocratic nobility. This is a portrait of Alexander III with a report in his hands, 1900.

66. “Emperor Peter II and Tsarevna Elizaveta Petrovna go hunting,” 1900.

67. In the portrait of Count F.F. Sumarokov-Elston with a dog (1903) Serov himself insisted on depicting the young count’s favorite dog, and in the portrait he looks almost more significant than his owner.

68. The same with the horse in the portrait of Prince F.F. Yusupov, but here the animal is presented as completely enraged.

69. The official work of Ilya Repin, “The ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary,” with sketches, occupies an entire hall with a skylight in the ceiling.

70. At the beginning of the 20th century, the era changed, realism was replaced by modernity. Portrait of the poetess Anna Akhmatova in the cubist style by Nathan Altman, 1914.

71. Also at the beginning of the century, theaters flourished. A.N. Benois, "Italian Comedy", 1906.

72. Self-portrait of V.I. Shukhaev as Pierrot, 1914.

73. Boris Grigoriev, portrait of Meyerhold, 1916. The pose was invented by the artist himself. The director was forced to pose on tiptoe for a long time, which is why he looks so haggard.

74. K.A. Somov, “Mocked Kiss”, 1908.

75. Kuzma Petrov-Vodkin, self-portrait, 1918.

76. We are transported to the art of the Soviet period.

Ancient icon in the museum collection. It was probably written in the 12th century. Its author is unknown; it is believed that it was written in Novgorod. It got its name due to the fact that every hair in the image was impregnated with gold leaf. It appeared in the Russian Museum in 1934, before which it wandered from the Rumyantsev Museum to the Historical Museum, and from there to the Tretyakov Gallery.

The most famous painting artist Karl Bryullov, with whom our national school of painting is believed to have begun. Excavations in Pompeii began just at the time when Bryullov was studying in Italy. So he drew many of his sketches from life.

As Baratynsky later wrote, “the last day of Pompeii became the first day for the Russian brush.” The huge epic canvas, painted by Bryullov over three years, became a symbol of the emerging Russian school of painting. In the artist's country literally carried in their arms. And Nicholas I hung the painting itself at the Academy of Arts, so that aspiring painters would know what to focus on.

Ivan Aivazovsky painted hundreds of paintings with the sea, this is the most famous. The majestic elements of the sea, the storm, the sea and against the backdrop of all this - helpless shipwreck victims trying to escape on the ship's mast.

Aivazovsky’s talent is still famous all over the world, his paintings will appear at international auctions, and the famous English marine painter Turner, admiring our artist, wrote a laudatory poem in his honor.

One of the most famous paintings artist Vasnetsov (along with “Alyonushka” or “Ivan Tsarevich”). The artist painted his knight several times. At first the entire inscription was visible - he removed it. At first the knight stood facing the viewer - he turned him around, it turned out more monumental. In addition, there was a road in the picture - Vasnetsov removed it too, to make it more hopeless.

To this day, “Vityaz” is considered one of the best Russian paintings on fairy tales and the canonical image of our painting of the second half of the 19th century, along with the paintings of Repin and Surikov.

“This is how the Cossacks answered you, you little bastard. You won’t even herd pigs for Christians. This is where we end, since we don’t know the date and don’t have a calendar, the month is in the sky, the year is in the book, and our day is the same as yours, for that, kiss us! - this is exactly what, according to legend, was the end of the letter from the Zaporozhye Cossacks to the Turkish Sultan. Its text has come to us in the form of lists (written copies) and is believed to have been written in the 17th century, when once again the Turkish Sultan demanded that the Cossacks stop attacking the Sublime Porte and surrender.

A copy was found by the Ekaterinoslav historian Novitsky, who passed it on to his colleague Yavornitsky, who, in turn, read it to his friends, among whom was the artist Ilya Repin. He became so interested in the plot that he soon decided to paint a picture based on it. Yavornitsky himself posed for Repin as a model for the clerk. The artist painted Ataman Sirko from the Kyiv Governor-General Dragomirov. And the fat, laughing Cossack in a red caftan and white hat is the writer Gilyarovsky.

The painting was later recognized as historically unreliable (and there were many complaints about the letter itself), but in the end its success at exhibitions (including abroad) was so enormous that the painting was eventually bought by Emperor Alexander III himself to be placed in the Russian Museum.

The main monumental historical painting by the Krasnoyarsk artist Vasily Surikov, for which he traveled to Switzerland. The artist copied the commander himself either from a teacher at a local gymnasium, or from a retired Cossack officer.

It turned out to be a government order by chance: the artist painted a picture for the 100th anniversary of Suvorov’s Alpine campaign in 1899, and as a result, Emperor Nicholas II liked it so much that he purchased it for the Russian Museum.

One of the key paintings in the work of the artist Vereshchagin, one of the few exhibited in the Russian Museum ( most collection is kept in the Tretyakov Gallery). The artist - as always, with photographic precision unimaginable at that time - created a real story worthy of the best photojournalists of our time. The luxurious doors of a Central Asian mosque, and in front of them are the poor, for whom this rich world is closed forever.

This, by the way, is one of the few non-military paintings by Vereshchagin: he became famous primarily as a battle painter, revealing the horrors of war with reporter’s composure: both in Central Asia and the Balkans. Vereshchagin also died in the war: on the battleship Petropavlovsk in Port Arthur.

Amazing stylization of an ancient plot by an artist of the Art Nouveau era. Valentin Serov, inspired by excavations on the island of Crete (where, according to legend, Zeus in the form of a bull took Europe), painted not just a painting, but a large decorative panel.

The Russian Museum houses one of six copies of the painting. A large version is in the State Tretyakov Gallery.

One of the most powerful paintings dedicated to Civil War. For Petrov-Vodkin, death is devoid of any pathos, any pathos. The dying commissar and the soldier holding him have no expression of pain and anger on their faces: only fatigue, indifference, lack of will to further movement, while the rest of the soldiers run forward into battle to the sound of drums.

Alexander Deineka painted this picture back in 1942, literally immediately after the fall of Sevastopol. He was shown photographs of the destroyed city, and Deineka decided to create a large heroic canvas about those who defended Sevastopol. The result was a bit pretentious, but emotionally very strong picture about the courage and hopelessness of the situation of those who decided not to give up at any cost.

Photo: Pavel Karavashkin, annaorion.com, echo.msk.ru, ttweak.livejournal.com, HelloPiter.ru, rusmuseumvrm.ru, kraeved1147.ru

The last time I was in the Russian Museum was a long time ago, back in school. And now, almost twenty years later, I was ready to go there consciously.

It turned out to be quite difficult for an ordinary Russian person to get into the Russian Museum. And for a completely banal reason: they ran out of numbers in their wardrobe. The entrance was blocked by a strict aunt with a walkie-talkie and only excursion groups and citizens with children were allowed in. After standing for almost an hour and not budging, we went to desperate step- They publicly swore that they wouldn’t even look in the direction of the wardrobe. And, lo and behold, they let us through.
With such an organization, for example, the queue to the Vatican Museums would go around the Vatican. But we are not the Vatican, it’s suddenly cold outside.

To take photographs in the museum, the camera had to buy a separate ticket for the same price as me - 250 rubles (entrance for foreigners is a hundred rubles more expensive).

I am a person far from art, so for me the main criterion for evaluating any creativity is “like” (beautiful) / “don’t like” (ugly). For example, I absolutely don’t like the picture in the title photo.
I will show what I liked below.

K. Bryullov. Last day of Pompeii. 1833.
A painting that seems to have become a documentary chronicle historical event. It is huge in size, and if you come close, your gaze rests on the stones of the pavement, covered with ash, scattered things under the feet of the heroes - something that you don’t see in the illustrations. This greatly adds realism to what is happening. When I walked around Pompeii, it was absolutely impossible to get this image out of my head: the red sky, everything was collapsing and figures frozen in horror.

Erupting Vesuvius in many pictures sea elements Aivazovsky balances on the opposite wall of the hall.

Russian squadron on the Sevastopol roadstead. 1846.
Relevant. Judging by the museum's exhibition, Crimea was generally a very popular topic for Russian artists.

Wave. 1899.
A very small fragment of a picture with a stormy sea, where a ship is sinking in the corner and sailors on a broken mast are sailing almost off the edge of the canvas without a chance of salvation.

The first rooms with art from the early 19th century are interesting; you can sit there for half a day, fortunately there are sofas. The following 18th-century rooms begin to tire a little with portraits and palace interiors.

Ceiling:

Trellis:

Animal fight at a watering hole. Petersburg Trellis Manufactory. 1757.

Mosaic:

Ust-Rudnitskaya factory M.V. Lomonosov. Portrait of Catherine II. 1762.
Presented to the Empress on the occasion of her coronation.

The last halls of the floor are occupied by ancient Russian art, that is, iconography:

It seems to me that this is where M. Larionov drew his inspiration.

Peter's head - Bronze Horseman on the Grand Staircase.

V. Perov. Hunters at rest. 1877.
Repeat the picture. The first version hangs in the Tretyakov Gallery.

I. Shishkin. Snitch-grass. Pargolovo. 1885.
Surprisingly - a weed against the backdrop of a crooked fence, and hanging in the Russian Museum. Joke.

A. Savrasov. Thaw. Yaroslavl. 1874.
It's time to go to Yaroslavl - there is a gap in my geography.

A little about foreign countries in large-scale canvases:

V. Smirnov. Death of Nero. 1888.
The women came to pick up the corpse of the suicidal emperor. The red wall is like the main character.

G. Semiradsky. Phryne at the festival of Poseidon at Eleusis. 1889.
About a woman who imagines herself to be a goddess, and for this reason publicly undressed. A very sunny and positive picture.

V. Surikov:

Old gardener. 1882.
About unwashed Russia.

View of the monument to Peter I Senate Square in St. Petersburg. 1870.
About the capital.

Suvorov's crossing of the Alps. 1899.
Lighting has been provided in some museum halls in a unique way: the pictures glare in them so that they are simply not visible at all. You have to study it in fragments, changing your angle of view.

Taking the snowy town and the river, between which the colonnade of the Round Hall of the Mariinsky Palace can be seen.

Grandiose paintings by I. Repin:

A ceremonial meeting of the State Council on May 7, 1901 in honor of the centenary of its establishment. 1903.
81 people are depicted, each of whom posed individually. How did he manage to arrange the composition in such a way that no one would fall out? Nicholas II sits under a portrait of Nicholas II by Repin. Recursion.

Opposite the painting hangs another portrait of Nicholas:

Portrait of Nicholas II. 1896.

The Cossacks write a letter to the Turkish Sultan. 1891. Right Belarusian. 1892, left Portrait of S. M. Dragomirova. 1889.

Barge haulers on the Volga. 1873.
A fragment directly with barge haulers - very colorful characters.

To conclude Repin's theme:

Black woman. 1876.

On a turf bench. 1876.

A. Kuindzhi:

Sea. Crimea. 1908.

Night. 1908.

Duma on the fate of Russia:

M. Antokolsky. Mephistopheles. 1883.

Mower:

G. Myasoedov. Time of suffering(Mowers). 1887. Fragment.

It's always interesting to look at the details of paintings where the subject is a scene from real life distant and not so distant past, some action is taking place, a lot of people:

K. Savitsky. To war. 1888.
Seeing off the soldiers for the Russian-Turkish war of 1877-1878, which was victorious for us Bulgarians.

K. Makovsky. Transfer of the sacred carpet to Cairo. 1876.
About the meeting of pilgrims from the Hajj. A tourist's impressions of visiting Egypt were clearly more interesting before.

V. Polenov. Christ and the sinner. 1888. Fragment with a sinner and a donkey. The donkey seems to be telling us: “Now they will stone them again as much as possible.”

Finishing the oriental theme:

V. Vereshchagin. At the door of the mosque. 1873.
Photographic quality pattern on the door. Considering that the picture is practically life-size, I involuntarily wanted to touch it to see if it was made of wood. The handprint on the wall attracts attention. By the way, the door is visible a little through the right figure.

Another version of thoughts about the fate of Russia from Antokolsky:

Ivan the Terrible. 1871.
For some reason next to souvenir shop.

Let's move a little away from painting.
Folk art:

Ladle. 1753.

Patchwork bedspread.

"Mossies". Beginning of the twentieth century.
Gloomy Vyatka peasant toys.

Valance. Late XVIII V.
Intricate pattern.

Imperial/State/Leningrad Porcelain Factory:

Lion. 1911.
Does he really look like Lenin? What is he doing with his right front paw...

"He who works, eats."
The propaganda china from the 1920s is simply beautiful.

Service with Suprematist ornaments. 1932.

Let's continue about the paintings.
The 20th century begins:

I. Levitan. Lake. Rus. 1900. Fragment.
The artist's last, unfinished painting.

K. Yuon. Spring sunny day. Sergiev Posad. 1910.

M. Vrubel. Bogatyr. 1898.
Fragment with a bird.

M. Nesterov. Venerable Sergius of Radonezh. 1899.

V. Serov. Bathing the Horse. 1905.

B. Kustodiev. Merchant's wife having tea. 1918.

N. Goncharova. Cyclist. 1913.

P. Filonov. Spring formula and active forces. 1928.
A small fragment.

V. Kuptsov. ANT-20 "Maxim Gorky". 1934.
Over Strelka V.O., where he never flew.
The largest plane in the world, just built in 1934, will crash a year later over Moscow during a demonstration flight with members of the families of aircraft manufacturers. And six months later Kuptsov would commit suicide.