Masterpieces of Tretyakov Art Gallery: A History of Russian Art

Thank you very much for joining us for today's expert presentation on masterpieces of Russian art. My name is Natasha Baker and I'm the marketing

manager for Golden Eagle Luxury Trains and it is my pleasure to be joined by our expert today, Julia Rybakova.

Julia is one of the world's leading experts in the field of 20th century Russian and Soviet art and she provides authentication services for some of the

top auction houses including Sotheby's and Christie's to name a few.

She's also been the expert guide for our private tours of Moscow's Tretyakov Gallery for many years now. So we have every confidence that you will really

enjoy today's presentation.

So thank you again for joining us and I will gladly hand over to our expert Julia.

Thanks Julia.

Okay, so good evening, ladies and gentlemen.

Uh welcome to the virtual Tretyakov Art Gallery.

And um I hope that one day uh you'll be able to see all um the paintings we're going to discuss in

person when you come to Moscow. I'm sure

uh it'll happen very, very soon.

Uh what I'd like to add um just before we uh start our familiarization with the Russian history and art

um that it's actually not the tour of the gallery.

Um this is um more um attempt to look at the history of art

and uh Russian art and the Russian history on a different angle using the great works of the Tretyakov Gallery.

Another important thing that all the paintings we are going to see and discuss, they are on display uh in the museum

in Moscow. So, you'll be able to see

in Moscow. So, you'll be able to see them when you finally come to Russia.

And I uh concentrated on one museum because it's the largest museum of the Russian art in the world, which consists of more than 180,000

items. And it's typically Moscow museum, uh which was founded by the Russian merchant. It is situated in the

merchant. It is situated in the uh old area of Moscow just near the Kremlin across the Moscow River in a picturesque

area uh full of uh merchants' houses, little streets, and churches.

Uh it's actually not about Tretyakov Gallery, but about fascinating art and history of Russia in the context contest

of the gallery collection.

Uh we cover the historical and art period of approximately 1,000 years.

Russian avant-garde, the art of Soviet era, non-conformism, and contemporary art is a separate issue. That's why I mentioned only few keywords or artists in order to present the complete

panorama of art life in Russia up to the time of October Revolution. So, now

let's start.

Moscow Yard by Vasily Polenov, one of the greatest realistic Russian artist of the 19th century. The reason I put uh started with this painting because you

can see typical Moscow view 130 years ago. That's what Moscow looked like, and

ago. That's what Moscow looked like, and it's surprisingly uh rural, quiet and peaceful. And actually, the

place depicted it's in the center of Moscow, just near the Kremlin of Arbat Street. It depicts uh the Church of the

Street. It depicts uh the Church of the Savior in Pysky.

And this church has survived to this day. To the right, you can see the photo

day. To the right, you can see the photo depicting exactly the same place but in nowadays. What a change. Surprisingly,

nowadays. What a change. Surprisingly,

Moscow of really changed amazingly. But

back in the 19th century, this is uh when the collection of the Tretyakov Gallery was formed. Moscow was a very quiet, peaceful city. The city of

ancient streets, little churches, and nice residences of retired nobles, and developing class of bourgeoisie.

And here we come to the beginning of the most famous collection of Russian art.

You can see the portrait of Pavel Mikhailovich Tretyakov, Paul Tretyakov.

So, I deliberately put all these very difficult to pronounce and memorize Russian names.

So, you can read and maybe just um remember them.

Tretyakov, patron of arts, collector, philanthropist.

You can see uh the portrait of Tretyakov by Ilya Repin. We will be talking about Repin just a little bit later.

Uh um Tretyakov uh bought his first painting um in the mid-1850s. At that time, many people

mid-1850s. At that time, many people collected art simply to decorate their houses. But Paul Tretyakov was

houses. But Paul Tretyakov was different. He was a very generous man,

different. He was a very generous man, but very modest person. He wanted to set up um a Russian National Gallery.

And he would collect Russian, uh, paintings, the works by his contemporaries. He patronized many young

contemporaries. He patronized many young Russian artists. He bought paintings at

Russian artists. He bought paintings at exhibitions and, um, directly from artist studios. Very soon the collection

artist studios. Very soon the collection grew up in size and he needed to reconstruct his modest, um, house in Zamoskvorechye, the merchants area, just

across the Moscow River.

In 1892, he donated his collection, which grew up, uh, to 2,000 pieces, together with his, uh, house to the

country. And in 1893, the Moscow City

country. And in 1893, the Moscow City Gallery of Paul Pavel and Sergei Tretyakov was opened.

Uh, you can see, uh, the modern view of Tretyakov Gallery, the iconic facade in the so-called

neo-Russian or old Russian style, designed by another, um, Try to put it here, maybe.

Uh, designed by, um, another great Russian artist, Victor Vasnetsov.

Uh, he was a designer, a book illustrator and artist, and he worked in um neo-Russian or pseudo-Russian style,

which is, uh, based on the, uh, traditions of old Russian architecture, uh, folk ornaments, wooden carving, and so on. And here you can see the sketch

so on. And here you can see the sketch of the facade of the Tretyakov Gallery.

Um, Victor Vasnetsov, uh usually um, based his works on religious,

mythological, and historical subjects.

And he is loved by Russian children very much because many his works dedicated to Russian fairy tales. No wonder we start our journey

through Russian history from the painting by Victor Vasnetsov.

So Victor Vasnetsov Bogatirs.

And this work shows three strong knights, three warriors called Bogatirs in Russia.

They were kind of um elite warriors, sort of knights of the round table.

Uh defenders of Russia from different nomadic tribes. Uh they were called

nomadic tribes. Uh they were called Tartars, but in fact they were different tribes of different origin.

And there was no Russia at that time. Uh

uh there were different tribes who lived on the territory of what we call Russia now, different principalities. And uh

Moscow didn't even exist and uh the main town was Kiev.

The Grand Prince of Kiev, Vladimir, uh was the main ruler.

And Bogatirs, they served um Prince Vladimir and defended Kiev.

Uh usually uh Bogatirs are the main characters of the Russian Bylinas.

Bylina is the oral epic poem of Russia.

Uh it comes from the word byl meaning um something something that was once upon a time.

And in this painting you can see three main Bogatirs of bylinas.

Three main characters. So, in the middle, Ilya Muromets, the chief bogatir of the Prince Vladimir

the Great, generous and simple-minded.

Dobrynya, on the left, one of the most popular bogatirs, known for his courtesy and cunning. And to the right, you can

and cunning. And to the right, you can see Alyosha, Alyosha Popovich, the youngest of all three.

He's clever-minded and usually he wins by tricking and outsmarting his enemies.

And look at the horses. Horses are they suit their riders perfectly and they also have different tempers.

Uh as the time went on, Vladimir the Great, Grand Prince of Kiev and Kievan Rus, baptized Russia.

Uh from the beginning he followed Slavic paganism, but then, uh in 988, he converted to Christianity.

Uh few words about how this choice was made. Actually, um Vladimir had to

made. Actually, um Vladimir had to choose between different religions because there were different um neighboring um

nations practicing um Islam, practicing Judaism. And that's why Vladimir sent

Judaism. And that's why Vladimir sent ambassadors to different lands to learn about these religions.

Uh Islam uh was not appreciated by Russian people uh as um the primary chronicle,

The Tale of Bygone Years, which is the history of the Kievan Rus, from ancient times to 1117. As the primary

chronicle says, uh Muslims, "No gladness among them, only sorrow. Alcoholic beverages and

only sorrow. Alcoholic beverages and pork are forbidden.

Uh Vladimir remarked on the occasion, "Drinking is the joy of all Rus. We

cannot exist without that pleasure."

Vladimir rejected Jewish religion as well as um uh the churches of the Germans. And

finally, his um um consultants came to Constantinople, Istanbul, uh now. And they were so um

uh now. And they were so um impressed by the beauty of the divine liturgy in the Hagia Sophia Cathedral, which is a mosque now, unfortunately.

And Vladimir was impressed and Russia was baptized.

And what you see now, you see the first Russian saints, Boris and Gleb, on horseback. Boris and Gleb uh were the

horseback. Boris and Gleb uh were the sons of Vladimir, and according to the Primary Chronicle, he loved them most of all.

Uh they were um murdered uh by their brother, Sviatopolk the Accursed, after the death of Vladimir. And later

on, they were canonized by the Orthodox Church as innocent martyrs and became the first Russian saints. You can see here the icon of the mid-14th century

depicting the saints Boris and Gleb.

When we talk about Russian pictorial art, up to the times of Peter the Great, uh usually we talk about icons and frescoes.

Um this is uh because that's what we had in Russia. Icon is a Greek word, eikon,

in Russia. Icon is a Greek word, eikon, meaning image or resemblance.

Uh it's a religious work of art, mostly commonly a painting. Icon is not simply artwork. It's a sacred image used in

artwork. It's a sacred image used in religious devotion. The most common

religious devotion. The most common subjects of the icon include Christ, Mary, saints, and angels.

The most traditional way of painting icon is wood with tempera paints. Making of an icon was a long and

paints. Making of an icon was a long and complicated process that required the skill of many craftsmen.

Icons are words in painting.

They refer to the history of salvation and to its manifestation in concrete person. That's why Russian masters

person. That's why Russian masters usually did not sign the icons because they thought they were just inspired by God, but not they were not creators of the icons. The reason we know some names

the icons. The reason we know some names because they were mentioned in the chronicles or accounting documents, and I want to believe that it was the reason

they were the best painters of the time.

And such painter is Andrei Rublev.

And here you can see one of the highest achievements of Russian art, icon the Trinity.

It is based on a story from the book of Genesis and depicts three angels who visited Abraham and Sarah.

The icon is full of symbolism. For

instance, on the table you can see a cup containing the head of a calf, symbol of sacrifice. The figures of angels are

sacrifice. The figures of angels are arranged so that the lines of their bodies form a full circle, symbol of eternity and universe.

There is no action in the or movement in the painting. It's very

serene, very peaceful.

Um So all the scholars, all the historians agree that um three angels who visited Abraham

represent the Christian um Trinity in the Rublev's icon. One God in three persons, God Father,

the Son, Jesus Christ, and the Holy Spirit.

Uh Rublev didn't use any traditional He abandoned many traditional elements typical for the story of Abraham and Sarah's hospitality.

And meaning that you don't see Abraham and Sarah themself themselves. You don't see any food on the table. Actually, no

mundane details, just three angels.

And you can see symbolic attributes, house just behind the head of the left angel, symbol of God Father, symbol of construction.

The oak tree, the tree of life, symbol of Jesus Christ, and finally you see the mountain, the symbol of spiritual ascent, um

um symbol of um All right, I'll just do it like this.

So, you won't see it.

Okay.

And what also I'd like to tell you about the icons that icon undertook a lot of renewals in order of restorations.

And as many other Russian icons, it was covered with a frame. So, to the right you see what probably the Trinity icon

looked like before 1904 cleaning.

Meaning that people didn't see the icons, only faces and hands, and only in the early 1900s the Trinity icon was taken out of the

frame and people could see and admire the beauty of it.

Just look at the details.

So, faces of the angels very elegant, very peaceful, very graceful.

Uh the author, Andrei Rublev, we know very little about his life. Even the

dates of birth and death are uncertain.

Uh the end of the 14th century, early 1400s.

Probably he uh first lived in the Trinity Monastery um near Moscow and then moved to Moscow uh where he died and buried in the territory of one of

the monasteries which still exists. Uh

Again, we don't It's probably just symbolic grave.

Um Rublev influenced next generations of icon painters.

In the 16th century, the the church council made Rublev's icon uh made Rublev's icon style to be a model for church painting.

Um Um but despite all these um books about Rublev, all this talk about Rublev,

uh in the present times for sure, we know only two works which are certainly attributed to Andrei Rublev. One is the Trinity icon which is

Rublev. One is the Trinity icon which is the the Tretyakov Art Gallery and the frescoes in the um Dormition Cathedral um

in Vladimir, the town 4-hour drive from Moscow.

Just essentially later after the death of um Rublev, uh Russia finally emerged as united

country with a capital in Moscow. And let me introduce the first Russian Tsar, Ivan the Fourth, Ivan the Terrible. The

terrible is very primitive translation into English. The correct term is

into English. The correct term is probably Ivan the Awesome.

That's what Russians usually mean. But,

in all guidebooks, and even historical books, Ivan the Terrible.

Uh Ivan uh the Terrible represented he was from the Rurik dynasty, the first royal royal dynasty in Russia. It was probably

founded by Vikings back in the 9th century 862.

Uh Rurikids ruled the Kievan Rus, the Grand Duchy of Muscovy, and the Tsardom of Rus, Russia until the Time of Troubles in the early 17th century. And

then they were succeeded by the Romanovs. Ivan uh became the Grand Prince of Muscovy when he was only 3 years old.

Um his father died, then his mother died as well, and the guardians um neglected him and sometimes didn't give him even

enough food. And probably because of

enough food. And probably because of that um Ivan the Terrible um

grew very suspicious of boyars.

And when he became a Tsar, he concentrated all the power in his hands. And probably this tough upbringing contributed very much

to his complex um character.

Ivan was very intellectual and educated man, but at the same time, he suffered from paranoid rages and outbreaks of

mental instability.

Um he founded um the first printing house in Russia, in Muscovy. He

sincerely believed in God and donated to the monasteries, but at the same time uh many priests were killed on his orders.

Also, Ivan the Terrible started the mass repressions in the country.

The term Oprichnina um the state policy implemented by Ivan the Terrible when many boyars, Russian

nobles, as well as priests um were executed and their property was taken away.

Um Ivan led many wars. He defeated, for instance, um he conquered the Tatar kingdom Kazan and Astrakhan kingdom on the Volga River.

Uh he um started exploring Siberia, but at the same time he lost um the Livonian War against Sweden Sweden

Sweden and the Polish-Lithuanian kingdom.

Uh the portrait uh you see by Viktor Vasnetsov, the same great historical and fairy tale artist,

reveals the complex personality of Ivan the Terrible. Look at his angry and um

the Terrible. Look at his angry and um suspicious face. At the same time,

suspicious face. At the same time, remember, Vasnetsov was very much interested in ornamentation, in the traditional Russian costume, and

you can see all these different decorations of the interior. To the

right uh the forensic facial reconstruction of Ivan the Fourth. This

is what he probably uh looked like.

So, what happened later?

Uh in the fit of anger, Ivan the Terrible killed his eldest son, um Ivan Tsarevich, Prince Ivan. So, by

um by the way, the term uh the title Tsar We remember that Ivan the Terrible was the first Russian Tsar.

Um it me it means Caesar in the Eastern uh tradition or emperor. And the power of the Tsar is given by God.

Uh prince is the son of Ivan the Terrible is prince Ivan Tsarevich.

Um So still many people um don't believe that Ivan the Terrible killed his son. So this version is questionable but very popular.

Anyway, um then his elder son died and then uh the younger son of Ivan Fyodor had to

rule the country and he was not prepared uh to this rule. And probably

um he was mentally distorted. Anyway,

this is when the Time of Troubles uh start.

It was a period of political anarchy and um chaos, the political crisis in the country.

Uh many different impostors appeared in Russia, actually two two false Dimitris, the so-called. They claimed to be

the so-called. They claimed to be Russian Tsars.

Um Russia experienced the famine uh which killed a third of the population within 3 years of uh Fyodor's

um Ivan the Terrible son's death.

Russia was occupied by the Polish Lithuanian kingdom until it was expelled in 1612.

The Time of Troubles ended with the election of Michael Romanov as Tsar in 1613, establishing the Romanov dynasty, which

ruled Russia until the revolution uh of 1917.

Here you can see the portrait of Tsar Mikhail Fyodorovich. Of course, it's a very

Fyodorovich. Of course, it's a very generalized portrait, not for many individual um features.

And it's called this first Russian portraits that called parsunas.

Uh from the Latin word person. Person,

persona, parsuna. Parsunas manifest a transition from flat icons on the board to three-dimensional image on the canvas. It still retains parsuna a

canvas. It still retains parsuna a strong bond with the old Russian tradition.

Now we're moving to the 17th century, one of the crucial periods of the Russian history. The most dramatic

Russian history. The most dramatic episode of the time is the split in the Orthodox Church called Raskol.

Uh it was tricked by the reforms of the patriarch, the head of the Russian Church Nikon, and the Tsar Alexis uh the second Romanov.

The aim of reforms was to establish uh uniformity between Greek and Russian Church practices.

Um minor changes to um in our opinion caused uh terrible madness tragedies um sacrifices,

uh Russia was split into people who didn't uh support the reforms, Old Believers, and people who were for reforms. Old

Believers were prosecuted. They had to uh escape to the remote areas of Russia like um um behind the Ural Mountains to

Siberia where many villages of um Old Believers were established. By the way, uh we still have Old Believers in Russia.

Uh the cemetery in Moscow, the churches.

Many Russian merchants of the 19th century, the developing class of bourgeoisie um belonged to Old Believers. And another

important thing, the merit Old Believers they would collect Russian icons because they valued only icons before Patriarch Nikon.

And thanks to Old Believers, many gems of ancient Russian art have been preserved.

One of the leaders of Old Believers was Boyarynya, the noble lady Feodosia Morozova.

You can see the painting depicting Feodosia Morozova by Vasily Surikov.

Her husband was one of the wealthiest men in Russia and brother-in-law of Tsar Alexis.

Morozova joined Old Believers together with her sister and she called the Patriarch Nikon Antichrist.

After many misfortunes, two sisters were arrested on the orders by Tsar Alexis.

And the painting is depicting Feodosia's arrest.

You can see in the center this lady in black, she's holding two fingers rather than three raised in the old way of making the sign

of the cross.

The sisters were interrogated, tortured and put in an underground cellar of one of the monasteries near Moscow.

They were very cruelly and slowly starved to death and died in 1675.

The painting you see was created by the outstanding historical artist Surikov in the 1880s. The intellectuals of the 19th

the 1880s. The intellectuals of the 19th century, national nationalist writers, considered Morozova as important representative of Russian identity and

tradition. Hence

tradition. Hence this painting. Besides, Surikov was born

this painting. Besides, Surikov was born in Siberia where all believers were not part of history, but part of real life.

As a child, he read the handwritten life of Morozova.

Uh here you can see original sketch for the painting of 1881. You can see that first it was smaller the painting and probably more

intimate and then it became really multi-figured composition. And about

multi-figured composition. And about some pictorial innovations, of course by the 1880s, uh Russian artists already knew about impressionism and um

um if you look at the snow in the painting, it's not white. No, there are different colored reflex on the snow,

the combination of blue, yellow, pink, and so on.

Okay.

Well, Peter.

Peter the Great, the famous Russian emperor. Very important for Russia, very

emperor. Very important for Russia, very controversial figure. You can see Peter

controversial figure. You can see Peter the Great, young Peter the Great by unknown author.

Um Peter was first um Russian emperor. He obtained the title

Russian emperor. He obtained the title of the emperor in 1721.

He was a reformer.

He changed all the spheres of Russian life, including economy, army, uh uh art.

And he made Russia a European country.

He wanted to civilize it. Still people

are discussing whether the reforms of Peter the Great were for the better or for the worse.

Uh but we want to look at the painting uh which is dedicated to the private to the

personal drama of Peter. Here you can see Peter the Great interrogating Tsarevich Alexei, the only son of

surviving son of Peter in Peterhof, uh the uh country residence of Peter the Great.

So, son of Peter Alexis unfortunately, um um

was involved in the conspiracy against Peter. He was interrogated and or and

Peter. He was interrogated and or and sentenced to death. So, he was executed.

And here you can see this dramatic episode of the interrogation. The artist

who painted this work, Nicholas Ge, uh was a great historical religious artist, uh and then he was a friend of Russian writer Leo Tolstoy.

The um painting the was dedicated to the 200th anniversary of the birth of Peter and was painted in

1871.

Um you can see that um the conflict in the scene is revealed without any pathetic.

It's quite simple and serene, uh but because um all the light is concentrated on the face of Peter,

uh we understand at once on whose side historical justice stands.

When Peter died, um unfortunately, he didn't leave any heirs. Um

heirs. Um and that's why first uh his wife uh ruled and then um many other women, just with few

exceptions.

18th century, the era of palace coups, uh, made mainly ruled by women, one of the most difficult and most exciting periods of Russian history.

But it's also the time of beginning of professional painting in Russia and professional art education due to reforms of Peter.

Uh, Peter would send, um, promising Russian, uh, young people to study overseas.

Usually they would study sciences, navigation, but also art. Peter invited,

uh, many uh, foreign artists, sculptors, architects to work in Russia. And

usually they had to sign special agreement, um, to take Russian students, Russian people as their apprentices. And this is

how amazingly fast, in 30 years, Russian art changed from, uh, flat icons, from, uh, primitive personages to

three-dimensional portraits, really European portraits. The main trend of

European portraits. The main trend of the time was ceremonial portrait. And

here you can see the portrait of Empress Anna, uh, the niece of, uh, Peter, painted by French court painter, Caravack. And next to it, portrait of

Caravack. And next to it, portrait of Empress Elizabeth, Peter the Great's daughter, uh, which was executed by one of the

first Russian painter, Ivan Vishnyakov.

Elizabeth was one of the best beauties of the time, natural blonde with blue eyes um uh, slender, graceful body and slender, long

legs. She was charming, um,

legs. She was charming, um, she was, um, merry and she loved parties and dances.

But unfortunately, um she had never married and legitimately didn't have children. And

that's why she brought to Russia um her nephew, the direct grandson of Peter the Great.

Um he was um the son of um Elizabeth's sister Anna.

Uh this um boy grew up uh and became Russian emperor after the death of Elizabeth, Peter the Third. But he did not rule for

long because he was dethroned by his really ambitious wife, Catherine, future Catherine the Second.

And uh what you see, you see two quite interesting portraits uh by Alexey Antropov.

They depict Peter the Third and Catherine the Second in 1762,

just a few months uh before the murder uh of before the death of Peter.

And if you look at Peter the Third, it's very interesting portrait. First,

to us he looks really funny, almost like caricature, but in fact the portrait is very true to life. Uh the figure of the emperor is irregular, but very

expressive.

Uh you can see all the attributes of his power, which was required um for the ceremonial portrait. Uh you see orb,

ceremonial portrait. Uh you see orb, crown, scepter, ermine mantle, sword, and so on.

And to the right, young Catherine.

So remember that um she organized a conspiracy coup d'état against her husband because she wanted power and Peter the third was

not popular in the country.

He didn't like Russian culture.

He was very German oriented. She just

didn't fit in the in Russia.

Catherine was supported by Russian aristocrats, commanders of the Russian army, Orlov brothers.

Peter was put under arrest. He was kept in one of the palaces near St.

Petersburg, where he died under some strange circumstances. In fact, he was

strange circumstances. In fact, he was killed by Orlov brothers. They had they said was an accident. Till the last days of her life, Catherine claimed she had

nothing to do with this murder. Despite

these really questionable events of her becoming an empress, Catherine is the country's longest ruling female

leader. Under her reign, Russia became

leader. Under her reign, Russia became larger and probably stronger.

Russian culture was revived. Very

important document was confirmed in the reign of Catherine the Great, the Manifesto on freedom of the nobility. It enabled Russian nobles

the nobility. It enabled Russian nobles to retire, freed them from compulsory military or state service. And many of them really retired. They went to the

country, they went to Moscow. They would

construct their mansions in the classical style, the leading art style of the time. And these mansions really changed the face of the country.

Catherine supported the ideals of the Enlightenment. The period of Catherine

Enlightenment. The period of Catherine the Great is considered the golden age of Russia.

So, we saw young Catherine and now let's look at the very interesting portrait.

It depicts Catherine at the age of 65.

And it's probably the first example of a chamber style interpretation of Catherine's image in painting. She is

not depicted in the splendor of the royal regalia. Now, you can see just an

royal regalia. Now, you can see just an old lady who makes a morning walk through the through her estates to the Tsarskoye

Selo Park.

Her clothes are unofficial and modest. A

dog is playing at her feet. And although

Catherine is represented almost at home, her posture is full of dignity.

Catherine, by the way, didn't like this portrait and didn't buy it.

But it is in the Tretyakov Gallery.

Painted by the artist of the new ideas, of the new era, the time of sentimental art, Vladimir Borovikovsky.

Vladimir Borovikovsky continues line of chamber portrait in his most poetic creation, Portrait of Lopukhina.

This portrait can be considered the highest achievement of sentimentalism in Russia with its interest

towards inner life of person, gentle colors, and thin fluid of paint.

Instead of attributes including um indicating rank of the model, you can see the objects

which can reveal the personality of the model, mostly the landscape. And also

very important that you can see not just generalized landscape, you can see Russian landscape.

The white trunks of the bushes, the ears of rye and the cornflower.

For the aesthetic aesthetics of the late 18th century, it was very important.

For Borovikovsky, Lopukhina, as well as other models, is embodiment of the Russian ideal of female beauty.

As it was formed at the end of the 18th century under the influence of the ideas of sentimentalism.

Now, so Peter and Catherine, they had only one son, Paul, Paul the first.

He's called sometimes a Russian Hamlet.

Paul is the subject to different opinions.

Uh he had great sense of humor, charming manners. He was educated man,

manners. He was educated man, but quite eccentric and not loved by all people, including his friends and um

um associates.

He had to wait for a long time to become an emperor, and he was overshadowed by his mother.

Uh he became an emperor in 1697, and immediately afterwards, he commissioned the ceremonial portrait.

And you can see this portrait on display.

The portrait was painted by Russian artist Stepan Shchukin. He was quite young at that time, and actually they had to find the artist on a short notice

uh to paint um the formal portrait.

Uh but uh this portrait probably became one of the most psychological psychological portrait of the 18th century. And look, it's actually the

century. And look, it's actually the ceremonial representation of Paul the first, but he is depicted against the neutral background. There are no

neutral background. There are no attributes indicating the authority of the model.

Nothing.

It really conveys the atmosphere of the epoch. Our attention is focused on the

epoch. Our attention is focused on the face of Paul. He's restrained from mundane world. His position is

mundane world. His position is exclusive. The rule of Paul starts from

exclusive. The rule of Paul starts from him only. Very soon, in five years, in

him only. Very soon, in five years, in 1801, Paul was assassinated by conspirators at his palace of state of St. Michael's Castle.

St. Michael's Castle.

Paul's successor, his son, who was only 23 years old, Alexander, knew about the plot and was actually in the palace. He

didn't stop the assassins, didn't punish them after. The court physician declared

them after. The court physician declared a stroke. This is how Romanovs entered

a stroke. This is how Romanovs entered the 19th century.

The 19th century history of Russia and Moscow in particular is determined by the French invasion of Russia.

Known as the Patriotic War of 1812.

The war with Napoleon. Russia was

invaded in the summer of 1812.

Napoleon's army proceeded as far as Moscow.

It was decided to let the French enter the city because there was not enough manpower, not enough resources

to withstand the attacks of Napoleon.

All the citizens left and storages were set at fire. Unfortunately,

uh due to um fire spread all around Moscow and the ancient capital, the heart of the country was severely

damaged and rebuilt later.

Here, we see the family portrait of Count Morkov who just returned to Moscow after the war.

Uh the painting was executed in 1813. In

the middle, you can see the Count Morkov sitting, the head of the Moscow Volunteer Corps. To the left, uh his

Volunteer Corps. To the left, uh his sons. They're all um decorated um and

sons. They're all um decorated um and they're pictured with bronze medals in memory of the war of 1812.

The portrait was painted for Morkov's um mansion, which was um just built in Moscow after the fire.

And this portrait uh was created by Vasily Tropinin, one of the greatest Moscow artists of the 19th century.

Uh Tropinin was the serf of the Count Morkov. Serfdom was abolished in Russia

Morkov. Serfdom was abolished in Russia only in 1861.

Um that late. Till that time, many talented people, including artists, singers, dancers, musicians, had to lead a misfortunate life of a serf.

Tropinin was able to um become a free man only at the age of 47.

He settled in Russia uh and in 1823, just um uh he he went to Moscow and he lived in Moscow after he received

freedom in 1823. And he produced some of his great works, including The Lacemaker.

You see this painting to the right.

Tropinin was the author of the so-called genre portraits, which depict sometimes not individuals, but conventional types.

People of different occupations and professions, like lacemaker.

Altogether, Tropinin produced more than 3,000 portraits.

And he lived He had very happy life in Moscow. He lived on Lenivka Street,

Moscow. He lived on Lenivka Street, again close to the Kremlin.

And at the age of 70, he produced his self-portrait, which you can see on display.

Self-portrait with brushes and a palette against the window facing the Kremlin.

So, Tropinin wanted to say that I'm a Moscow artist.

His features maintain friendliness and benevolence typical of Muscovites.

Talking about Russian culture, we have to mention, of course, Alexander Pushkin, great Russian poet, prose writer, playwright, the founder of modern Russian literature.

You know probably some of his works, like Russian Ruslan and Ludmila, The Bronze Horseman, Yevgeny Onegin, The Queen of Spades, Boris Godunov, and many other brilliant

verses and fairy tales.

He died very young in a duel.

Contemporaries consider the portrait you see to be the best depiction of Pushkin.

It was painted by Kiprensky, who chose aesthetic composition that is reminiscent of Asian busts.

And Pushkin is compared to great poets of the past.

You can see a plate cloak which is thrown thrown over Pushkin's shoulder.

A reminder of Lord Byron who was extremely popular among young Russian intellectuals of the 19th century.

As for Kiprensky, he was the first romanticist painter in Russian art. His

main genre was portrait. He used a new approach to depiction of his models presenting them as independent personalities.

Kiprensky's characters are overwhelmed by emotion capable of deep and strong feelings.

In 1828, after portraying Pushkin, the artist left for Italy. And this is where he lived and this is where he died and he is buried in Rome.

By the 19th century, very interesting cultural phenomena, the artist colony, the colony of Russian people including many

writers and artists was established in Italy.

In 1757, the Russian Academy of Arts was established in St. Petersburg where

painting, sculpture, architecture was taught. The best students of the Academy

taught. The best students of the Academy received pension, scholarship, to go abroad and to study art.

The pensioners of the Academy very often went to Italy because of the great climate, because of the great art and great climate, of course. They settled in Rome and Naples,

course. They settled in Rome and Naples, stayed there for several years and sometimes for the whole life.

One of the most remarkable members of the artist colony in Italy was Alexander Ivanov, painter and graphic artist.

Ivanov's art stands in the center of the spiritual search in the Russian culture of the 19th century.

It's easy to remember his name, Alexander Ivanov. Some usually he's

Alexander Ivanov. Some usually he's called the master of one work.

You can see it.

It took 20 years to finish Ivanov's magnum opus.

The title, The Appearance of Christ Before the People.

It was painted in the period 1837-157 in Italy.

The subject is taken from the first chapter of the Gospel according to John.

In the center, you can see John the Baptist who is baptizing people in the River Jordan. Behind

River Jordan. Behind his head on the left, you see Apostle St. John, St. Peter, St. Andrew. Um in

St. John, St. Peter, St. Andrew. Um in

the foreground, uh you can see um the rich, the wealthy man, and the slave. Uh

the characters presented um the um old and young is symbol of unceasing life.

And also, if you look here, uh you can see um uh

sketches, uh studies uh for the painting, and also the pilgrim to the left. To the left in here, um the artist

left. To the left in here, um the artist gave his own features to the wanderer with a staff seated not far from John.

So, here just over there, and then you can see the sketch, the pilgrim.

Uh for the artist, the creation of this painting was uh the idea was not just to narrate the story.

He wanted to show, to convey the dramatic change in uh people um in the very moment of

their moral transformation.

So, when this enormous canvas of about 5 m uh was finished, it was shipped to St.

Petersburg and exhibited, receiving mixed reviews. Many people didn't

mixed reviews. Many people didn't understand it um didn't understand the message and considered the painting old-fashioned.

Ivanov waited in vain for a response from the Emperor Alexander II, who wanted uh to buy the canvas.

Dissatisfied, the artist was infected cholera and died.

Just a few hours after his death, the painting was bought by the emperor and Ivanov was given an Order of St.

Vladimir. But, of course, he didn't know about it.

Uh The artist defined his beliefs as follows: "In new time requires new art.

The primary task of modern art today is to combine the technique of Raphael with ideas of a new civilization." And yes, new civilization, new generation

appreciated Ivanov and now he's considered one of the greatest Russian artists ever.

The person who paid for transportation of Ivanov's painting um from Italy to Russia was Grand Duchess

Elena Pavlovna, remarkable figure of the time. Here you can see her portrait.

time. Here you can see her portrait.

Uh the wife of Grand Duke Michael, Mikhail, the youngest son of Paul I.

She received a good education in Paris and she was um distinguished by her quick-wittedness.

Uh Uh, she was interested in uh science and engaged in charity. Yelena was a close friend uh of her brother-in-law uh

the Emperor Alexander the first, and his wife. When the husband of um

wife. When the husband of um the duchess um died, she became a patron of several charitable organizations and the arts.

She founded the St. Petersburg

Conservatory, as well as the group of nursing sisters, which would eventually become uh the forerunners of the Red Cross in Russia.

Uh, during her time in Russia, um Yelena Pavlovna became known as the family intellectual and was considered

the most exceptional woman in the family since Catherine the Great. She was also liberal on serfdom and helped to push

Alexander the second to abolish serfdom.

The portrait by Karl Bryullov depicts um a 23-year-old attractive lady.

Uh, it's actually a half-figure portrait from life for large ceremonial portrait Yelena with her oldest daughter Maria to the right, also by Bryullov, executed uh

when he lived in um Italy. Karl

Bryullov, referred to by his friends as Karl the Great, historical and genre painter, portraitist. Unlike Ivanov, he

painter, portraitist. Unlike Ivanov, he was very successful and prosperous as fashionable portraitist.

Uh, he's regarded as a key figure in transition from the Russian Neoclassical art to Romanticism.

Most of the time, again, he spent in Italy and he's buried in Rome in um non-Catholic cemetery.

The second half of the 19th century, so we're moving to the time when the Tretyakov Gallery actually um came into existence.

um, the second half of the 19th century uh, passed under the banner of realism.

Um, it was the time of deep um, social reforms and um, significant transformations.

Revolutionary events in some countries of Europe, defeat Russia in the Crimean War um, 1855, abolition of serfs 1861,

determined the appearance of new ideas and aesthetic principles.

Um, in this context, I want to mention two items. Raznochintsy, educated people of non uh, noble origin.

Uh, due to their education, uh, they were excluded from taxable duty and their Russian term intelligentsia.

Educated um, people uh, engaged in the complex mental labors that critique, guide, and lead in shaping the culture and politics of

their society.

The intelligentsia includes artists, teachers, and academics, writers and uh, writers.

Individual members of intelligentsia are known as intellectuals.

Uh, originally composed of educated nobles, the intelligentsia became dominated by Raznochintsy, remember classless people, after 1861, after the abolition of

serfs.

Uh, by the way, in fear of an educated low class and middle class people, Tsar Nicholas the First limited the number of

university students up to 3,000 per year. Yet, there were 25,000

year. Yet, there were 25,000 students at the in the end of the 19th century. Of course, these people would

century. Of course, these people would have different ideas about the functioning of the society and about um, um, the about the country. As for new

generation of Russian artists, they wanted to draw attention of the society to needs and problems of the country, not just depicting

nobility or sunny Italian landscapes, but showing real life.

In 1870, the Society for Circulating Art Exhibitions was founded in order to give people from provinces a chance

to follow the achievements of art and in order to educate people.

The members of this society, they were called Wanderers or the Itinerants.

The founding of this society signified emancipation of art from the control of the Academy of Arts in St. Petersburg.

Where was where was really separation between low and high genres.

Also, many artists now would study in the Moscow School of Painting, Sculpture and Architecture formed by various art schools and colleges of Moscow in 1865.

It was the time when the collection of Tretyakov increased. He supported the

Tretyakov increased. He supported the Itinerants and collected their works.

One of the founders of the society, a central figure in the Russian art of the 1860s was Vasily Perov.

At that time, Perov created his best genre works including Troika, in which society becomes criticized even more.

You can see Troika, three apprentices are taking water. That's about child labor.

Instead of three horses, Troika, you see three poor children. They have to work instead of going to school.

The children's faces reveal charm and suffering.

This is Perov's largest genre painting in terms of size and at the same time the most emotional. And just let me tell you a short story about the models.

You can see the boy in the middle.

The model was found by Perov on the streets of Moscow. His name

was Vasya.

And he his mother was a widow and he was the only surviving child.

Just a few years after the painting was finished, the mother of the boy came to Perov and she narrated very sad story.

Vasya got sick and died. And she brought all her money and asked Perov to sell the painting in memory of beloved

Vasinka. But unfortunately,

Vasinka. But unfortunately, the painting was already in the collection of Paul Tretyakov. Perov

brought poor lady to the gallery. She looked at the painting. She started crying and

the painting. She started crying and praying. So, Perov um

praying. So, Perov um made the portrait of Vasya and gave this portrait to his mother.

This is a story.

Vasily Perov created the portrait gallery of his famous contemporaries, representatives of intelligentsia.

Uh as among them Fyodor Dostoyevsky, the great writer. You can see the portrait

great writer. You can see the portrait of Fyodor Dostoyevsky on the right. The

mostly widely read Russian author wrote Crime and Punishment, Karamazov Brothers Idiot Demons.

By the way, Dostoyevsky was sentenced to death for his part participation in the revolutionary uh in activity of the revolutionary circle.

And only the last moment his punishment was changed to hard labor.

In the discussed period, uh the national landscape appears. Instead of romantic

landscape appears. Instead of romantic ruins or ruins of use of Italy, uh seashores, Moscow and St. Petersburg,

we see lyrical landscapes depicting hidden beauty of Russian countryside.

The key Russian landscapist of the time was Alexey Savrasov.

The Rooks Have Come Back is considered by many critics to be the high point in Savrasov's artistic career.

Uh using a common even trivial episode of birds returning home, meaning beginning of spring, and an an extremely simple landscape,

Savrasov creates the symbol of Russia.

It was a new type of lyrical landscape painting called later by critics the mood landscape.

Uh you can see there is a very um melancholic um mood in the landscape. Probably it

was a response of the artist to the death of his daughter in 1871.

The painting brought him fame, but in the late 1870s, Savrasov gradually became an alcoholic, which led to a crisis in his art. He was

dismissed from his position at uh the Moscow Art School. All attempts of his relatives and friends to help him were in vain.

His work suffered dramatically, and the last years of his life he spent in poverty. He was usually drunk and often

poverty. He was usually drunk and often dressed in rags. Finally, he found himself uh walking from shelter to shelter. When

he died, only the doorkeeper of the Moscow Art School and to surprise Paul Tretyakov was present at his funeral in

1897.

But you can see his great landscapes.

And now back to Ivan the Terrible.

You can see the dramatic episode Ivan the Terrible and his son Ivan um November um 15, 1881 by Ilya Repin.

Uh we remember that actually all about these murders very questionable.

Uh but I put it here on purpose.

I mean not when we talked to not um uh when we talked about um Ivan.

Among artists elected uh by Tretyakov is of course Ilya Repin, great realistic and historical painter of the second half of

the 19th century, prominent professor of St. Petersburg Academy of Arts. This is

St. Petersburg Academy of Arts. This is

probably his most famous painting.

Um the picture portrays Ivan cradling his mortally wounded son Tsarevich, the Prince Ivan.

Um in his memoirs Repin said he was inspired to create the painting by the 1881 assassination of Emperor Alexander

the Second. The emperor undertook many

the Second. The emperor undertook many liberal reforms in the country including liberation of serfs.

But members of the so-called Narodnaya Volya, literally were chasing him.

Narodnaya Volya was the um 19th century revolutionary political organization in the Russian Empire which conducted assassinations of government officials in an attempt to overthrow the

aristocratic system.

Pity to say, but Russia um to some extent was the cradle of terrorism. Alexander II had previously

terrorism. Alexander II had previously survived several attempts, but on March 1881, the attempt was successful. The

assassins threw bombs at Alexander and he was terribly, really severely injured. He was brought to his study in

injured. He was brought to his study in the Winter Palace where he died. Russian

society was shocked as well as Repin.

And the painting was artistic response of Repin to this terrible murder. That's

why you can see our attention is focused on the terrified eyes of Ivan the Terrible and the blood of the spot of red blood

in the middle of the painting.

What is also very quite peculiar about this work, it's actually always um impressed people in different ways. For

instance, it was vandalized in 1913. A man

attacked the painting three times with a knife making three parallel slashes over the faces of Ivan and his son.

The director of the Tretyakov Gallery resigned. The curator of the Tretyakov

resigned. The curator of the Tretyakov Gallery, the landscape painter, was so distressed by the vandalism that he threw himself under the under train.

Repin returned to Moscow from Finland to restore the work. So here you can see damage to the painting 1913. You can see these three slashes.

Now, just two years ago, the painting was attacked again when a visitor to the gallery who smashed the security glass

around the painting because he believed it to be historically inaccurate.

Remember, not all people believe that Ivan the Terrible killed his son. He

used one of the metal security poles.

So, damage to the painting recently.

But, at um this time, nobody resigned.

Times different, people are different.

Talking about outstanding figures of the time of the 19th century and early 20th century, it's important to mention Savva Mamontov, a major industrialist and

talented patron of arts.

He set up the Abramtsevo art circle and the Russian private opera.

At his Abramtsevo estate, he created art studios to preserve and revive traditions of folk and um folk art and crafts.

The portrait you see on display, a portrait of Savva Mamontov, was painted shortly before Mamontov's financial ruin, when

the patron of arts was falsely accused of embezzlement.

He was soon released, but never resumed his former activities. The portrait is painted by Mikhail Vrubel, uh leading Art Nouveau artist of Russia, designer,

monumental painter, stage designer, sculptor, master of applied arts. He was

best patronized by um Savva Mamontov.

Another famous work um by Vrubel you can see, The Princess of the Dream, painted in 1896, a very important date for the history of Russia.

It was actually um intended um uh for the coronation of Nicholas II.

Um Becau- um the All-Russia exhibition uh was dedicated to the coronation of Nicholas II, and one of the pavilions,

one of the expositions on the Russian North, was decorated with this uh painting, with this huge canvas.

Um it is um based on the um poem by the French poet Edmond Rostand with the same name, The Princess of the

Dream. And um

Dream. And um the composition represents very important idea of symbolism, inaccessible beauty reached only in our

dreams, not in the real world. Vrubel

was one of the first to address symbolism in the style of Art Nouveau within the mainstream of European aesthetic exploration. By the way, the

aesthetic exploration. By the way, the mosaic panel based on the same composition decorates Hotel Metropol, gem of Moscow Art Nouveau.

And so in the 1966, coronation of Nicholas II.

Uh you can see the emperor uh being crowned in the Dormition Cathedral of the Moscow Kremlin. Um

Nicholas II, the last emperor of all Russia, ruling from 1894 until his abdication in March 1917.

Uh he undertook many, or at least tried to undertake many reforms, but unfortunately the progress was undermined by Nicholas' commitment to

aristocratic rule, oppressive policies, and crushing crushing defeats sustained by the Russian military in the Russo-Japanese War and the First World War.

Um coronation took place in the Kremlin, the celebration in the Bolshoi Theater, but there was also a special um celebration uh for public, a large

festival with food freebie and souvenir cups. It was held in Khodynka Khodynka

cups. It was held in Khodynka Khodynka Field outside Moscow.

Khodynka was chosen as location because it was really big and it could fit all people.

Uh before it was primarily used as a military training ground and the field was uneven with trenches.

So, what happened? Um

the rumor spread uh that uh there would not be enough um free drinks um and food for everyone. As a result,

the crowd rushed to get their share and individuals were smashed and oppressed to each other, suffocated in the depth of the field. The altogether there were

about 100,000 people and thousands died and were badly injured. The Khodynka

tragedy was seen as an ill omen and Nicholas uh didn't gain popularity from the very beginning of his rule.

And another um bad thing happened. Uh the French ambassadors um reception was planned for the same

night. The Tsar, of course, wanted to

night. The Tsar, of course, wanted to stay in his chambers and pray, but his uncles uh they had a lot of influence over Nicholas uh believed that his absence at

the ball would damage uh relations with France and that's why Nicholas attended the party. As a result, next day the

the party. As a result, next day the morning people saw Nicholas as uncaring.

Serov, um the author of this um painting, was one of the premier the main portraits artist of the era.

As we come to the turbulent times of the turn of the 19th century, we can observe the emerging different art movements, societies and groups. Young Russian

artists now are more aware of novelties in European art. They travel around Europe and study the art schools in Paris or Munich. There is variety of styles, not necessarily realistic. The

sense of awaiting changes penetrates the atmosphere of cultural and artistic circles. So, let me show some works.

circles. So, let me show some works.

Bathing of red horse by Kuzma Petrov-Vodkin.

This painting soon became most iconic work of Petrov-Vodkin and was a trademark style of the artist. It caused

a lot of artistic discussions. You can

see the attempt of the artist to combine Eastern and Western tradition with elements of Italian frescoes, neoclassical trends,

and of course traditional Russian icons.

By this time Russian icons were finally rediscovered thanks to the exhibition of 1905. Before

Before it Before it was even considered bad taste among Russian intellectuals to like and value icons. Something very religious,

icons. Something very religious, old-fashioned.

At the exhibition, Russian artists were impressed greatly with the beauty of Asian art. Besides, icons were finally

Asian art. Besides, icons were finally taken out of their frames, so it became possible to see them.

We can't overestimate the importance of icons and folk art for the development of avant-garde movement in Russia.

Based on the icon painting, Vodkin often used three-color palette, red, yellow, and blue.

Um Bathing of red horse is a stunning painting, powerful and mysterious.

Uh it seems to be very simple. You can

see just a boy on a horse.

The magic was not there from the start.

At first, it was very realistic painting. So, Petrov-Vodkin

painting. So, Petrov-Vodkin Petrov-Vodkin painted his nephew uh sitting on a horse borrowed from a local peasant. When the picture was almost

peasant. When the picture was almost finished, just by chance, uh the artist visited the exhibition of old Russian

icons. He was so struck um

icons. He was so struck um by what he saw at the exhibition that he immediately decided to stylize the red

horse um picture and icon. The painting

immediately developed an extra layer of meaning. It became symbolic and even

meaning. It became symbolic and even prophetic. It was completed in 1912,

prophetic. It was completed in 1912, before the war and before the revolution, but red uh was um symbol of revolution. That's why uh the

painting was highly appreciated in the Soviet era uh because it became the symbol of the revolution. We don't know whether what

revolution. We don't know whether what he meant it or not, but um for sure he felt that was something in the air, uh the time of changes.

Uh Mikhail Larionov, Resting Soldier. Larionov and

Resting Soldier. Larionov and Goncharova, representatives of European Avant-garde. In his early days, Larionov

Avant-garde. In his early days, Larionov worked in different styles, creating um many of them, trying to find his individual manner.

Uh he was expelled uh from the Moscow Art School as um many other Russian artists for his radical ideas and different art. So, many

Russian artists didn't want to paint in the realistic way.

Uh the painting Resting Soldier, part of the so-called Soldier series by Larionov. At the time of painting, the

Larionov. At the time of painting, the artist often traveled to camps um as part of compulsory military service.

He was very interested in amateur drawings that covered the walls of the barracks. Usually soldiers depicted

barracks. Usually soldiers depicted women and horses accompanied with very often obscene inscriptions.

The painting was executed in the primitive style um because Larionov was influenced by

Fauves, by Matisse, and naive art. Larionov himself ironically

art. Larionov himself ironically compared his soldier with Venus resting by Giorgione.

Uh the irony uh was very important at that time because it um in a way for Larionov it was the denial of the values of the culture of the past.

Uh hence simple colors, limited palette, the plainness of the plot in order to neglect the classical canons and express

the desire to prove a new one.

And very good.

A black square by Kazimir Malevich 1915.

Iconic painting. Uh the first version was done in 1915. Altogether Malevich

probably um did four variants and the latest one in the 1930s.

This work is frequently invoked by critics historians curators and artists as the zero point of painting.

For Malevich it was manifest the end of old world and subsequently the end of traditional classical art based on objects, birth of abstract art. It is

part of his new pictorial system, Suprematism. Malevich had made some

Suprematism. Malevich had made some remarks about his painting. It is from zero in zero that the true movement of being begins. I transformed myself in

being begins. I transformed myself in the zero form and emerged from nothing to creation. That is to Suprematism, to

to creation. That is to Suprematism, to the new realism in painting, to non-objective creation.

In um um um 2015 while examining the Black Square at experts at the Tretyakov Gallery

discovered a message underneath its black paint. It was believed to read as

black paint. It was believed to read as Battle of Negroes in a dark cave.

The reference was linked to 1897 work by French writer and humorist Alphonse Allais with a title Negroes fighting in a cellar at night. So here you can see

it. Negroes fighting in a tunnel at

it. Negroes fighting in a tunnel at night 1897.

The researchers at the State Tretyakov Gallery as well as many other historians speculated Malevich was responding to

the joke within Allais' popular work. So

here you can see the works by Allais which gives you an idea that Malevich was not the only one

to start abstract art, but for Allais, it was mostly like he played with words rather than with pictorial images. But you

know, the inscriptions are quite interesting. The White Square, First

interesting. The White Square, First Communion of Anemic Young Girls in the Snow and Red Square, Apopleptic Cardinals

Harvesting Tomatoes on the Shore of the Red Sea, Study of the Aurora Borealis.

More will come to the 20th century. More

declarations, concepts, theories we experience. These radical movements

experience. These radical movements start through the revolutionary changes really well. That's why talking about

really well. That's why talking about revolution, we always talk about Russia as leader of avant-garde movements despite all the tragedies of the Soviet era.

But to finish my presentation, I want um with another painting.

Very charming and maybe the one which can again bring us at the end to the outstanding of the mysterious Russian soul. So, in Russia, in Rus, the soul of

soul. So, in Russia, in Rus, the soul of the people.

The first title was Christians, painted by Mikhail Nesterov. You can see the date it was painted in the years of the First World War. And for the artist,

this painting was reflection on the fate of the Russian people and on the fate of their country. So, here we see

their country. So, here we see people in Russian costumes, peasants, priests, Dostoevsky and Leo Tolstoy, the

Tsar, the patriarch, the famous icons.

In front is St. Basil the Blessed. And

they're all depicted against the traditional and very beautiful Russian landscape. They all move in the

landscape. They all move in the procession of the cross. The painting is an embodiment of Russia on the verge of transform- transformation while preserving the

national heritage. And believe me, even

national heritage. And believe me, even all the radical artists, despite what they paint, they adore Russian culture, golden churches, and traditional

landscape.

That's it.

Perfect. Thank you very much for that, Julia. It was a fascinating painting to

Julia. It was a fascinating painting to end that presentation on. I think it just summarizes the whole um the whole presentation very, very well. So, thank

you very much for obviously giving up your time today to deliver this presentation to us all. I'm sure that we've had a wonderful response from everyone that has tuned in. So, thank

you for everyone who has tuned in to watch today.

As we mentioned before, we've got a little bit of time just to ask some questions to Julia. If anyone does have any questions, then please feel free to send them through to us now using the

chat box or the Q&A the Q&A facility at the bottom and we will run through any of those that we have now. So, let me just take a look.

Mhm.

So, I've got a question that's come through here.

Um I don't know if you can see that, Julia.

It says How did the Nesterov appear after Malevich style?

How did Nesterov appear after Malevich style? Just because I wanted it.

style? Just because I wanted it.

Just Yes. Well, first you need to understand

Yes. Well, first you need to understand that it's the same time. That's what I was trying to explain. Malevich

1915 the black square, Nesterov 1914-1916.

So, they just would move in different directions, but it was the same time and the variety of styles was just amazing.

Thank you for that. He the He also said it was a superb presentation with a difficult theme to explain clearly. So,

that's a lot a lot of the guests that we've had are sending through their their comments just said how how wonderful your presentation was. Thank

Dostoevsky and Dostoevsky Nesterov.

They're in the back.

Let me No.

Okay, if you find I think I'll just Did Okay, let Yeah.

Okay, if you look um at the painting, just Google it.

You can find the man with a beard, Tolstoy, just behind the icon in the background and the profile Dostoevsky even in profile.

Perfect. Thank you very much.

You can you can recognize them clearly?

Yes. Yeah, you can go back and have a look at that. Um we've just had a question here that's um talking about Russian painters of note now. So, are

there any one that you would like to particularly highlight of of a Russian painter who who interests you at the moment?

Uh you mean the modern one or Yes, I think that's what they they mean.

So, a modern painter of now.

Um Well, I can't tell you just one name, but we just had very interesting exhibition in Moscow in

by the way in the Tretyakov Art Gallery uh about the art of the 1960s, 1970s, 1980s.

Um it meaning like uh the time after Khrushchev, just before perestroika. And

there are so many different um names and artists. Um some of them I like, some of them I don't. Uh

there is one name, Ilya Kabakov.

Uh the contemporary artist who is um playing with words a lot. Just not only with the pictorial objects, but with the

words and includes it in um his um paintings. Quite fascinating.

paintings. Quite fascinating.

Thank you. That was a um great answer for um for that gentleman.

Ilya Kabakov, just So, we have another question that's come through here just um from a lady who's traveled with us previously. And do you why does Rublev seem so modern

coloristically? Because that's what I

coloristically? Because that's what I was trying to explain, the icons. Uh

Russian art in influenced not only Russian avant-garde painters, but for instance Matisse um uh when he came to Moscow in winter, he

also saw Russian um icons and he didn't see them before and when he returned to France uh some of he changed a little bit his color

palette. So that's why

palette. So that's why icons I love them with all my heart and I really see that um

they're still they're still modern coloristically and pictorially.

And including Rublev.

And just a a comment about the the foyer of the Tretyakov Gallery and the pieces included in the foyer.

Just a lady just asked whether you could comment on those pieces that are included there.

Okay.

Which foyer?

At the at the Tretyakov Gallery. I guess

I guess I haven't actually personally been myself so I couldn't I couldn't say but I would assume probably the main area.

Can't remember. Okay, if you're talking about the old building because we have two buildings. Actually it's a big complex.

buildings. Actually it's a big complex.

It's not only one building.

The main the one constructed by Tretyakov with his iconic facade and we have the new Tretyakov Gallery and also the exhibition hall. Uh

So I'm trying to can't actually can't recall anything about the foyer about interesting pieces.

Maybe copies but not the real things.

No problem. That's fine. That's

absolutely fine.

And obviously thank you very much for everyone that's sent their feedback through. That's really kind and I will

through. That's really kind and I will pass on um I'll pass on their feedback. I think I think um she's admiring the the piece of art that's actually behind you as well.

All right. Okay.

Okay, this is um the uh Chinese um uh and uh, this piece um, I think it means something in um,

Chinese uh, culture. Uh, like not only the place to keep books and um, other valuables, but also it can bring you luck.

Perfect. Well, I think we just must we must note that that um, Julia is speaking from her home this evening, so she's not actually in the Tretyakov Gallery um, this evening.

Right.

Also, I just like to say thank you for obviously staying up uh, late this evening cuz you're obviously coming from from Moscow.

Okay, no Pushkin. No Pushkin in uh, is Pushkin represented in the Nesterov? No,

there is no Pushkin because I think um, for Nesterov uh, the most Russian writers were Tolstoy and Dostoevsky. And

um, Pushkin was maybe too European for uh, the theme of the painting.

So, that's why no Pushkin.

Perfect. Well, thank you very much. I

think we will wrap it up there and end it there. It was a wonderful

it there. It was a wonderful presentation.

Um, and with obviously we've got lots of feedback that's that's come through, but I think I will send you any comments that we've missed, Julia, and then we can we can

obviously respond to anyone after the presentation.

Yep.

Okay. Well, have a wonderful day everyone or afternoon wherever you are and we will see you again very soon.