In the treasury of the Cathedral of Christ the Savior, exhibits from the treasuries of the oligarchs were exhibited. Exhibitions “Art Treasures of Russia Gallery in the Cathedral of Christ the Savior opening hours

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The exhibition "The Unknown Aivazovsky" has been running since July 29, 2016, at the Arts Center. Moscow”, which is in the lower tier of the Cathedral of Christ the Savior on Volkhonka. From the announcement it follows that it is part of the exhibition project “Art Treasures of Russia. The best of Russian collections is presented here: from icons to modern painting.” The project is unique. Collectors and art connoisseurs have united to show the world a previously hidden precious collection of masterpieces: paintings by Vasnetsov and Nesterov, Shishkin and Levitan, Repin and Aivazovsky, Bryullov, Petrov-Vodkin and many others. Sounds interesting, doesn't it?!

I had never been to this exhibition space before. And, going “out into the air” after the exhibition, my friends and I were drawn to Andrei Remnev and Aivazovsky. More about Remnev later, but it was impossible not to mention Aivazovsky and post a mini-report before the New Year. Therefore, this post is about a small exhibition, as part of a large-scale exhibition project under the motto “Masterpieces that the world has not seen.”

Writing texts about Aivazovsky is not a rewarding task, and therefore there will not be many words - instead of them, the works of Ivan Konstantinovich themselves will talk about him!

At the mini-exhibition "Unknown Aivazovsky" there are only 14 paintings by the master. And, indeed, an unusual impression. We know many of Aivazovsky’s works from childhood, but here are unknown and never exhibited works of the maestro from private collections
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I didn’t take down the titles of the works specifically for myself, but in some places, however, I will still indicate them in the form of captions under the photos - where I was able to make out them. But, most importantly, we enjoy the visuals from the exhibition “The Unknown Aivazovsky”.
Let this post be New Year's gift to my friends on LiveJournal, FB and VK...)
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View of Venice. San Giorgio Maggiore. 1851

But in this work the sea is almost invisible...
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Romantic and amazing paintings by Ivan Konstantinovich Aivazovsky, simply from myself, from the heart, I recommend that you see for yourself as it is...
Photos were taken with a smartphone camera and may not reflect all the shades and depth of these amazing works by the Artist.

"Art Center. Moscow" is perhaps the most unusual private art gallery in Moscow. It is located on the territory of the main Russian cathedral, the Cathedral of Christ the Savior. "Arts Center. Moscow" presents an exhibition of private collections that have never been shown to the public before. A special feature of the Center is that academic art is shown using innovative technologies (lighting, sound, hologram).

In twelve halls of the Arts Center. Moscow" housed more than three hundred exhibits - a collection of icons, paintings by the greatest representatives of the Russian school of painting, such as I. I. Shishkin, I. K. Aivazovsky, M. V. Nesterov, V. M. Vasnetsov, K. P. Bryullov, A. K. Savrasov, I. I. Levitan, F. A. Vasiliev, S. F. Shchedrin, A. I. Kuindzhi, paintings by old masters by Cornelis de Hem, Jan Brueghel the Younger, Jos de Momper, as well as thematic hall with temporary exhibition. In 2018, the hall is dedicated to the Russia-Japan cross year and houses a unique collection of works of decorative and applied art from Japan during the Meiji era.

In addition to the exhibition, the Center hosts a rich scientific and educational program: educational master classes for children and adults, lectures on art, literary and musical evenings.

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The exhibition “The Best of Russian Collections: From Icons to Art Nouveau Painting” has opened - 300 rare paintings

Aivazovsky, Shishkin, Perov, Makovsky, Savrasov, Bryullov, Nesterov, Vasnetsov... The list goes on. More than 300 rare paintings were presented at the Arts Center. ", which is under the Cathedral of Christ the Savior. They are unique in that they were written mainly in the early or late period creativity of artists. Sometimes you can’t immediately recognize the author. All these works are from the private collections of generous Russian oligarchs. In general, you can only see them here – at the exhibition “Art Treasures. The best of Russian collections: from icons to modern painting.”

“Preobrazhenskoe” by Ivan Shishkin.

The gallery is like being in the hold of a luxury ship: a long corridor with halls, almost cabins, on the walls a rich blue there are canvases in gilded frames, Venetian glass chandeliers, and glass portholes between the salons. By the way, they were made specifically for complete immersion in the work of Aivazovsky, whose hall we will soon reach. Meanwhile, the atmosphere is not at all pretentious and does not oppress emotionally, as is often the case in pompous classicism and rococo halls. The designer was none other than the Frenchman Julien Boaretto, the grandson of Salvador Dali's muse Gala (or simply Elena Dyakonova). I barely have time to look around when they hand me a tablet. They explain that it needs to be pointed at the picture for it to “come to life.” I try it, it works: the leaves begin to fall, the flowers begin to bloom, and the water begins to splash. In addition, using the device you can find out information about the paintings and their authors.

The exhibition was housed in 12 halls. It begins with the “Nature” hall, where the sea and mountain landscapes of Joseph Krachkovsky, Gavriil Kondratenko and Ivan Velts are fragrant. Here the subtropics of the peninsula come to life with pink flowering scarlet trees, emerald palms and azure water. There is a sea of ​​flowers, you inadvertently begin to inhale sweetish aromas. And they exist, because smells are sprayed over many canvases. Next in line are three halls with icons made by masters from Palekh and Mstera. There is no exhibition-heavy atmosphere, instead it is sacred and spiritual. I stand still at the “Lord Almighty” with a frame made of ornamental enamel in terracotta-orange colors. Of course, “The Old Testament Trinity” by Joseph Chirikov and “...The Prayer of the Saints at the Mother of God of Theodora” by Vasily Guryanov are of particular interest. The religious painting of Russian Art Nouveau by Viktor Vasnetsov and Mikhail Nesterov fits organically into line with their works. You can’t take your eyes off the frames: they are decorated with filigree, enamels and semi-precious stones. They were created by masters of the famous manufactories Ivan Tarabrova and Pavel Ovchinnikov.

I continue my inspection in the “Treasury”, in which cabinet interior items made of crystal and malachite sparkle. All of them are from the 19th century. Then the so-called green living rooms came into fashion. It is noteworthy that some of these gizmos were owned imperial family. For example, a mantel clock with a view Winter Palace belonged to Princess Olga Nikolaevna, Queen of Württemberg, daughter of Emperor Nicholas I.

Following the route to another miracle room through a corridor with an alluring perspective, I can’t help but stop at the paintings of the genius of chiaroscuro and the master magical realism Ivana Schultze. I look at the “Olive Grove”: undoubtedly, it is realistic, but thanks to the color palette, the master endows it with unique magic. And next to it is the “Battle Scenes” department, where the most prominent place goes to “The Attack of the Russian Lancers during the Hungarian Campaign” by Alexander Villevalde. On the one hand, the battle scene of 1881 conveys the scale of the event, but at the same time emphasizes the importance of each written character.

And finally: the Ivan Aivazovsky hall with 14 canvases. There is a stereotype that he only painted the sea. Not only! Confirmed by “A Flock of Sheep” from 1884. 30 years before it was written, a storm occurred on Aivazovsky’s estate in Crimea, killing a large flock of sheep. He decided to dedicate one of his works to this dramatic event, which he sold to an English collector for a tidy sum. And with the proceeds he bought new sheep. All paintings have a story. For example, after writing “Sunset over Ischia,” the French awarded Aivazovsky the Order of the Legion of Honor in 1857. Nearby is “Moonlit Night on the Sea,” created in the year of the 50th anniversary of Aivazovsky’s creative activity, on the occasion of which the master was solemnly honored at the St. Petersburg Academy of Arts. You can enjoy all the masterpieces not only with the help of sight, but also with hearing and smell: the smells of sea waves are everywhere and the music of the surf is heard.

It is impossible to keep silent about the hall of secular painting with works by Karl Bryullov, Boris Kustodiev, Vasily Perov and Ilya Repin. Here is the beloved lady-in-waiting of Empress Maria Feodorovna, the beautiful “Princess Stefania Radziwill, Countess Wittgenstein” by Karl Bryullov. To the right is “Bear Hunting in Winter” by Vasily Perov, 1879. At this time, the critical focus of his early works gave way to “everyday hunting scenes.” On it, hunters wait for the animal at the den: one with a rifle stands in front of the hole, while the other drives stakes and begins to survive the bear. Actually, the hunter with a gun is a self-portrait of Perov himself, who was a passionate hunter. Secular painting smoothly flows into theatrical painting. Canvases by Mikhail Nesterov, Vasily Vereshchagin, Kuzma Petrov-Vodkin and Nicholas Roerich are illuminated in the twilight of the hall. The painting “Vision to the Youth Bartholomew, Part II,” depicting Saint Sergius of Radonezh, is from the collection of Fyodor Chaliapin. The opera singer loved this plot so much that in his Paris studio he placed it next to Kustodiev’s portrait. I’m admiring Vereshchagin’s “View of the Moscow Kremlin from Sofiyskaya Embankment” and Petrov-Vodkin’s “Apples and Eggs,” when suddenly a ballerina starts fluttering in the corner to Tchaikovsky’s “Swan Lake.” He dances and dances and suddenly disappears into the darkness. What is this?!

“An innovative hologram,” explains curator of the exhibition and experienced collector Andrian Melnikov to MK. – For now we are reproducing fragments of classical performances, but soon we will begin performing full-length ballets and operas. Whoever doesn’t get into the Bolshoi will be able to comfortably watch the performance here (laughs). Innovative technologies, harmoniously introduced into the space of the site, are designed to raise the contemplation of art to a new level, in tune with the peculiarities of perception of modern man. Lighting solutions emphasize the individuality of each painting. A narrowly targeted sound emitter allows you not only to see the canvas, but also to hear it. And thanks to augmented reality technology, the viewer can learn about the painting and its author, and see how it “comes to life” on the screen of a mobile device. In addition to regular exhibitions, our gallery holds courses and lectures on art, scientific conferences, open restorations and studies of painting, master classes for children and adults, and art events. And in general, we are special: we don’t have “do not touch” signs; you can sleep on carved wooden benches that fit perfectly into the forest landscapes of Shishkin; and from a unique samovar with two taps, our guests drink tea and eat it with bagels.

It would seem that after the hologram it would be difficult to surprise with anything, but there are still three more halls ahead. “Traditions and Faith” is dominated by portraits of the royal and imperial families, sketches for the paintings of churches and landscapes of churches by Konstantin Makovsky and Grigory Sedov. The plot of the latter, “The Conversion of Grand Duke Vladimir to Christianity,” is based on the text of “The Tale of Bygone Years.” The prince meets on the canvas with a Greek monk-philosopher who talks about the creation of the world, the human race and the Fall. The Peredvizhniki Hall spoils you with works by Mikhail Nesterov, Ilya Repin, Alexey Savrasov and Vladimir Makovsky. All of them were inspired by the ideas of populism, and the subjects of their paintings combine an interest in the life of the people and sincere admiration for the beauty of Russian nature. And finally - lyrical landscapes by Ivan Shishkin, Isaac Levitan, Mikhail Klodt and Arkhip Kuindzhi. The composition “Kama near Yelabuga” was written by Shishkin in the place where he was born and raised. The painter sang of the roadlessness, the rickety gate, the vastness of space, permeated with pure light, the foggy veil of the alluring distant horizon, the spreading crowns of trees, familiar to him from childhood. Despite the scale and epic scope of the work, the picture seems transparent and light. In the same 1895, Shishkin wrote the author’s repetition of this work, which is kept in the Nizhny Novgorod Art Museum.

The Arts Center is an art area in the very center of the city. Here, in front of the masterpieces of world painting, you can easily forget about the metropolis life boiling outside the gallery walls. Allow yourself to pause to absorb art with your eyes, soul and heart and look at everyday life through the prism of perceived beauty.

The center's activities cover educational and educational areas. Collaborating with leading galleries in Russia and Europe, private and corporate collectors, the center regularly holds thematic exhibitions of painting, lectures, art events, full-fledged theater performances and concerts that can become a notable event not only in exhibition practice, but also in the cultural life of the capital.

The center is located on Volkhonka Street, building 15, on the territory of the Cathedral of Christ the Savior complex and occupies an area of ​​more than 2000 square meters.

Operating mode:

• Tuesday-Sunday - from 10:00 to 19:00;
• Monday is a day off.