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https://artsandculture.google.com/partner/dagestan-museum-of-fine-arts

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The Dagestan Museum of Fine Arts was established in 1958 by order of the Council of Ministers of the RSFSR and the order of the Ministry of Culture of DASSR on the basis of the art department of the Dagestan Regional Museum (now the National Museum of the Republic of Dagestan named after A. Takho-Godi).

The collection of the museum consists of Russian and Western European fine art (painting, drawing, sculpture) and decorative arts, as well as applied arts of the East, transferred to the republican museum of local lore in the 1920-1930s by the State Tretyakov Gallery, the State Hermitage Museum, the Russian Museum, the State Museum Fund, the Main Committee of Museums and the Protection of Monuments of Art and Antiquities of the People's Commissariat of Education of the RSFSR.

Part of the collection of Prince Baryatinsky from the Caucasian Military History Museum "Temple of Glory" in Tiflis also arrived in Dagestan, and the Council of People's Commissars of the Georgian ASSR transferred many works of art of the 19th century on the theme of the Caucasus and Dagestan in particular. A significant part of this collection became the basis of the funds of the young museum of fine art.

In 1964, Patimat Gamzatova was appointed director of the Dagestan Museum of Fine Arts, who ran the museum until 2000. With her, the number of exhibits increased to 14000, due to the replenishment of funds with works of art of Russian fine and decorative arts, a significant part of which are the works of Dagestan authors. The uniqueness of the funds and active exhibition activities quickly helped the museum to gain fame throughout the world. Starting from the 1970s, the museum has demonstrated its collections at exhibitions in Poland, Czechoslovakia, Italy, Bulgaria, Hungary, Germany, England, Kuwait, Finland, France, and Japan. The exhibits of the museum participated in exhibitions in Azerbaijan, Austria, Venezuela, Great Britain, Greece, Spain, Germany and other countries. Since 2001, by the decision of the Government of the Republic of Dagestan, the Dagestan Museum of Fine Arts has been named after Patimat Saidovna Gamzatova.

The museum is located in the center of Makhachkala, in one of the most beautiful places of the city, not far from the entrance to the park and the embankment. In the permanent exhibition of the museum, along with Western European and Russian art (painting, sculpture, porcelain), art of the East, widely represented the art of Dagestan: painting, drawing, sculpture, ceramic products, carved wood and stone, carpets, gold embroidery, silk embroidery, copper , weapons and jewelry - various types of classical and folk art, the total chronology of objects of which is more than 40 centuries - from the II millennium BC. until today. The museum has a rich collection of Dagestan fine art, the formation of which began in the 1920s, as well as a collection of authors of the Soviet and modern period, which is constantly updated. In total, the collection contains about 20000 exhibits.

The museum is one of the richest art museums in the North Caucasus. And this fact deservedly gave another name to the Dagestan Museum of Fine Arts - the Small Hermitage.
In Google Arts & Culture only the part of the richest funds of the museum is represented. These are objects of painting, drawing and sculpture of European and Russian art of the 15th - 20th centuries, as well as decorative and applied art of Dagestan. The presented content demonstrates museum rarities from the permanent exhibition of the museum, as well as items that rarely leave the funds for demonstration.

This project has been implemented with the support of the Ziyavudin Magomedov Peri Foundation. The presented high-quality images of museum exhibits were made in the boundaries of the grant of the Head of the Republic of Dagestan for 2017. A partner of the museum in the implementation of the grant was the Peri Foundation, which provided high-tech photography equipment.

The photographer who carried out the project is Gennady Viktorov, an expert interned on the basis of the Factum Foundation (Spain) and participated in several complex projects on photo-digitization of the cultural heritage: digitization and creation of a 3D model of the village of Kala Koreysh, an ancient dead village of Dagestan, one of the Muslim pilgrimage sites (2015 year); digitization of unique frescoes of Dionysius of the XVI century in the Nativity of the Blessed Virgin Mary Cathedral, the main temple of the former Ferapontov Monastery of the Vologda Oblast (2016-2017), carried out as part of a joint international program by Peri Foundation in partnership with the Factum Foundation (Spain) and Juma Al Majid (United Arab Emirates) "Cultural Heritage 2.0".

Contacts:
Address: Russia, Republic of Dagestan, Makhachkala, Maxim Gorky st., 8
Opening hours: from 10:00 to 18:00 every day, except Monday
Phone: +7 (8722) 67-25-99
E-mail: uchaltan@mail.ru

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Dagestan Museum of Fine Arts named after P. S. Gamzatova, Makhachkala, Russia - Google Arts & Culture

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The Dagestan Museum of Fine Arts was established in 1958 by order of the Council of Ministers of the RSFSR and the order of the Ministry of Culture of DASSR on the basis of the art department of the Dagestan Regional Museum (now the National Museum of the Republic of Dagestan named after A.

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https://artsandculture.google.com/partner/erarta-museum

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Erarta is the biggest global project in Russian contemporary art, a must-see institution for gaining insight into modern Russia. At the heart of Erarta lies a totally unique approach to both the art and the viewer, a desire to build a new relationship system between people and art. The museum's absolute focus and priority are concentrated on the most important person at Erarta - the visitor. All of Erarta's activities are aimed at growing the number of people who appreciate and love contemporary art because at the core of the institution lies a belief that love of art can make any individual's life more interesting and fulfilling, thus, ultimately, spreading a passion for art makes the world a happier place.

In St. Petersburg, one of the wings of its 12,000 sq. m building is dedicated to the permanent exhibit of the collection of Erarta Museum, the largest private museum in Russia, containing 2800 works by more than 300 artists from all over the country. Another two wings are dedicated to temporary exhibitions and change completely every three months, with over 40 shows in total staged each year. Erarta is open every day except for Tuesdays, from 10:00 till 22:00

Leisure & Shopping:
Guests are able to enjoy dining at the à la carte restaurant with a spacious summer terrace that serves Russian and European cuisine dishes created by an award-winning chef, or alternatively, try a wide selection of delicious homemade desserts and pastries at the Coffee Rooms with an open-air balcony. There are the Erarta Home Stores on the first floor of the Exhibitions Wing, where you can find everything, ranging from a lovely souvenir to a work of art. We sell stylish gifts, designer furniture and interior items, as well as books in Russian and English, painting reproductions and original artworks by contemporary Russian artists.

Tickets and Membership:
A one-day ticket costs RUB 600 and gives access to both the permanent collection display and all the temporary exhibitions. Erarta Membership (Annual Pass) costs RUB 1000 (approx. USD 17) and gives unlimited access to all exhibitions throughout for the duration of a year as well as discounts at the restaurant, coffee rooms and all shops operating in the building. Members are invited to exhibition openings and previews and are able to access a dedicated fast track queue.

Guided Tours:
Erarta's guided tours have something for everyone as they're tailored to audience needs, enabling both art novices and experts to discover something interesting. The most popular tour lasts approximately 90 minutes and gives guests an overview of the most interesting pieces of the collection and insights into issues concerning contemporary Russia and its people as reflected in the works of art on exhibit. There are also special options, such as the private nighttime tour with flashlights or enhanced interactive elements with actors bringing particular works of art to life. All guided tours should be booked in advance by emailing excursion@erarta.com or by calling +7 812 324 11 96 or. Audio guides are available for hire at the reception desk.

Interesting Facts:
The name of the Erarta Museum is derived from uniting two words, "Era" and "Arta", whose combination can be translated from Russian as "the era of art". The very first thing that all guests see when visiting the museum are the two sculpture of Era and Arta in front of the building, which were especially created for Erarta by the St. Petersburg artist Dmitry Zhukov.

The Erarta building is an example of late Stalinist classicism, originally built in 1951 for the local headquarters of the communist party and later occupied by the Synthetic Rubber Research Institute of the USSR. It took a complete three-year renovation of the interior to transform the space into one suitable for a contemporary art museum and Erarta finally opened its doors to visitors in 2010.

In only its third year of existence, Erarta became ranked among the top 10 museums in all of Russia according to Trip Advisor's Travellers Choice awards. In the list of top museums that also includes the likes of the Hermitage and the Tretyakov Gallery, Erarta was the only museum dedicated to contemporary art and was the only non-state-funded one. In the fourth year, Erarta became listed as a "top sight" of St. Petersburg by the Lonely Planet Travel Guide.

With 300,000 social media subscribers, Erarta has the largest online following among all of museums in Russia.

There are several unique projects that one can only experience at Erarta - total installations called "U-Space" that designed to invoke particular feelings or emotions during private 15-minute sessions for visitors, the "Theatre with no Actors" project which involves a multimedia play featuring characters of paintings that are brought to life by special audio and video effects, the "Art-Animation" project in which a series of humorous and artistic cartoons extend the moment captured by the artist on canvas into a prolonged story, the "Art-Literature" project that gives every visitor the opportunity to share thoughts that were inspired by a particular work of art from the collection that are published and displayed next to those works for others to enjoy and finally, the "Audio Installations" project which presents soundtracks to art, recorded by professional musicians, designed to enhance viewer perception.

In 2014 Erarta Museum premiered its own cartoon series about art, entitled "The Adventures of BB Square" which brings to life some of the most famous works of art and places them in situations of everyday life. The English and Russian versions of the educational and entertaining cartoon have attracted over 4 million views on YouTube.

Contact details:
Address: 2, 29th line of Vasilievsky Ostrov, St. Petersburg, Russia, 199106
Working hours: 10:00 - 22:00 every day except for Tuesdays
Telephone: +7 812 324 08 09
Website: www.erarta.com

Social networks:
facebook.com/erarta
instagram.com/erarta_museum
youtube.com/user/erartamuseum
twitter.com/erarta_museum
pinterest.ru/erarta
vk.com/erarta

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Erarta Museum of Contemporary Art, St. Petersburg, Russia - Google Arts & Culture

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Erarta is the biggest global project in Russian contemporary art, a must-see institution for gaining insight into modern Russia. At the heart of Erarta lies a totally unique approach to both the art and the viewer, a desire to build a new relationship system between people and art.

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https://artsandculture.google.com/partner/the-pushkin-state-museum-of-fine-arts-moscow

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The ceremony for the laying of the Museum's foundation stone took place on August 17, 1898 in the presence of Tsar Nicholas II and members of his family. The name of the museum - Alexander III Fine Arts Museum - was officially approved. Building work had commenced a month before that ceremony, which was important as by then the Committee for the Establishment of the Museum already had at its disposal a major part of its collections.
The Museum was created on the basis of Moscow University's "Cabinet of Fine Arts and Antiquities" which had been set up as both a public museum and one for educational purposes. In it the main stages in the history of art from ancient times until the post-Renaissance era were represented through casts, models, painted copies and galvanocopies. This museum was the first of its kind in Russia. Work to create it had been initiated (1893) by the highly respected Professor Ivan Tsvetaev (1847-1943), who had a doctorate in Latin literature and art history and was later to be the Museum's first director (1911-1913).
At the end of 1896 a competition to design the building for the Museum was announced and 19 architects from various cities in Russia took part. From among the entrants the University Board selected Moscow architect, Roman Klein (1858-1924), to build the Museum. It was constructed in keeping with the latest building techniques and principles of museum practice. The design was based on the model of a Classical temple on a high podium with an Ionic colonnade along its facade. The interior decoration combined elements drawn from the various historical periods represented by the exhibits. Engineers I.I.Rerberg and V.G.Shukhov were involved in the construction work.

At the end of 1896 the terms and conditions for a competition to design a building for a museum of fine arts bearing the name of Alexander III and affiliated to Moscow University appeared in the St. Petersburg and Moscow press. That was the moment in the Museum's history when the plan devised by Ivan Vladimirovich Tsvetaev (1847-1913) for the creation of an art museum for the general public and the promotion of education ceased to be a mere dream and began to take real shape.
Nineteen architects from several different towns in Russia entered the competition. Fifteen of their designs were examined in detail and seven singled out for awards. One of the seven architects involved was selected by the University board to build the museum - a young but already well-known Moscow architect, Roman Ivanovich Klein (1858-1929). It was he who then proceeded to elaborate final plans for the project.
The building was erected in accordance with the latest requirements of building technology and museum design. On the outside it had the appearance of a Classical temple on a high podium with an Ionic colonnade along its façade. Its glass roof ensured that there was sufficient daylight in the first-floor galleries and the two atrium- courtyards.
Ivan Tsvetaev himself was to play a considerable role in shaping the Museum's appearance, being interested not merely in its architecture as such but also in its educational function as a reflection of the history of architecture. Anxious to avoid the kind of eclectic combination of different styles popular at that time, Tsvetaev, when drawing up the terms and conditions for the architectural competition, had insisted that the plans submitted by those entering should be either in the Classical style or that of the Renaissance period. It was also specified that the decoration of the interiors should incorporate elements of a range of historical periods in keeping with the items on display.
In order to organize a museum affiliated to Moscow University, a special Committee for the Establishment of the Alexander III Museum of Fine Arts started to function in 1898. It had been envisaged as a voluntary association of individuals keen to play an active part in the systematic propagation of academic knowledge in the field of fine arts among wide strata of Russian society. It brought together leading figures from the University, professors from the History and Philology Faculty, top representatives of the city's administration and private individuals, who were contributing funds for establishing the Museum or donating works for it to display. The Committee was set up so as to function while the Museum was being built, but in practice it continued to exist until February 1917.
From the moment the Committee was inaugurated until his assassination in February 1905, it was chaired by Grand Duke Sergei Alexandrovich (1857-1905). As early as 1854, he came forward as a patron of the University's museum. His report delivered in July 1895 announced the decision taken by Nicholas II to delay the stone-laying ceremony for the building of the Industrial and Technical Training School in Kolmazh Court - planned as a commemoration of the Silver Jubilee of Alexander II's accession, so as to clear the site for the new museum. In 1898 the whole site was set aside for the new construction project. That same year, thanks to the efforts of the Grand Duke, 200,000 roubles were allocated from the State Treasury to the construction of the museum. At the expense of the Deputy Chairman of the Committee, Yuri Stepanovich Nechaev-Maltsov (1834-1913) - a leading industrialist and courtier - white frost-resistant marble was quarried and brought to Moscow from the Urals for the facing of the Museum's façade and colonnade. Nechaev-Maltsov also financed the granite base-platform and steps leading up to the entrance and the coloured marbles for the main staircase. In addition, Y.S. Nechaev-Maltsov acquired the first original works of art and cultural artefacts from Ancient Egypt for the Museum. Thanks to him, the Museum acquired a whole series of valuable copies of artworks of antiquity famous the world over. All in all Nechaev-Maltsov contributed two million roubles to the construction of the Museum and the assembly of its collection (two thirds of the total cost).
The Secretary of the Committee and its actual organiser was art-historian Ivan Vladimirovich Tsvetaev, a professor from the department for the theory and history of art at Moscow University with a doctorate in Roman literature.
The starting point for the Museum's collection had been Moscow University's "Cabinet" (Museum) of Fine Arts and Antiquities, which included Greek vases, a numismatic collection, a number of casts taken from works of Classical sculpture and a small specialist library. After Professor Tsvetaev had been appointed head of this "Cabinet", he began to expand the collection systematically, in particular its sculpture section and library. By such means he turned it into a Museum of Fine Arts at the disposal of students for educational purposes and of the public at large, where plaster casts, models and galvano copies in the context of a single and integrated academic programme were designed to introduce students and visitors to the main stages in the history of art from ancient civilizations up until the 16th century and this would make the Moscow museum the first institution of its kind.
Since 1881 the sculpture collection of Moscow University's "Cabinet" had been housed in two rooms of the former hospital block of the University. Despite the cramped and shabby nature of the premises in 1894, this small museum intended for students was made accessible, not just to students of Classics, but also for art lovers in general. In 1898, however, when the building was demolished, the collection had to be removed. Subsequently all the collections from Moscow University's "Cabinet" were transferred to the new Museum of Fine Arts on Volkhonka Street.
Tsvetaev ordered casts and other copies moulded directly from original art works in workshops abroad. In several cases these were the first such copies to be made. The most representative collection of such casts and copies was that of Greek and Roman art, in particular, sculpture. The collection reflected what were then the latest archaeological discoveries and scientific reconstructions of works of sculpture. The art of the Middle Ages, the Italian and Northern Renaissance, presented to the Russian public for the first time, constituted separate sections of the Museum's display. Many works exhibited in the Museum using high-quality casts and copies were a revelation for art-lovers and artists, if for no other reason than that they were depictions of the originals with their actual dimensions. One of the jewels of the Museum's collection was its unique collection of original works of Ancient Egyptian art and cultural artefacts (over 6,000 in total). The collection assembled by the Russian scholar and Egyptologist, V.S.Golenishchev was acquired by the state and transferred to the Museum in 1909-1911. Shortly before the Museum opened, M.S.Shchekin donated Italian paintings and works of applied art from the 13th-15th centuries and Grand Duchess Yelizaveta Fyodorovna and D.V.Khomyakov presented the Museum with its first original works of Italian sculpture of the 16th-18th centuries. Other donors also made major contributions to the Museum's collection.
While creating the Museum, Professor Tsvetaev consulted the artists Viktor Vasnetsov, Vasilii Polenov and many others. When it came to foreign scholars, the leading authority for Tsvetaev was the German archaeologist and director of the sculpture department in Dresden's Royal Museums, Georg Trei. The first members of the Museum's staff were Professor V.K.Malmberg from Moscow University (who succeeded Professor Tsvetaev as Director after the latter's death) and the orientalist, B.A.Turaev, from St. Petersburg who set up the first display in the Egyptian and Babylonian-Assyrian Galleries and also former graduates from Moscow University - A.V.Nazarevskii and N.A.Shcherbakov, who were appointed as curators - and Tsvetaev's students straight after graduation working as unpaid trainees - A.N.Zograf, D.S.Nedovich and A.A.Sidorov.
Professor Tsvetaev's establishment of an art museum led Moscow University to set up a subsidiary art-history department - the first of its kind in Russia - which in 1909 was to become an independent entity.
The Alexander III Museum of Fine Arts opened with grand celebrations on May 31 (June 13), 1912. Emperor Nicholas II and the Dowager Empress Maria Fyodorovna attended the ceremony.
Ivan Vladimirovich Tsvetaev was the Museum's director between 1911 and the day he died.
The new museum was popular with the general public right from the start. On weekdays between 700 and 800 people would visit and on Sundays and public holidays as many as 2,500. The majority of the visitors were teachers and gymnasium pupils, young women attending higher-education courses, students from the Moscow Archaeological Institute and members of the clergy. Special lessons for students and guided tours for the general public were organized in the Museum's galleries.
In 1923 it was decided by the People's Commissar for Education that a central museum illustrating the history of western painting should be established, housed in the building of the Museum of Fine Arts, which was no longer to be affiliated to the University. In 1924 pictures from the former collections of G.A.Brokar, D.I.Shchukin, from the State Museum Repository and various Leningrad Museums were acquired by the Museum of Fine Arts. This made it possible for the Museum's specialist staff, headed by Professor N.I.Romanov, to create a new exhibition of painting arranged in accordance with scientific principles and this was opened on November 10, 1924.
Between 1924 and 1930 the Museum acquired a large number of pictures from nationalized Moscow estates, from the Ostroukhov Museum of Painting and Icon-Painting, from the Historical Museum, the Kremlin Museum and the Tretyakov Gallery - works of West-European art from periods not previously represented in its galleries. Some pictures were also transferred from the Hermitage, other Leningrad museums and the Leningrad Museum Repository. Gradually the Museum came to possess a core collection for its Picture Gallery of Western Old Masters. By this time the Museum had also acquired over 1,000 cuneiform tablets and approximately 3,000 other Ancient-Egyptian objects from the former Museum and Research Institute of the Classical Orient.
In 1932 the Museum was renamed the State Museum of Fine Arts and in 1934 the name of Alexander Pushkin was added to its full title - the Pushkin State Museum of Fine Arts.
In 1941-1944 a large proportion of the Museum's contents were evacuated to Novosibirsk and Solikamsk. Restoration of the Museum building, which had suffered from bombing raids during the war, began in 1944 and work also started on preparing the displays once more for the public (the Museum finally re-opened on October 3, 1946) under the supervision of the then director, the sculptor S.D.Merkulov, Professor B.R.Vipper, the Deputy Director responsible for academic issues, and the Chief Curator, A.A.Guber. Work began again aimed at making the museum and its contents better known to the general public and at expanding both its collection and its involvement in archaeological excavations in the Crimea and the Taman Peninsula, which had started back in 1927.
Apart from regular archaeological expeditions to the North Pontic region in the period 1951 to 1973, the Pushkin State Museum of Fine Arts also participated in the work of the Transcaucasian Archaeological Expedition within the territory of Ancient Erebuni together with the Institute of Archaeology of the Armenian SSR and the State Hermitage Museum: some of the works of Urartu art and the cultural artifacts discovered during those excavations are held in the Museum's repositories.
In 1948, when the State Museum of New Western Art was closed and the items in its collection were re-distributed between Moscow and Leningrad, the Museum acquired around 300 paintings and over 60 works of sculpture by West-European and American artists of the late 19th century and the first third of the 20th. The majority of the works concerned were those of French Impressionists and Post-Impressionists, which had belonged to the Moscow collectors Ivan Morozov and Sergei Shchukin, and the Museum also acquired that museum's collection of drawings and its archive materials. This acquisition meant that the range of the Museum's collections extended as far as the 20th century, which at the same time made it more famous.
Between the end of 1949 and 1953 the Museum's galleries were used to house exhibitions of Gifts presented to Joseph Stalin. On December 15, 1953, however, the permanent exhibition of art was rearranged as before. Over the whole period of the Museum's existence it has hosted over 1,200 exhibitions consisting both of works from the Museum's own repositories and also works from many other collections from within our own country and from abroad.
A major event in the cultural life of Moscow was the opening, in the Pushkin State Museum of Fine Arts, of an exhibition of masterpieces from the Dresden Art Gallery, which had been saved from destruction by Soviet soldiers during World War II. In 1958 and then again in 1995-2007 exhibitions were held in the SMII entitled "Works of Art from the Museums of the German Democratic Republic", "Exhibition of European Paintings - 14th-19th centuries", "Five Centuries of European Drawings. Drawings by Old Masters from the former collection of Franz König", "Trojan Treasures from the excavations of Heinrich Schliemann" and so on.
In 1985, on the initiative of the Soviet collector, Doctor of Art History, I. S.Zilberman, and the Museum's director, I.A.Antonova, a special Department of Private Collections was set up. The idea behind this department was an innovation within the museum world: for the first time collections themselves, rather than individual works from collections, provided a focus of study and 'items' for museums to collect. The exhibition in this new department was opened to the public in a specially reconstructed building on January 24, 1994.
At the present time the Pushkin State Museum of Fine Arts houses four types of exhibitions:
(1) an exhibition of casts made from works of sculpture and architectural monuments which has remained substantially the same as it was when the Museum was still affiliated to Moscow University, including casts of works from the Near East, the Classical world, the Middle Ages and the Italian and Northern Renaissance;
(2) a section containing original works of art and cultural artifacts from Ancient Civilizations and also materials from excavations organized by the Museum;
(3) a gallery of pictures from the 8th to the 20th century, including works by European Old Masters, Byzantine icons and ancient mosaics and works by West-European and American painters and sculptors of the 19th and 20th centuries. The principle behind this exhibition was to demonstrate the nature of national schools of painting and the succession of one era after another in the world of art;
(4) the last type is that of the Department of Private Collections, in which each collection is an integral artistic and cultural phenomenon in its own right, which sheds light on the personality of the individual collector.
In 2006 a Centre for the Aesthetic Education of Children and Young People was opened in what had once been a private house in the immediate vicinity of the Museum and which came to be known as the "Museion".
In August of that same year work began on a significant expansion of the exhibition of the Museum's paintings and sculpture from the 19th and 20th centuries. The building concerned is known as the "Gallery of Art from the Countries of Europe and America - 19th and 20th centuries".
The Museum also has departments in other parts of Moscow. In 1996 a Tsvetaev Educational Art Museum was installed in the building of the Russian State University for the Humanities. It opened on May 30, 1997 (at 15, Chayanov Street). It houses plaster casts from the original museum, which had been part of Moscow University, as well as some duplicates of the latter.
In 1961, in response to a proposal from the pianist Svyatoslav Richter and with his active involvement, the Museum began to hold within its walls an international musical festival known as "December Evenings" and, after 1997, as the "Svyatoslav Richter December Evenings". In 1999, in accordance with the musician's last will and testament, his flat (Flat 58, 2/6 Bolshaya Bronnaya Street) was bequeathed to the Museum and this memorial to him is now open to visitors.
At the present time the collection of the Pushkin State Museum of Fine Arts comprises over 670,000 paintings, works of sculpture, drawings, works of applied art, archaeological artifacts, coins and medals and art photographs. Its repository of manuscripts contains documents relating to the history of the Museum, academic works and letters written by the Museum's founder, by other leading lights of the Museum and well known art-historians and artists and, also, archive materials from several museums whose collections were transferred to the Pushkin Museum.
The Museum has its own restoration workshops and one of Moscow's finest specialist academic libraries.
In 1991 the Pushkin State Museum of Fine Arts was added to the state register of particularly valuable institutions constituting the cultural heritage of the peoples of the Russian Federation.

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The Pushkin State Museum of Fine Arts, Moscow, Moscow, Russia - Google Arts & Culture

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The ceremony for the laying of the Museum's foundation stone took place on August 17, 1898 in the presence of Tsar Nicholas II and members of his family. The name of the museum - Alexander III Fine Arts Museum - was officially approved.

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https://artsandculture.google.com/partner/the-state-tretyakov-gallery

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The State Tretyakov Gallery History is the national treasury of Russian fine art and one of the greatest museums in the world. It is located in one of the oldest directs of Moscow - Zamoskvorechye, not far from the Kremlin. The Gallery's collection consists entirely of Russian art and artists who have made а contribution to the history of Russian art or been closely connected with it. The collection contains more than 180 000 works of painting, sculpture and graphics, created throughout the centuries by successive generations of Russian artists. Russian art works, ranging in date from the 11th to the early 20th century, are on the show in Gallery's historic building on Lavrushinskiy Pereulok. New building of the Tretyakov Gallery at Krymskiy Val houses a unique museum exhibition of national 20th century art. Being built up to the 150 anniversary of the Tretyakov Gallery, an exposition meets all modern requirements of showing contemporary art.The exhibition is opened by the works of Mikhail Larionov, Natalia Goncharova, the artists of the association "Bubnovy Valet", whose creativity marks the beginning of the new Avant-Garde movement in Russia. The world - known artists such as Wassily Kandinsky, Mark Chagall, Kazimir Malevich (the painter of the "Black Square") and artists of neoclassicism are also well represented. The hall with the reconstruction of the well-known exhibition of "OBMOHU" (Association of young artists) of 1921 is devoted to constructivism of the 1920th.The art works featuring "social realism" - an official style of totalitarian era in 1930-50s - are widely shown in the Gallery. Objects, installations, photographs, conceptual art created since 1950 up to now, are also represented as alternative directions of the Soviet art evolution.

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The State Tretyakov Gallery, Moscow, Russia - Google Arts & Culture

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The State Tretyakov Gallery History is the national treasury of Russian fine art and one of the greatest museums in the world. It is located in one of the oldest directs of Moscow - Zamoskvorechye, not far from the Kremlin.

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https://artsandculture.google.com/partner/international-centre-of-the-roerichs

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The International Centre-Museum named after Nicholas Roerich was created on his younger son Svetoslav's initiative. In 1990 S. Roerich, who lived in India at that time, transferred his family's most abundant creative heritage to the International Centre of the Roerichs (ICR). video (http://en.icr.su/news/Jubilee_Ludmila_Shaposhnikova/museum_video_eng.php)
The Museum is situated in one of the most picturesque places of the Moscow city at the ancient country estate of the Lopukhins, an architectural monument of the XVII-XIX centuries, restored by the ICR. Madam Ludmilla V. Shaposhnikova, Director General of the Museum, is the creator of the Museum concept which reflects the key stages of the Roerichs life and introduces visitors into the Roerichs family creative works. These exceptional works full of artistic, philosophical and scientific ideas bring a new cosmic world outlook that is getting more and more popular year by year.
The exposition also reflects the social importance of Nicholas Roerich activity, acquainting visitors with the history of the Roerich Pact - the first international treaty for protection of artistic and scientific institutions and historical monuments.

Nowadays the public Museum named after Nicholas Roerich of the International Centre of the Roerichs is the museum of a new type which combines various functions, such as collecting and conserving of scientific and artistic works, as well as being a Scientific and Research, Cultural and Educational Centre.
The Museum houses the largest in the world collection of paintings by N. Roerich including such famous series as "Sancta", "The Banners of the East", "His Country", "The Himalayas". The collection also contains photos, documents, manuscripts, books, family relics, personal things, as well as valuable collections of unique bronze, ancient Indian miniature, traditional Buddhist art and icons.
The Centre-Museum is an active participant of the international movement for cultural heritage preservation and popularisation of Nicholas Roerich ideas. The ICR is an associated member with INTO, an institutional member of the International Council of Museums (ICOM), and member of pan-European Federation for Cultural Heritage EUROPA NOSTRA.

The Petersburg Hall.

St. Petersburg was the beloved hometown of Nicholas Roerich. It was the place where his scientific believes were formed, and his multi-faceted talent got recognition. In 1899 Nicholas Roerich met Helena Shaposhnikova who became his faithful spouse, inspirer and friend. "We were creating together," N. Roerich wrote in his books. Their work was continued by their sons - professor George Roerich, a world-known orientalist, and Svetoslav Roerich,an illustrious artist and public activist.
In the exposition of the hall there are family photos, documents, paintings, archive materials covering the Roerichs family life till 1916.

The Russian Hall.

The image of the Motherland created by N. Roerich is one of the most beautiful and profound in his art. The exposition of the hall includes paintings created in different times and in different countries but all of them dedicated to Russia - that was the focus theme of the artist's creativity. Among these masterpieces there are such famous ones as "Terra Slavonica", "Saint Sergius", "The Heavenly Forces are Now Invisibly Serving with Us" ("Easter Night"), and paintings of "Sancta" series created by N. Roerich in 1922 in the USA. These paintings are filled with harmony of silence, they embrace the spirit of Russian Land which is inseparable from Russian Soul.

The Living Ethics Hall.

This hall is the center of the Museum exposition. The hall exhibits paintings of the series "Banner of the East", triptych "Joan of Arc", "Chintamani", "The Command of Rigden Japo". These works with a deep philosophical subtext rush the humanity into the future towards its spiritual development and evolutionary progress.
In the showcases of the hall there are Helena Roerich's diaries, modern publications, and rare editions of Living Ethics volumes - "The Call", "Heart", "Fairy World" - published in Russian language in Paris and Riga.

Masters' Hall.

The Masters' Hall is dedicated to Mahatmas - Great Souls - this is what they call in the East the Teachers, who have been leading the mankind along the way of spiritual improvement for centuries. At the hall there are Eastern Teachers' portraits, the unique triptych "Fiat Rex" and the paintings from the series "His Country" by Nicholas Roerich. Exhibits of one of the hall's show-cases include 16th century Iranian manuscript "Shahname" ("The Book of Kings") by poet Firdousi, little cornelian birds, and the ring of Egyptian queen Nifertiti (XIV centuries B.C.) presented to Helena Roerich.
In this hall there are also some drawings by Helena Roerich, performed in pencil. Many of them made the basis for paintings of Nicholas Roerich, who often repeated that each of his paintings should be signed with two names - the man's and the woman's.

Central Asian Expedition Hall.

The Central-Asian expedition became the main accomplishment in Nicholas Roerich's life. With his wife and his son, he covered 25 thousand kilometers, two deserts and surmounted 35 neks. Nicholas Roerich created more than 500 paintings, wrote such books as "Altai-Himalayas" and "The Heart of Asia", and collected enormous scientific material. During this period Nicholas Roerich created the famous series of Himalayan sketches. Perhaps, no artist could depict mountains like Nicholas Roerich, who won the title of Master of the Mountains.

The Hall of Kullu.
The hall of Kullu transfers us to a sacred valley of India where the Roerichs settled in 1929. There they founded the "Urusvati" (in Sanskrit - the "Light of the Morning Star") Institute of Himalayan Studies. In the Institute there were opened departments of natural sciences and Tibetan medicine, history of Asian peoples' culture, philology, botany and astrophysics. The paintings by Nicholas and Svetoslav Roerichs are exhibited in the hall. Antique bronze from the family collection occupies a special place in the hall.
Helpful in experiencing the beauty of the valley are the photographs by Lyudmila V. Shaposhnikova, arranged in the form of a frieze around the hall's perimeter.

The Hall of the Roerich Pact and the Banner of Peace.

At the turn of the XIX - XX centuries Nicholas Roerich arises the question of cultural heritage protection. The Roerich Pact - the first international agreement on preservation of artistic and scientific institutions and historical monuments - was signed by the USA and the countries of Latin America on the 15th of April 1935, Washington. The Pact's ideas became the basis for the Hague Convention on the protection of cultural property in the event of armed conflict, adopted by UNO in 1954.
Nicholas Roerich designed the symbol of the Banner of Peace.
Historical documents, photographs and exhibits depict Nicholas Roerich as an outstanding public figure, who raised the Banner of Peace - the Banner of Culture above the Earth.

Svetoslav Roerich's Hall.
Svetoslav Roerich was an outstanding artist, scientist and public figure, spiritual successor and continuator of his father's work.
Portraits, landscapes, genre and epic canvases, paintings with philosophic contents - all the artist's pieces carry to people love and beauty, awake hope and happiness.
"Let's carry the news of beauty to every heart, every house. Let striving for the beautiful become our everyday prayer... Search for beauty - this is what will bring people together and save the world. At the difficult moments of life, one should think of beauty."
These words belong to Svetoslav Roerich and express in the best way the thoughts and ideas of the great Roerich family.

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International Centre of the Roerichs, Moscow, Russia - Google Arts & Culture

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The International Centre-Museum named after Nicholas Roerich was created on his younger son Svetoslav's initiative. In 1990 S. Roerich, who lived in India at that time, transferred his family's most abundant creative heritage to the International Centre of the Roerichs (ICR).

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https://artsandculture.google.com/partner/gorky-film-studio

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Gorky Film Studio is a film studio in Moscow, Russian Federation. By the end of the Soviet Union, Gorky Film Studio had produced more than 1,000 films. Many film classics were filmed at the Gorky Film Studio throughout its history and some of these were granted international awards at various film festivals.

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Gorky Film Studio, Moscow , Russia - Google Arts & Culture

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Gorky Film Studio is a film studio in Moscow, Russian Federation. By the end of the Soviet Union, Gorky Film Studio had produced more than 1,000 films. Many film classics were filmed at the Gorky Film Studio throughout its history and some of these were granted international awards at various film festivals.

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https://pano.hermitagemuseum.org/3d/html/pwoaen/main/#node338

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https://rusmuseumvrm.ru/index.php?lang=en

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The Virtual Russian Museum web portal unites the most up to date projects of the Russian Museum in the field of information technology.

The web-portal enables the user to get access to the collection of the Russian Museum, make a tour round the museum's rooms, visit real and virtual exhibitions as well as get acquainted with the innovative projects of the museum such as the Multimedia Centre in the Western Guardhouse of St.Michael's Castle, the online Lecture Hall, the project for mobile devices " The Augmented Reality" and other mobile applications, " The Theatre of Russian History. The Romanov's House - Facts, Myths and Legends, the Saga of the Dynasty" (the project presented in St. Michael's Castle).

The main part of the web portal is the Russian Museum: the Virtual Branch project. It is an international project, which has been implemented since 2003 and embodies the idea of accessibility to the largest collection of Russian art via creation information and educational centres in Russia and abroad.

Among the participants of the project there are museums, educational institutions and institutions of culture, science and further education.

Have a nice journey!

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русский музей

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виртуальный филиал

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виртуальный русский музей

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онлайн-лекции

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международный

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The Virtual Russian Museum web portal unites the most up to date projects of the Russian Museum in the field of information technology.

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https://rusmuseumvrm.ru/collections/old_russian_art/index.php?lang=en

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About collection

The history of the collections of decorative and applied art begins in 1895, when the nascent Russian Museum was awarded the Mikhailovsky Palace. Its former owners left part of the palace decor behind them when they left, including the entire heritage of Karl Rossi. Fresh acquisitions were made in the late 1920's and early 1930's. Back then, the museum already possessed a fine collection of porcelain, glass and furniture. This was added to by the unique trellises of St Petersburg and a wide collection of precious metals. Not many Russian museums today can present Russian applied art as diversely and fully as the Russian Museum.

View all events and lectures in the Multimedia Cinema

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The history of the collections of decorative and applied art begins in 1895, when the nascent Russian Museum was awarded the Mikhailovsky Palace. Its former owners left part of the palace decor behind them when they left, including the entire heritage of Karl Rossi. Fresh acquisitions were made in the late 1920's and early 1930's.

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https://rusmuseumvrm.ru/collections/iconography/index.php?lang=en

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In March 1998 the centenary of the State Russian Museum - the first state museum of Russia containing the national art collection - was celebrated. This program represents the outstanding works of national painting, graphics and sculpture, it the history of the museum and its collections and shows the palaces belonging to the united museum complex.

Divisions: "Masterpieces", "The Mikhailovsky Palace", "The Marble Palace", "The Stroganov Palace", "The St.Michael's Castle", "History in Photographs" and "Jubilee Celebrations"

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In March 1998 the centenary of the State Russian Museum - the first state museum of Russia containing the national art collection - was celebrated. This program represents the outstanding works of national painting, graphics and sculpture, it the history of the museum and its collections and shows the palaces belonging to the united museum complex.

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https://pushkinmuseum.art/media/virtual/

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Виртуальный Пушкинский - это площадка, позволяющая посетить музей, не выходя из дома.

Участвуйте в онлайн-экскурсиях с нашими лучшими гидами, узнавайте новое на лекциях виртуального лектория, совершайте самостоятельные виртуальные прогулки по любимым залам постоянной экспозиции или посещайте виртуальные выставки, на которые давно хотели попасть!

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пушкинский музей

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пушкинский музей изобразительных искусств

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государственный музей изобразительных искусств им. а.с. пушкина

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гмии им. а.с. пушкина

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выставка в пушкинском музее

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билеты в пушкинский

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ирина антонова

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марина лошак

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Виртуальный Пушкинский

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Виртуальный Пушкинский - это площадка, позволяющая посетить музей, не выходя из дома. Участвуйте в онлайн-экскурсиях с нашими лучшими гидами, узнавайте новое на лекциях виртуального лектория, совершайте самостоятельные виртуальные прогулки по любимым залам постоянной экспозиции или посещайте виртуальные выставки, на которые давно хотели попасть!

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https://www.virtual.arts-museum.ru/data/vtours/main/?lp=1fl_hall&lang=ru

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Панорама главного здания ГМИИ им. А.С.Пушкина