The Museum Collections
Introduction
I. History and Art Collection
1. Icons of the 14th – 19th centuries
icons of the 14th – 17th century
2. Jewelry art of the 14th – 20th century
jewelry art of the 14th – 17th century
jewelry art of the 18th – 19th century
the european silver 14th - 19th centuries
3. Small-size sculptures (works of metal, wood, bone)
XI – the beginning of the XX century
Small-size sculptures 11th – 17th century
Small-size sculptures 18th – early 20th century
enamel of Troitza masters 15-8th – early 20th century
5.Embroidery, lace, textiles of the 14th - early 20th century
icon and ornamental embroidery
gold and silver lace
6.Painting of the 18th – 21st centuries
painting of the 18th – 19th centuris
painting of the 20th – 21st centuris
II.Manuscripts and old printed books of the 14th – 17th century
IV.Lithography of the 18th – 19th century
V.Numismatics
VI.Medals of the 18th - early 20th century
VIII.Archeology collection
IX. Russian folk and applied and decorative art of the 17th – 21st c.
1. Artistic wood
folk carved and painted wood
wooden toys
house carving of Sergiev Posad
Khokhloma and Gorodets painting
2. Artistic textiles
embroidery and weaving
printed textiles and lace
Russian shawls
folk costumes
folk garments
printed cotton kerchiefs
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Printing drawing 18-19th centuries (p.3) |
Views of Russian monasteries in an engraving and lithograph
Among variety of products of a printing drawing it is possible to allocate special, connected with “veduta”, that is a kind of this or that architectural ensemble removed from nature and finished in a workshop. In “veduta” there is also narrower direction - the image of monastic ensemble. In more part it is engravings, lithograph and chromolithography of 19th century. Engraving with views of monasteries first has appeared as a result of pilgrimage in Sacred places.
In the beginning of 18th century, the Trinity-St.Sergius Lavra has acted as the customer of several engravings. Moscow engraver Ivan Fedorovich Zubov, the younger brother of known Petersburg engraver Alexey Zubov, engraved on copper boards two icons - the «View to the Trinity-St.Sergius monastery and Saint Sergius and Nikon Radonezhsky» and «Saint Sergius Radonezhsky» by request of archimandrite Varlaama Vysotsky. Some engravings with a view of the Solovetsky Spaso-Preobrazhenskiy monastery on the White lake, created by different artists have known. The Lavra’s collection included also the engravings stored in 60th years of 18th century in archimandrite house, where printing icons and “parsuns” have been placed, including remained big engraving « St. Zosima and Savvaty Solovetsky. Miracle men with a monastery view» by Dmitry Pastuhov. View of Spaso-Andronnikov monastery on Rogozhsky is included in structure of a series of the Moscow conduct, engraved by an etching and painted in 1780-1790th years by Italian aquarellist Francesco Camporesi, who lived in Russia and working in Moscow more than forty years.
In the beginning of 19th century, graduates of landscape engraving class of Academy of arts have started to work A.G.Ukhtomsky, I.V.Chessky, S.F.Galaktionov, I.D.Telegin belonged to a galaxy of large engravers. The monastic views occurring from a collection lithograph workshop of Lavra have the greatest value some. The view of the Konevsky Christmas monastery executed by academician I.V.Chessky on drawing of the painter and draughtsman G.S.Sergeev concerns 1812. The engraving is differs virtuosity of work as a cutter and concerns to the early period of creativity of the versatile artist. At the same time, it is being the earliest monument of graphic art among conduct 19th century in museum collection.
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21. I.F.Zubov. View of the Trinity-St.Sergius Lavra monastery with forthcoming Saint Sergius and Nikon Radonezhsky. Fragment. 1734. Etching, cutter.
22. D.Pastuhov. View of the Solovetsky Spaso-Preobrazhenskiy monastery with coming Saints Zosima and Savvaty Solovetsky and life. Fragment. 1745. Etching, cutter.
23. F.Kamporezi. View of the Spaso-Andronnikov monastery in Moscow. 80-90th years of 18th century. Etching, water colour.
24. I.B.Chesky. View of the Konevsky Christmas monastery. 1812. Cutter.
The largest engraver of the first half of 19th century¬ A.G.Uhtomsky, whose vital and career is connected with Academy of arts, some times carried out monastic orders for gif to honoured persons. The views of Jugsky Dorofeevsky and Sarovsky hermitages printed in the big sheet are especially effective. Extensive panoramas in A.G.Uhtomsky's works are distinguished by the deep counterbalanced space in which on border earth and heavenly, in silence of a solitude the monastic ensemble appears.
More than ten monastic views it is possible to count in a creative heritage of engraver Alexander Afanasev working in first half of 19th centuries.
Many masters worked over monastic views only once. Among them - S.Miloslavsky, who has represented the Savvino-Storozhevsky monastery. In whole them “veduts” represent a wide panorama of orthodox Russia in which culture the monastic landscape was one of the important parts of national landscape.
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25. A.G.Uhtomsky. View of Sarovsky Uspensky (Assumption) hermitage. 1834. Cutter.
26. A.G.Uhtomsky. View of Jugsky Dorofeevsky hermitage. 1824. Cutter.
27. A.Afanasev. View of Simonov Uspensky (Assumption) monastery in Moscow. 1841. Cutter.
28. .Miloslavsky. View of the Savvino-Storozhevsky monastery. 1843. Cutter.
The publishing work became more active with lithograph mastering. Many workshops included monastic views in their editions. Most a vital issue lithograph views - authorship definition. As a rule, names of masters put down in inscriptions only occasionally. Their names help to restore archives of acceptable committees. In 40th years of 19th century in printing house of Paul-Petit the big lithograph with a view of the Akhtyrsky Trinity monastery in the Kharkov province had published. It lithographed Vasily Barvitov, having created an image of the uniform Divine world, in which Divine light unites a monastery of heavenly world with the earthly world. The Nikolaev monastery of the Kharkov province was lithographed by I.I.Starchenkov in a masterful Trinity-St.Sergius monastery in 1866. The architectural ensemble in neogothic style appears as the heavenly vision, opened to the traveler in a distance of equal space of steppe.
The known Valaam Spaso-Preobrazhenskiy monastery and Vsehsvyatsky monastery at it are lithographed by the large master P.Borelem and are published in the printed house by V.Darleng in 1850 on the occasion of opening of the steamship message with distant island of Ladoga lake. The view of Uspensky Svyatogorsky hermitage in the Kharkov province, published by Paul-Petit in 1851 in favour of a monastery amazes with greatness. The author of this sheet is unknown.
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29. V.Barvitov. The workshop of Paul-Petit. The view of the Ahtyrsky Trinity monastery in the Kharkov province. 1840th. Continuous-tone lithograph.
30. I.I.Starchenkov. The workshop to the Trinity-St.Sergius Lavra. View of the Verho-Kharkov Nikolaev monastery. 1866. Continuous-tone lithograph.
31. Unknown lithographer. The lithograph workshop of Paul-Petit. St.-Peterburg. View of Uspensky Svjatogorsky hermitage. 1851.
32. P.F.Borel. The workshop of V.Darleng. View of the Vsehsvyatsky monastery at the Valaam monastery. 1850. Lithograph.
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