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The State Hermitage Annual Report n 2011 Contents

General Editor 4 A Year of the Queen of Spades , General Director of the State , 6 The State Hermitage Museum. General Information Corresponding Member of the Russian Academy of Sciences, 16 Full Member of the Russian Academy of Arts, Professor of St. Petersburg State University, 18 Composition of the Hermitage Collections as of 1 January 2012 Doctor of Sciences (History) 31 Permanent Exhibitions 34 Temporary Exhibitions 74 Restoration and Conservation Editorial Board: 98 Publications Mikhail Piotrovsky, 109 Electronic Editions and Video Films General Director of the State Hermitage Museum 110 Conferences Georgy Vilinbakhov, Deputy Director for Research 114 Dissertations Svetlana Adaksina, 116 Archaeological Expeditions Deputy Director, Chief Curator 126 Major Construction and Restoration of the Buildings Marina Antipova, 130 Structure of Visits to the State Hermitage in 2011 Deputy Director for Finance and Planning Alexei Bogdanov, 131 Educational Events Deputy Director for Maintenance 138 Special Development Programmes Vladimir Matveyev, 150 International Advisory Board of the State Hermitage Museum Deputy Director for Exhibitions and Development 152 Guests of the Hermitage Mikhail Novikov, Deputy Director for Construction 158 Hermitage Friends Organizations Mariam Dandamayeva, 164 Hermitage Friends’ Club Academic Secretary 166 Financial Statements of the State Hermitage Museum Yelena Zvyagintseva, 168 Principal Patrons and Sponsors of the State Hermitage Museum in 2011 Head of the Publishing Department 170 Staff Members of the State Hermitage Museum Larisa Korabelnikova, Head of the Press Service 175 Email Addresses of the State Hermitage Museum

Executive Group: Tatiana Baranova, Vera Chudinova, Mariam Dandamayeva, Yekaterina Danilina, Victor Faibisovich, Yevgenia , Larisa Korabelnikova, Yevgenia Kulikova, Svetlana Philippova, Yelena Zvyagintseva

ISBN 978-5-93572-467-2 © The State Hermitage Museum, 2012 A YEAR OF THE QUEEN OF SPADES

The unique Roads of Arabia exhibition was wonderfully successful. The combination of the latest archae- ological discoveries from the pre-Islamic period and monuments from the Muslim era attracted around 500,000 visitors and demonstrated the clear striving of a conservative country for greater openness to the world. The Aga Khan Foundation contributed masterpieces of Muslim art from its collection that will subsequently go on display to the public in a new museum in Toronto. At the same time, the Hermitage began preparations for 2014, when it will celebrate its 250th an- niversary. The appropriate decree was signed by the Russian President, a resolution passed by the Rus- sian Government and the new Statutes of the Hermitage adopted. Work is under way in the East Wing of the General Staff Building. Here a remarkable exhibition of from the excavations of Her- culaneum has been staged (part of the Year of in ), public events have been held and a Youth Centre is located in the part of the building that is finished. The second stage of the Staraya Derevnya Centre for Restoration and Conservation is close to completion and work is under way on the project for the third stage. Large-scale work is planned in the Small Hermitage and the Reserve House. All the formal procedures for setting up the Hermitage Endowment Fund have been completed. It seems that the Hermitage is finding its niche and in working with new art. The museum received as a gift a large collection of works by Dmitry Prigov and made its debut with it at the Bien- nale, where an installation of Meissen porcelain was also shown. The Moore exhibition made an impression by a dialogue between his sculptures and the patterns in the Courtyard of the Win- ter and by the juxtaposition of his wartime drawings with the blockade drawings of Alexander Nikolsky. The Antony Gormley exhibition was a successful blend of ancient and contemporary sculpture, in a style that differed from similar experiments at the Louvre and Versailles. Finally, the exhibition of photographs by Annie Leibovitz, in the rooms of the where Alexander II died of his wounds, deservedly and expectedly attracted crowds of interested visitors. Future plans include an increase in the museum’s scientific activity, particularly in the publication of catalogues of the collections and art pieces from the collections expressing the characteristics of mu- seum science (“The Hermitage as Academy”). The Hermitage has begun to assimilate the field of pho- One of the outstanding museum events of 2011 was the acquisition of a beautiful eighteenth-century tography: this year has seen a scientific exhibition of daguerreotypes with a painstakingly prepared French toilet set made by Antoine Boullier. The special significance of this purchase is that the delight- catalogue of the collection and a dissertation. The always active Seminar again confirmed the ful items originally belonged to Countess Natalya Petrovna Golitsyna – the inspiration for the Countess Hermitage’s avant-garde role in the practical and scientific development of this discipline. The Hermit- in Pushkin’s The Queen of Spades. This historical was realized only in the Hermitage, and it was age style in the study of the East was continued by the international conferences “The Christian Orient” therefore possible to buy this rare work at a price the museum could afford. The Hermitage, with its and “ in Russia”. Several monographs presented a new level of study of “star” collections and ex- special style, has been a substantial player on the international art market for several years. hibits. One example of the scientific thoroughness and accessibility of the museum’s scientific approach I also see the recognition of this special style in the of the State – the country’s premier was the exhibition of its collection of prints by Piranesi. award – to three Hermitage clock restorers. They have brought sound and rhythm back to the museum’s The plans also include the development of the museum’s educational function, particularly via the Inter- rooms, and society has acknowledged that this is important. net (“The Hermitage as University”). The Hermitage Lecture Centre has long not been confined to the The special style was also evident in the Hermitage’s contributions to the Year of Italy in Russia and museum, while still preserving the magical aura of lectures in the Hermitage itself. The museum spares Russia in Italy and the Year of in Russia and Russia in Spain. Our museum organized several exhi- no expense in publishing popular and inexpensive books, and this year has seen a sharp increase in elec- bitions in different locations – of Italian art in Kaliningrad, and Yoshkar-Ola, and of Spanish art tronic publications. The magazine, newspaper, TV programme, radio and four festivals have in Saratov and . Within the museum’s walls we had the major exhibition from the Prado, which been supplemented by a weekly programme on the “Echo of ” radio station. The Hermitage was later echoed by the Hermitage in the Prado exhibition in Madrid. Both exhibitions were sensational is the basis for one chair at the European University and two in St. Petersburg State University. and were each visited by around 600,000 people. The exhibition of painting from Andalusia correspond- Unfortunately, philistines and the state apparatus have difficulty in appreciating the scientific and ed with an exhibition of archaeological treasures from the Hermitage in Alicante. educational functions of , seeing them exclusively as providing leisure and creating a tourist There was even more variety in the Italian events, held jointly with our Italian counterparts: an exhibi- product. tion of artists of Leonardo ’s school in Pavia, a concert in honour of ’s The Lute The Hermitage is proving that none of this is possible without scientific and educational work. One should Player in Rome, the presentation of new catalogues of the Hermitage’s Italian collections, an exhibition not fail to recognize The Queen of Spades. of nineteenth-century Italian artists who are almost unknown to us, archaeological excavations in Sta- bia, shows of in Padua and Lotto in Venice. The Hermitage’s own collections formed the basis of a major exhibition about the art world in Rome in the second half of the 18th century. This year visitors to the Hermitage have had the to see three of the world’s best paintings – ’s La Tempesta, Vermeer’s The Love Letter and ’s God the Father. These three paintings alone would have been sufficient for the year to be considered a success. There were also traditional historical-cultural exhibitions. The exhibition of Mikhail Lomonosov and the Mikhail Piotrovsky, time of Elizabeth I, Baroque in its richness, acted as a bridge to the famous exhibition held a century ago. Director of the State Hermitage Museum 4 5 The State Hermitage Museum. General Information The State Hermitage Museum. General Information

FOUNDING OF THE MUSEUM General Staff building (former Ministry of Foreign Affairs The foundation date of the museum is considered to be 1764, when Empress and Ministry of Finance building). 1819–1829 acquired an impressive collection of works (225 paintings) from the merchant Johann Ernest Architect, Carlo Rossi Gotzkowsky. Staraya Derevnya Centre for Restoration, Conservation and Storage The museum celebrates the anniversary of its founding each year on 7 December, St. Catherine’s Day. The beginning of construction – 1990

STATUS of the Hermitage In a Decree by the President of the Russian Federation dated 18 December 1991 the State Hermitage museum space Museum was included into a list of the objects of national heritage belonging to all the people Total area 183,820 sq. metres of the Russian Federation. Exhibition area 66,842 sq. metres In a Decree by the President of the Russian Federation dated 12 June 1996 the State Hermitage Storage area 45,000 sq. metres Museum was placed under personal patronage of the President of the Russian Federation. Window surface area approx. 13,500 sq. metres In a Decree (No. 984) dated 29 November 2011 the new Statutes of the State Hermitage Museum, Parquet floors approx. 26,000 sq. metres as a federal government funded institution, were approved. According to the Statutes the Government Marble and stone floors approx. 38,000 sq. metres of the Russian Federation is to act as the museum founder. COLLECTIONS entering the Museum since its foundation OFFICIAL NAMES 1764 – Johann Ernest Gotzkowsky collection The State Hermitage Museum Federal Government Funded Cultural Institution; The State Hermitage 1769 – Count Heinrich von Bruhl collection Museum; The Hermitage 1772 – Baron collection In honour of the State Hermitage Museum, according to the Official Certificate of the International 1779 – Lord Walpole collection Astronomic Association and the Institute of Theoretical Astronomy of the Russian Academy 1781 – Count Baudouin collection of Sciences dated 11 April 1997, a minor registered in the International Catalogue of Minor 1787 – Cabinet of carved stones of Duke of Orleans under No. 4758 was named Hermitage. 1814 – Paintings from the Malmaison Palace of Josephine Beauharnais 1861 – Marquis Gian Pietro Campana collection LEGAL ADDRESS 1884 – Alexander Basilewsky collection 34 Dvortsovaya Naberezhnaya (Dvortsovaya Embankment), 190000 St. Petersburg, Russian 1885 – Collection of the Arsenal in (now the town of Pushkin) Federation 1910 – Pyotr Semenov-Tyan-Shansky collection After 1918 the Hermitage also received the socialized collections of the Russian aristocratic ARCHITECTURAL COMPLEX OF THE MUSEUM families Sheremetev, Stroganoff, Shuvalov, Yusupov, as well as the famous collections The museum complex consists of the Winter Palace, Small Hermitage, Old Hermitage, of and Ivan Morozov and others. , New Hermitage and Reserve House (30–38 Dvortsovaya Embankment); 1935 – collection of the former Museum of the Baron Stieglitz Central Higher School Menshikov Palace (15 Universitetskaya Embankment); East Wing and the of the General of Technical Drawing Staff building (6–8 ); Staraya Derevnya Centre for Restoration, Conservation 1950 – collection of banners and banners’ accessories, banners’ graphics, and Storage (37 Zausadebnaya Street); Imperial Porcelain Factory Museum, located on the premises the archives from the Artillery Historic Museum of the Imperial Porcelain Factory Public Company (151 Prospekt Obukhovskoi Oborony). 2001 – collection of the Lomonosov (Imperial) Porcelain Factory Museum

EXHIBITION CENTRES OF THE STATE HERMITAGE outside St. Petersburg MUSEUM BUILDINGS

Winter Palace. 1754–1762 Hermitage • Architect, Francesco Bartolommeo Rastrelli The , Amsterdam (exhibition area about 2,195 sq. metres) Reconstructed by (1769–1848) after a fire in 1837 Hermitage • Italy Italy, (exhibition centre – Castello Estense) Small Hermitage. 1764 Architects, Yury Velten and Jean-Baptiste Vallin de la Mothe Hermitage • Kazan Russia, Kazan (exhibition area about 1,381.3 sq. metres) Old (Big) Hermitage. 1771–1787 Architect, Yury Velten Hermitage • Vyborg Russia, Vyborg (exhibition area about 420 sq. metres) Hermitage Theatre. 1783–1787 Architect, HERMITAGE WEBSITE New Hermitage. 1842–1851 www.hermitagemuseum.org Architect, Leo von Klenze, construction supervized by Vasily Stasov and Nikolai Yefimov Hermitage magazine Reserve House of the Winter Palace. 1726–1742, 1830, 1878 Hermitage. News newspaper Architects, Domenico Trezzini (?), Carlo Giuseppe Trezzini and Nikolai Bekker Hermitage radio Menshikov Palace. 1710–1711 Orchestra of the State Hermitage Architects, Giovanni Mario and Georg Schedel

6 7 The State Hermitage Museum. General Information

Meeting the 250th Anniversary of the State Hermitage Museum

To mark the forthcoming 250th anniversary of the State Hermitage Museum President of the Russian Federation signed Decree No. 277 on 24 February 2011 (Kremlin, Moscow) which stated: “1. The proposal of the Government of the Russian Federation to celebrate the 250th anniversary of the State Hermitage Museum in 2014 is accepted. 2. The Government of the Russian Federation sets up a Steering Committee to organize and hold the celebration of the 250th anniversary of the State Hermitage Museum and ensures the development and approval of the action plan to organize and hold the celebration of the 250th anniversary of the State Hermitage Museum. 3. It is recommended that government agencies of constituent territories of the Russian Federation and local authorities participate in the preparation and holding of the celebration of the 250th anniversary of the State Hermitage Museum”.

To prepare and stage the celebration, the Steering Committee was formed by the Russian Federation Government’s Decree No. 552-p on 31 2011. In 2011 it included:

Dmitry Kozak Deputy Prime Minister of the Russian Federation Government

Alexander Avdeyev Russian Federation Minister for Culture

Valery Bugayenko Head of the Federal Agency of Communications

Andrei Busygin Russian Federation Deputy Minister for Culture

Gennady Gatilov Russian Federation Deputy Minister of Foreign Affairs

Vasily Kichedzhi Vice Governor of St. Petersburg

Denis Molchanov Director of the Culture Department of the Russian Federation Government

Tatiana Nesterenko Russian Federation Deputy Minister of Finance

Nikolai Pankov State Secretary, Russian Federation Deputy Minister for Defence

Mikhail Piotrovsky Director of the State Hermitage Museum

Alexei Polkovnikov Head of the Culture Sector of the Culture Department of the Russian Federation Government

Georgy Poltavchenko Governor of St. Petersburg

Vladimir Potanin Chairman of the State Hermitage Board of Trustees

Mikhail Seslavinsky Head of the Federal Agency of Press

Mikhail Shvydkoi Russian President’s Special Representative for International Cultural Cooperation

Sergei Shumakov Director of the “Culture” branch of the All-Russian State Television and Radio Broadcasting Company

Georgy Vilinbakhov Deputy Director of the State Hermitage Museum

8 9 The State Hermitage Museum. General Information

Board of Trustees Collegiate Bodies of the State Hermitage: of the State Hermitage Museum

Vladimir Potanin Academic Council of the State Hermitage President of Interros, Chairman of the Board of Trustees Permanent Display Committee

Alexander Avdeyev Restoration Council Culture Minister of the Russian Federation (2008–2012) Board of Curators Alexei Kudrin Finance Minister of the Russian Federation (2000–2011) Purchasing Commission

Mikhail Piotrovsky Editorial Council General Director of the State Hermitage Museum Editorial Board of Collection Catalogues Leonid Blavatnik Editorial Board of The Reports President of Access Industries of the State Hermitage Museum Oleg Deripaska Editorial Board of Pedagogical General Director of OJSC Basic Element and Educational Editions German Gref External Policy Council President and Chairman of the Board of OJSC Exhibition Committee

Leonid Fridland Research Grant Committee President of Archaeological Committee Mikhail Shvydkoi Special Representative of the President of the Russian Federation Internet Site Council for International Cultural Cooperation Education and Methodology Council Yakobashvili Chairman of the Board of Directors of Wimm Bill Dann Arts Council

Museum Structure and Staff Committee

State Hermitage Endowment Fund Security Council

Board of Trustees of the Fund: Engineering Support Services Council Mikhail Piotrovsky, Vladimir Potanin, Yevgeni Satanovski, and Ivan Steblin-Kamensky

Board of Management of the Fund: Larisa Zelkova, Vladimir Matveyev and Marina Tsyguleva

“HERMITAGE 21st CENTURY” Foundation

10 The State Hermitage Museum. General Information The State Hermitage Museum. General Information

GENERAL INFORMATION ON THE MAIN DEPARTMENTS MENSHIKOV PALACE AND SECTors OF THE MUSEUM Founded in February 1981 as “Menshikov Palace. in the First Quarter of the 18th Century” Sector within the Department of the History of Russian Culture. The status of department was received in 1996. Most noteworthy are the interiors with their original eighteenth-century Department of CLASSICAL ANTIQUITY furnishings. Among the Palace’s twenty-four staff members three hold Candidate degrees. One of the oldest departments in the Hermitage, it consists of two sectors: Art and Culture of Ancient and Ancient Rome, and Art and Culture of the Northern Area. Its collections include approximately 100,000 objects. Eight of the Department’s twenty-eight staff IMPERIAL PORCELAIN FACTORY MUSEUM members hold Candidate degrees. Founded in February 2001 on the basis of the historical collection at the Lomonosov Porcelain Factory Museum. Presently, the Department boasts over 30,000 items, the most part of which consists of objects made at the Imperial, then the Lomonosov and from October 2005 again the Imperial, DEPARTMENT OF THE ARCHAEOLOGY OF EASTERN AND Porcelain Factory. The Department has ten staff members. Founded in December 1930 on the basis of the former Department of Antiquities. The Department consists of two sectors – Sector of the Forest and Forest- Zone of and Sector of the of . Its collections include approximately 500,000 objects. Among its thirty-five Sector staff members, three hold doctorates and fourteen Candidate degrees. Founded in 2009, the Sector organizes temporary exhibitions and forms the collections of contemporary art. Of its five staff members one holds the Candidate degree.

Oriental Department Founded in 1920. The Department’s geographical and chronological coverage is broad, DEPARTMENT OF THE HISTORY AND RESTORATION OF ARCHITECTURAL MONUMENTS so it consists of four sectors: Art and Culture of the Ancient East; Byzantium and the ; Founded in 1975, the Department functioned as the Department of the Chief Architect of the Central , the and ; the . The Department’s collections number about Hermitage. In 1992 it was given the status of a research department. The Department is responsible 150,000 items. Of its forty-seven staff members, six hold doctorates and eighteen Candidate degrees. for the conservation of the unique architecture of the museum’s buildings, as well as the adaptation of the buildings for modern use. It also provides scientific support for restoration activities. Of the Department’s fifteen staff members, one holds doctorate and four Candidate degrees. DEPARTMENT of WESTERN EUROPEAN fine ARTs One of the oldest and largest departments in the Hermitage, it consists of four sectors: Painting of the 13th to 18th Centuries; Painting of the 19th to 20th Centuries and Sculpture; Drawings; Prints. Architecture and Archaeology Sector The Department’s collections boast approximately 400,000 objects. Among its sixty-three staff Established as a separate sector in 2008. It carries out excavations on the State Hermitage complex members, four hold doctorates and fifteen Candidate degrees. territory as well as other archaeological researches of urban architecture. Of its ten staff members, six hold Candidate degrees.

DEPARTMENT OF WESTERN EUROPEAN APPLIED ARTS Formed as an independent department in 2006, it consists of two sectors: one devoted to applied arts EDUCATION DEPARTMENT and the other to precious metals and stones. Its stock comprises about 150,000 items. Of its thirty-one The Hermitage has been organizing educational activities within the museum since 1925, when staff members, two hold doctorates and nine Candidate degrees. first guided excursions were arranged for the benefit of the public. Their aim is to introduce the Hermitage’s collections as well as art history in general to the museum’s visitors. The Department’s staff members are involved in more than 30,000 guided tours and deliver over 500 lectures a year. DEPARTMENT OF THE HISTORY OF RUSSIAN CULTURE Sixteen of the Department’s one hundred and forty-nine staff members hold Candidate degrees. Founded in April 1941, the Department acquired its present-day form after the Second World War. It has two sectors: Fine Arts Sector and Applied Arts Sector. Its collections include more than 300,000 items. Of its fifty staff members, two hold doctorates and fourteen Candidate degrees. SCHOOL CENTRE The School Centre that offers programmes for children of preschool­ and school age has been functioning as a separate department since 1999. It has an Art Studio, various children societies, Numismatic Department Young Archaeologists Club, and Young Art Historians Club and a Lecture Hall. Two of the It is one of the oldest departments in the Hermitage, along with the Classical Antiquity and Western Department’s twelve staff members hold Candidate degree. European Fine Arts Departments. The first coins were purchased by Catherine the Great in 1764. It contains 1,200,000 items and consists of two sectors: one deals with works from Antiquity and those from Asia and , the other comprises numismatic pieces from Europe and America. RESEARCH LIBRARY Among the Department’s twenty-six staff members, two hold doctorates and three Candidate degrees. One of the oldest and largest museum libraries in Russia specializing in art history, it has been an integral part of the Hermitage since its foundation. The Library grew from the of Empress Catherine the Great. At the present moment the Library holds more than 800,000 volumes ARSENAL on art, history, architecture and culture in most European and Oriental languages. The Department The Department was founded in 1972 on the basis of the collection of arms and armoury kept has forty-six staff members, three of them holding Candidate degrees. in the Oriental and Western European Fine Arts Departments. The Arsenal consists of two sectors: Sector of Arms and Armoury and Sector of Military Heraldry. The former boasts some 16,000 superb examples of arms and armaments from various epochs and countries. The Military Heraldry Sector has over 60,000 items, including banners, their accessories and military graphics. Of the Arsenal’s ten staff members two hold Candidate degrees.

12 13 The State Hermitage Museum. General Information

DEPARTMENT OF MANUSCRIPTS AND DOCUMENTS Founded in 1980, the Department consists of document and photograph archives, the latter includes a collection of photographs and negatives. The archives were founded in 1805 and at present contain sixty-seven funds, among them are sixty-two private archives and ninety-seven inventories. 37,392 items were catalogued in the Hermitage’s archives between 1767 and 2000. The Hermitage began receiving photographic documents in the middle of the 19th century when the first photographic works appeared, but the photo archive was set in the 1920s. At the moment it includes 75,134 negative images and about 1,000 photographs. The Department has nine staff members.

REGISTRAR DEPARTMENT The Registrar Department catalogues the objects kept in the Hermitage, issuing all the necessary documents concerning their inventory and keeping. The Department has thirty-eight staff members, three of them holding Candidate degrees.

SECTOR OF NEW ACQUISITIONS The Sector was organized in 2000 with the main aim to ensure the fruitful activity of the Hermitage Purchasing Commission on the completion of the State Hermitage stocks. Three of the Sector’s six staff members hold Candidate degrees.

DEPARTMENT OF SCIENTIFIC RESTORATION AND CONSERVATION Restoration activities have been carried out in the Hermitage ever since the 1760s when the Picture Gallery of the Hermitage was founded. The Department consists of thirteen restoration laboratories: of easel painting, tempera painting, mural painting, Oriental painting, graphic works, sculpture and coloured stones, applied arts, organic materials, textiles, timepieces and musical mechanisms, precious metals, furniture and chandeliers. It has one hundred and forty-one staff members, five of whom hold Candidate degrees.

DEPARTMENT OF EXPERT EXAMINATION Founded in 1936, it was the first in Russia and one of the first in the worldray X­ analysis laboratories. In 1970, it became a separate laboratory, and in 1997 was amalgamated with the chemistry laboratory and transformed into the Department of Expert Examination. Now it is amongst the largest centres engaged in the examination of works of art and culture in the country. It has fifteen staff members, five of them hold Candidate degrees.

LABORATORY FOR BIOLOGICAL CONTROL The Laboratory was created around the group of disinfection specialists which was established in the 1960s to combat insect pests. In 1990 it was reorganized into a research laboratory with highly qualified experts in entomology, mycology and microbiology. It has eight staff members, three of whom hold Candidate degree.

Laboratory for Control The Laboratory’s major task is to provide favourable conditions for the storage and display of the museum objects. Its staff monitors the climate conditions of the exhibition and storage areas in the main State Hermitage Museum complex and its branches. The Department develops major requirements of museum storage for different types of collections. It has five staff members, one of whom holds a Candidate degree.

14 Awards Awards

of the ceremony dedicated to the Day of the Russian Guard. The award was presented by Mr. Jan Nyberg, Consul General of , on behalf of His Majesty Carl XVI Gustaf of Sweden.

museum olympus prize

November 2011 saw the third musical awards ceremony take place in Tsarskoye Selo. The statuette of Mnemosyne, the goddess of memory, is the symbol of the Museum Olympus Prize established by the St. Petersburg Committee for Culture and the Interdepartmental Museum Council. Twenty-seven museums competed in seven categories: “St. Petersburg Prestige”, “The Museum Book”, “Innovations in the Museum”, “Museum for Children”, “Exhibition of the Year”, “Display of the Year”, and “Museum of the Year”. This year, the State Hermitage was the winner in the “St. Petersburg Prestige” category with its pro- gramme “The Hermitage School of Restoration and Conservation” held in , and in the “Innovations in the Museum” category with its project “Laser Technologies in Restoring Works Made of Precious Stones”. The Hermitage was also awarded in the category “The Museum Book” for its exhibition catalogue The Hoard of Mrs. Likhachyova, and “Museum for Children” for the organization of a creative festival for children and young people called The Classical Days. A special prize “For Contribution to Museum Development” was awarded to Olga Bogdanova, head of the Supplying of Technical Equipment for the State Hermitage Buildings and Exhibitions Department. Coca Cola Company was nominated for and awarded a special prize “For Supporting the Museums” for its support of the Hermitage restoration projects, grants to furnish and equip the School Centre, and organization of competitions. The Hermitage also encouraged the special award “For the Best Journal- istic Project” which was granted to Anna Vsemirnova, a Radio of Russia correspondent and presenter of museum-related programmes. russian state award for contributions to literature and art

In June 2011, restorers of the State Hermitage Laboratory for Scientific Restoration of Timepieces and golden prize Musical Mechanisms Mikhail Guryev, Valentin Molotkov and Oleg Zinatullin were awarded the 2011 Russian Federation State Award for contributions to literature and art for their work on the conserva- In 2011, the Transport Department of the Hermitage, the successor of His Majesty’s Garage in the tion and restoration of unique museum timepieces and musical mechanisms and the resurrection of the Winter Palace, was awarded the Golden Chariot International Public Prize for Transport Sector, found- traditions of Russian craftsmen. ed by the Russian Federation Federal Assembly State Duma Committee for Transport and the Russian Among the most important and technically elaborate restoration projects completed by the award win- Transport Ministry. ners were the Winter Palace tower clock (A. Gelfer, Russia, 1837), the unique Peacock clock (James Cox, England, 1779), ’s musical clock (Henry Thornton, England, 1720), cabinet clock vladimir potanin charitable foundation grants awarded with an organ by Johan Strasser (Russia, 1780), the extremely elaborate Clio and Urania clock (Jean- Andre Lepaute, , 1776), Catherine the Great’s musical alarm clock (Gravel and , England, to staff members of the state hermitage 1792), the Grand Mechanical Orchestra (Johan Georg Strasser, Russia, 1800). In the past year, the Hermitage continued to cooperate with the Vladimir Potanin Charitable Founda- tion. The goal of this cooperation is, on the one hand, to mark the most successful and important museum honorary citizenship of st. petersburg award projects, and on the other hand, to promote new projects, to give the Hermitage staff the opportunity to carry out necessary research and to undergo further training. These goals correspond to two types In May 2011, the Legislative Assembly of St. Petersburg awarded the Honorary Citizenship of St. Pe- of individual grants: premium grants for projects completed between August 2010 and August 2011, tersburg to Mikhail Piotrovsky, Director of the State Hermitage, Oriental scholar, Doctor of History, and travel grants for research trips. Professor of St. Petersburg State University. Among fifty premium grants, the majority were given, as usual, to restoration and conservation projects, organization of permanent and temporary exhibitions, completed dissertations, and various publica- tions: from collection catalogues to popular science. The awarding of the Potanin Charitable Foundation of the grants always serves as the summing up of the museum’s activity over the year. Individual travel grants (awarded to 25 winners in 2011) offer the museum’s research associates the op- In April 2011 Mikhail Piotrovsky, Director of the State Hermitage Museum, was awarded with the ­Order portunity to work in museums and libraries abroad in order to complete their catalogues or research of the Crown (), an order of the Kingdom of , which was given to him by His Royal projects. The range of trip destinations is very wide: , China, , . Highness Prince Philippe. The grants also allow the Hermitage staff to take part in conservation courses and experience exchange programmes in the area of museum management. order of the polar star

In September 1911, Georgy Vilinbakhov, Doctor of History, Deputy Director of the State Hermitage responsible for research work and Head of the Heraldic Council of the Russian Federation was deco- rated with the Swedish Royal Order of the Polar Star in the St. George Hall of the Winter Palace as part 16 17 Composition of the Hermitage Collections as of 1 January 2012

The State Hermitage Museum inventory contains JJ Most Notable Acquisitions of 2011 3,102,917 items

Including: toilet set of the golitsyn-stroganov families paintings 16,889 , 1786–1789 Antoine Boullier graphic works 622,252 , glass; cast, embossed sculptures 12,790 Acquired via the Purchasing Commission objects of applied art 356,772 This magnificent toilet set was made for Princess Natalya Petrovna Golitsyna, née Countess Chernyshova archaeological atrefacts 749,582 (1741–1837), later lady-in-waiting and of the Order of St. Catherine (holder of the ), most famous as the prototype for the Queen of Spades in ’s short story. The Princess numismatic objects 1,122,369 presented the toilet set to her daughter Sophia Vladimirovna (1775–1845), who in 1793 married Count rare books 340 Pavel Alexandrovich Stroganov (1772–1817). Sophia Vladimirovna then passed it on as part of the trousseau of her own daughter, Countess Natalya Pavlovna (1796–1872), who in 1818 married Baron arms and armoury 13,932 (from 1826 Count) Sergei Grigorievich Stroganov (1794–1882). documents 56,807 Antoine Boullier’s toilet set is remarkable also for its excellent state of preservation, both in terms of the number of items and their condition. Toilet sets came into use in the second half of the 17th century and history of technology and techniques objects 3,017 became particularly popular among the higher levels of society in the following century. New forms were introduced and such sets changed in accordance with devel- other items 148,167 opments in fashion and style. Many French sets, however, like other silver pieces, were melted down as a result of two decrees by Louis XIV, perpetually at war and perpetually in need of money. French silver suffered further losses during the French Revolution, with the result that many of the most 2,502 exhibits (as per inventory) entered the State important silver items produced before the 19th century are Hermitage Museum in 2011 as gifts and acquisitions now to be found beyond French borders. One such important through the museum’s Purchasing Commission piece, or group of pieces, is this toilet set produced literally on the eve of the Revolution. and archaeological expeditions. Boullier was a leading French . He became a mas- ter in 1775 on the recommendation of no less a figure, Edme- In 2011 the Research Library of the State Hermitage Pierre . This toilet set is a superb work in the Neoclas- Museum purchased 5,111 books as well as Russian sical or Louis XVI style, reflecting the majesty and elegance of art of the Old Regime. The different items of which it is and foreign periodical editions. composed are adorned with an elegant chased ornament. It received 1,083 editions through the international The forms themselves are simple and elegant, some of them and Russian book exchanges. probably the jeweller’s original inventions since there are no known analogies. Antoine Boullier worked alongside the 4,023 publications were sent to other libraries celebrated French jeweller Robert Joseph Auguste,­ ­author in accordance with the international book exchange of several superb services commissioned by Catherine terms. the Great. His works also came to the attention of the Russian court and aristocratic clients, as is evidenced by the soup tu- reen of 1782–1784 from the Saltykov Service (Myatlevskoye­ Silver) in the Hermitage collection. The Golitsyn-Stroganov toilet set and that tureen indubitably represent the pinnacle of Antoine Boullier’s achievements.

18 19 Most Notable Acquisitions of 2011 Most Notable Acquisitions of 2011

francesco simonini (1686–1755) Cavalry battle Venice, first half of the 18th century Oil on canvas. 56.5 × 76 cm Acquired via the Purchasing Commission

Francesco Antonio Simonini was born in Parma but his career unfolded mainly in Venice. He studied un- der the celebrated seventeenth-century Italian battle painter Francesco Monti, known as il Brescianino. Frans i pourbus (1545–1581) According to Pietro Guarienti he manifested an incredible skill as a painter very early on and decided to devote himself to the same genre. Simonini’s talent developed rapidly thanks to his consistent ef- the crucifixion with the virgin mary, john the evangelist forts to expand his knowledge and skill. His years of study in Parma were followed by trips to Florence and mary magdalene to copy the works of Jacques Courtois (le Bourgignon). It was, however, his meeting with Fieldmarshal Netherlands, 16th century Count Johann Matthias von der Schulenburg (1661–1747) – the last great Venetian condottiero and Oil on panel. 107 × 75.4 cm leading collector of paintings – that was to decide his future. Acquired via the Purchasing Commission No confirmation has been found for the legend that Simonini accompanied Schulenburg during the Venetian campaign against the Porte (1714–1718), notably during the defence of Corfu, but we do have Frans I Pourbus was a leading painter of , although he was born in Bruges, the son of the painter surviving records of payments to Simonini for battle paintings that were produced for Schulenburg Pieter Pourbus. His father gave him his first lessons, but it was Frans Floris, in whose workshop he between 1733 and 1745. trained from 1562, who was to be his most important teacher. Pourbus completed his training in 1569 Cavalry Battle is typical of Simonini’s work. His paintings are executed in an easily recognizable, highly and became a master of the Antwerp of St. Luke. individual manner: energetic, even aggressive drawing, and rapid movements of the brush that reinforce Pourbus died early, at just 35 years old, and he left relatively few works, most of them portraits. Very the tension and dynamism. He tended to employ a high viewpoint, allowing him to move back the horizon few of his paintings on religious subjects have come down to us. and create a sense of panorama. Yet the distance is only roughly marked out, enshrouded in mist or the The painting acquired for the Hermitage is a characteristic example of Pourbus’ religious works, being smoke of battle. The key events take place very close up front – in this case a battle between two groups a close repetition of another painting on the same subject (Museum voor Schone Kunsten, Ghent), part of cavalry – right before the viewer’s eyes. of a series showing Christ’s Passions that was commissioned from the artist in 1576. Both paintings are While continuing the traditions of the battle genre established in the 17th century, Francesco Simonini similar in overall composition and in their details. was very much an eighteenth-century Venetian artist. His rapid, light brushstrokes, flowing and free, re- to the purchase of this work the Hermitage had two paintings by Frans I Pourbus, both portraits. call the manner of the Guardi brothers, the virtuosi of “pittura a tocco”. Simonini taught battle painting The Crucifixion with the Virgin Mary, John the Evangelist and Mary Magdalene thus contributes to the to Francesco Casanova, whose work is extensively represented in the Hermitage. This is the first work creation of a picture of sixteenth-century Netherlandish painting in the museum collection. by Simonini himself in the museum.

20 21 Most Notable Acquisitions of 2011 Most Notable Acquisitions of 2011 jean-baptiste isabey (1767–1855) Portrait of an unknown lady in a park 1792 Watercolour and gouache on ivory. 16.3 × 12 cm Acquired via the Purchasing Commission

Jean-Baptiste Isabey was a celebrated miniaturist and draughtsman active in the late 18th century and early 19th century. He studied under David from 1785 and enjoyed some success at the court of Marie Antoinette, but during the revo- lutionary period he went on to produce numerous portraits of members of the National Convention. Then under the Di- rectoire he attended the salons of Madame Recamier and Josephine Beauharnais, going on to design elements of the coronation of Napoleon I. He worked at Malmaison and was appointed draughtsman to the cabinet of the Emperor and first artist of the Empress’s apartments. From 1809 he had a studio at Sèvres. In 1812 he travelled to Vienna where he painted a portrait of Napoleon and his second wife Marie Lou- ise. During the Congress of Vienna he was commissioned by Talleyrand to produce a drawing of the Congress sessions, and he also produced portraits of many of the participants. He re- ceived a number of awards under Louis XVIII, Charles X and Napoleon III. Isabey had his own clear style in his portrait miniatures. Many of his works survive but there are also a large number of cop- ies of his portraits and works “in the style of Isabey”, produced by pupils and imitators. This miniature dates from the artist’s early period, before he developed his individual style. It reveals links with similar works produced at around the same time and with the miniatures he executed later. It is of superb quality and is unique in composition for its type.

jean cocteau (1889–1963) frank mason (1921–2009) Male figure (orpheus) Little italy 1977 France, 1945 Oil on canvas. 182.8 × 274.3 cm Pencil on cardboard. 28.6 × 37.1 cm Gift of the artist’s widow, Ann Kerry Mason Acquired via the Purchasing Commission

This drawing was made on the cardboard cover of a theatre programme for a performance Frank Mason was an outstanding US realist painter. Born in Cleveland, he studied at the New York High by the S. Radlov troupe (Lensovet Theatre) at the Théâtre des Champs-Élysées in Paris School of Music and Art and continued his education in the Art Students League of New York under on 25 March 1945. On that day the Leningrad actors performed ’s The Anni- Frank Dumond. In 1951, after Dumond’s death, Mason taught at the League, combining his teach- versary. It seems likely that Cocteau’s tragic figure was inspired by the troupe’s leading ing with artistic practice. Mason produced mostly portrait, genre and religious scenes. His Resurrec- actor, Nikolai Kryukov, and by the dramatic story of this Russian theatre, which found tion of Christ hangs in St. Patrick’s Old Cathedral in New York. In 1962 he was commissioned to pro- itself on French soil at the end of the Second World War. Cocteau presented the drawing duce eight paintings on the subject of the life of St. Anthony of Padua, which now hang in the Church to the actor and director of Radlov’s troupe, N. Trofimov, in whose collection it remained of San Giovanni di Malta in Venice. Mason was awarded an Honorary Cross First Class of the Maltese for many years. Order, the first artist to be so recognized since Caravaggio. In iconographical type this image of a doomed handsome youth relates to Cocteau’s work In this genre scene, Little Italy, Mason depicted Italian immigrants in the Maro Chiaro bar in Manhat- on the subject of Orpheus in the 1930s and 1940s. tan’s Little Italy quarter. The quarter is well known from many American films such as The Godfather II. Mason himself was a frequent visitor to the bar, as is recorded in a documentary film about the art- ist. In painting the canvas Mason employed the techniques of seventeenth-century Dutch and Flemish masters such as , Van Dyck and Frans , of which he had made a careful study. The painting is suffused with gentle humour and the artist’s affection for the bar’s regulars.

22 23 Most Notable Acquisitions of 2011 Most Notable Acquisitions of 2011 parts of a setting for a japanese samurai sword 36 items , 16th – 19th centuries Acquired via the Purchasing Commission

Throughout Japanese history its culture has placed considerable em- phasis on the creation of fine weapons. Since men were forbidden to wear , its decorative functions were transferred to weap- onry, which thus served a dual purpose as an attribute of a worthy warrior and as a form of personal adornment. One ancient and traditional Japanese ceremony, albeit less well known abroad than the famous tea ceremony, is that of admiring a beautifully crafted sword. It was not just the blade that was to be admired, but the details of the decoration on the handle, which re- flected Japanese religious beliefs. Thus considerable attention was paid to the adornment of the weapon, which was made using expen- sive materials and a variety of jewellery techniques. This collection, acquired by the Hermitage, consists of different parts of a sword setting: the tsuba – the guard of a Japanese weapon; the kozuka – a small knife handle; the menuka – an ornament on the sword handle; a ring for the Yari spear; the habaki – a to attach the blade; the kōgai – a spoke; kashira and fuchi – a pommel and part of the hilt collar. Made of precious metals and alloys (copper, , sil- ver and ), they demonstrate the incredible skill and beauty of Japanese armourers of the different schools of the 16th to 19th centuries: Edo, Kyoto, Akasaka and Seidan, and the school of the Namban (“southern barbarians”). The items include a rare tsuba with a depiction of chrysanthemums and irises in enamel. All of the pieces in this collection, superb examples of Japanese warrior culture, are adorned with vegetable and zoomorphic motifs and religious subjects.

Grigory yastrebenetsky alessandro mandruzzato sculptural portraits of opera diva (Female profile) St. Petersburg, last third of the 20th century Italy, 2009 Gift of Grigory Yastrebenetsky Glass, ceramic, metal; cast, gilded between layers. 230 × 100 × 60 cm Grigory Danilovich Yastrebenetsky (born 1923) is a People’s Artist of the Russian Soviet Federal Social- Gift of Alessandro Mandruzzato ist Republic, Merited Cultural Figure of , Corresponding Member of the Russian Academy of Arts and member of the Union of Artists of the Russian Federation. He is currently a member of the Town Murano glass was used to create this sculptural composition, a mixture of trans- Planning Council of St. Petersburg and the City Arts Council, and heads a sculpture workshop at the parent and milk glass, 24-carat gold leaf, steel and wood. A variety of techniques Russian Academy of Arts in St. Petersburg. were employed in the process. Created within the traditions of the Venetian school – One of the main subjects of his work has been the Second World War. He has created more than fifty the universally recognized leader in this sphere – it is a superb example of the main major monuments that have been erected in Russia, , Uzbekistan and . Amongst trends in modern glass-making. his large-scale works are monuments to Dimitar Blagoev, Adam and Galina Starovoitova Alessandro Mandruzzato represents the third generation of his family to work in the in St. Petersburg, Anton Rubenstein in Peterhof, Vladimir Lenin in Dresden, Konrad Ade- Murano glass studios. His first exhibition was held on Murano itself, after which he nauer and Willy Brandt in Germany, and to Soviet soldiers who died in a concentration camp near went on to head the association of young Murano glass-workers known as OVER- Hamburg. GLASS. He has had successful one-man shows in the USA, Dubai and Italy. Yastrebenetsky has also produced many commemorative and small-scale sculptures. He is author Since 2005 Alessandro Mandruzzato has taken part in a number of Russian-Italian of more than sixty funerary monuments and creator of an extensive portrait gallery of leading figures projects such as the White Nights Ball in Florence, and the Children for Children in the arts and sciences. There are works by Yastrebenetsky in 38 Russian museums, including the State charitable project in St. Petersburg. His first one-man show in Russia was held in St. Petersburg and the State Tretyakov Gallery in Moscow. in 2011, within the context of the Year of Italy in Russia and Russia in Italy. My Life Grigory Yastrebenetsky presented to the Hermitage two of his own portraits of Boris Borisovich and Glass was held in the Erarta Gallery of Contemporary Art in St. Petersburg. ­Piotrovsky (1908–1990), Director of the museum from 1964 until his death. These are two plaster busts, one of which is a herm and the other a head (its surface bronzed). Both were created to mark the 80th anniversary of the birth of this brilliant man.

24 25 acquisitions by the state hermitage museum in 2011

JJ acquisitions by the state hermitage museum in 2011 Cup with a female figure on the bottom A.A. Zhukov Germany, 1660s – 1670s Bevel protractor in its case Lidded cup Georg-Friedrich Brander, Christian Caspar Höschel John Swift or John Schofield Germany, Augsburg, 1775–1783 , 1777–1778 Bronze, wood, leather, textile, braid; engraved Vase with a silhouette portrait of Fachschule Steinschönau, Bohemia, 1915 prints and drawings DEPARTMENT OF WESTERN EUROPEAN FINE ARTS DEPARTMENT OF WESTERN EUROPEAN APPLIED ARTS Cylindrical cachepot M.S. Kiselyov Royal Porcelain Manufactory, , Gifts: Gifts: early 20th century M.S. Kiselyov Print views of St. Petersburg prints applied and decorative art 5 items MODERN ART SECTOR M.I. Vorobyov Maximilian Jewellery St. Petersburg, 2008–2011 Etching and line engraving on paper Ronald Paris Carved stone items Gifts: The Family of the Sculptor Boris Vorobyov 16 items Nina Leonie Lobanov-Rostovsky Print 4 of 25 Russia, USA, Germany, 20th – 21st centuries Germany, 1965 painting Unidentified artist Lithograph Yu.O. Kagan One for All Artists (non-commercial association), Paris Portrait of a Girl in a White Dress Russia, 1830s painting with The Madonna della Sedia (after the painting by ). Boris Zaborov Watercolour and pencil on Bristol cardboard Ann Kerry Mason Set into a brooch Infanta Italy, 1840s – 1860s France, Paris, 2003 photographs Frank Mason (1921–2009) Shell, yellow metal Charcoal, pencil and watercolour on canvas Little Italy V.F. Marishkina 1977 O.S. Yevangulova prints and drawings Oil on canvas Photographs of the celebrations of graduation from the Academy of Arts S.V. Yevangulov. Engraved gems N.G. Burova, A.D. Prigov 8 items in the studio of V.Ye. Makovsky Via the Purchasing Commission: Russia, 20th century Series of works by Dmitry Prigov 6 items Moscow, late 20th – early 21st century St. Petersburg, studio of Vladimir Makovsky, 1911 painting I.A. Glotova Gelatine print Francesco Simonini I. Kabakov, E. Kabakova Black lace short-sleeved jacket Cavalry Battle S.O. Androsov Western Europe, late 19th – early 20th century Ilya Kabakov, Emilia Kabakova Venice, first half of the 18th century Silk lace Toilet. Installation composed of four objects: left door, right door, Album of photographs of the Radziwiłł family. 62 pp., 278 amateur Frans I Pourbus light-bulb and CD photographs (four partly lost) glued in, eight loose family photographs The Crucifixion with the Virgin Mary, John the Evangelist sculpture Russia, 2004 of the Radziwiłł family Wood, metal, glass, gloss paint; glass, metal, gloss paint; polycarbonate, and Mary Magdalene Alessandro Mandruzzato 286 items Netherlands, 16th century aluminium, polyacrylate varnish Western Europe, Russia, early 20th century Alessandro Mandruzzato Jean Cocteau Opera Diva (Female Profile) documents Male Figure (Orpheus) 2009 DEPARTMENT OF THE HISTORY OF RUSSIAN CULTURE France, 1945 Glass, ceramic, metal; cast, gilded between layers Hermitage Museum Foundation (USA) Unidentified artist, circle of Daniel Chodowiecki Gifts: Letter from Catherine II to Prince Grigory Potemkin Old Peasant Reading. After a print of 1757 Via the Purchasing Commission: St. Petersburg, 24 April 1785 Germany, c. 1800 SCULPTURE applied and decorative art Brown ink on parchment paper with watermarks Unidentified artist, circle of Daniel Chodowiecki Two bodices G.D. Yastrebenetsky Illustration to the works of Goethe. After a print of 1787 Western Europe, last quarter of the 19th – early 20th century Via the Purchasing Commission: Germany, c. 1800 G.D. Yastrebenetsky Accessories of female attire Sculptural portraits of Boris B. Piotrovsky Unidentified artist, circle of Daniel Chodowiecki 7 items Two items painting Two illustrations to Müllendorf’s Scenes from the Age of . Western Europe, last quarter of the 19th century St. Petersburg, last third of the 20th century Unidentified artist After a print of 1791 Portrait of a Man Germany, c. 1800 Collection of embroidered children’s attire and undergarments applied and decorative art 21 items Russia (?), 1838 Unidentified artist, circle of Daniel Chodowiecki Western Europe, late 19th – early 20th century L.Ye. Nemchinova M. Stoll (1813–1881) Illustration to Carl Langer’s Almanach for 1797. Painted enamel plate with a wild boar hunt scene Six pairs of ladies’ stockings Portrait of Grand Duchess Maria Nikolayevna, Duchess After a print of 1795 Limoges, France, 19th century Germany, c. 1800 USSR, 1970s of Leuchtenberg St. Petersburg, 1853 Umbrella Synthetic thread, nylon Jean-Baptiste Isabey (?) Erbach, Germany (?), 1870s Andrea Belloli (1820–1881) Portrait of an Unknown Lady in a Park I.L. Varshavsky 1792 Two terrines Portrait of a Woman Germany, mid-18th century Man’s double-breasted coat St. Petersburg, 1860 Germany, 1960s – 1970s Two cups Blended fabric, silk acetate, plastic; machined Pyotr Vasilyevich Basin (1793–1877) Western Europe, 17th century Mother and Child R.S. Kopman Russia, 1820s Toilet set, formerly belonging to Princess N.P. Golitsyna (1741–1837) 21 items Pile , pale , with stylized black and orange ornament Vladimir Leonidovich Muravyov Antoine Boullier Russia (?), early 20th century Winter Forest Paris, France, 1786–1789 Wool; machine weave Russia, 1902 26 27 acquisitions by the state hermitage museum in 2011 acquisitions by the state hermitage museum in 2011

Ivan Ivanovich Shishkin DEPARTMENT OF CLASSICAL ANTIQUITY ARSENAL D. Grimalauskaite Valaam. Wooded Landscape Commemorative coin marking the 600th anniversary of the Battle Russia, 1859 Gifts: Gifts: of Grunwald (1410–2010). 1 lit Karl Yakovlevich Reichel ARMS AND ARMOUR , 2010 APPLIED AND DECORATIVE ART White alloy Portrait of Karl Ivanovich Zeidel Ye.S. Silantyeva Russia, 1839 N.P. Malevskaya-Malevich Chisel in a case Commemorative coin marking the 600th anniversary of the Battle Trade amphora Vyacheslav Ivanovich Basov of Grunwald (1410–2010). 1 lit photographs Heraclea Pontica, 4th century B.C. (?) Russia, Izhevsk. 1970s – 1980s Lithuania, 2010 Clay White alloy Pavel Mikhaylovich Rafes Damascene steel, wood, titanium; wrought, carved; leather, studs Photograph portrait of Ilya Ehrenburg before his portrait S.V. Orlov Via the Purchasing Commission: Ye.V. Sorokin, A.V. Kosarev by Pablo Hunting knife from the series Swans, in a case Commemorative tokens of the XVI All-Russian Numismatic Conference Moscow, 1960s Oval gem Ye.V. Sorokin, blade by A.A. Koreshkov 3 items Melos, late 7th – early 6th century B.C. Moscow, 2011 St. Petersburg Mint, 2011 documents Knife: stainless steel (Cronidur 30), silver, gold, copper, ebony, garnets, S.A. Falkin Guards patent for Ensign Anton Renkevich, for the rank beryl, aquamarine, topaz; wrought, cast, carved, welded, etched, incrusted; ORIENTAL DEPARTMENT of Premier Major, signed by Catherine II case: wood, steel, textile Plaque: Embankment of the Incurable St. Petersburg, 1764 S.A. Falkin Gifts: NUMISMATIC DEPARTMENT 2009 Bronze APPLIED AND DECORATIVE ART Painting Gifts: Commemorative for Joseph Brodsky Small plate from the Everyday Service O.K. Belov Mongolian delegation S.A. Falkin St. Petersburg, Imperial Porcelain Factory, 1796–1801 Commemorative medal for Nicholas II 2010 Small plate from the Everyday Service D. Badam L. Bürger, K. Korneyev, I. Strukov Bronze St. Petersburg, Imperial Porcelain Factory, 1770s – 1790s Framed painting: Summer in Tsagaan Suvarga St. Petersburg Mint, 1994 (?) 2010 Tombac, stamped V.P. Chebotar Kvas jug with lid from the Everyday Service Tempera on canvas Medal of the charitable foundation “Supra-picture “In Memory of Those Killed”, medal commemorating the family St. Petersburg, Imperial Porcelain Factory, 1780s – 1790s of Vyacheslav Chebotar. St. Petersburg. Memorial Cathedral. of Nicholas II. 1918–1998 Repentance. Unity” Openwork plate from the Everyday Service APPLIED AND DECORATIVE ART A. Korolyuk St. Petersburg, Imperial Porcelain Factory, 1770s – 1790s Russia, undated Late 20th – early 21st century North Korean Government delegation Copper, stamped Cigarette case Tombac, stamped St. Petersburg, 1908–1917 Vase Commemorative medal, “Leningrad Mint. Founded in 1724” D.V. Lyubin Jingdezeh, China. 2008 G. Kashtanov, S. Kornilov Commemorative medal for the opening of the Museum of Heraldry Cigarette case Porcelain; cobalt painting; wood, varnish St. Petersburg, workshop of I.S. Britsyn, 1910s Leningrad mint, undated and the Museum of in the Constantine Palace Tombac, stamped St. Petersburg mint, undated Set of six decorative cups Via the Purchasing Commission: Commemorative medals Moscow, firm of P.A. Ovchinnikov, 1884 O.A. Stepanova 8 items APPLIED AND DECORATIVE ART Decorative cache-pot Russia, late 20th – early 21st century 2 euro cents Manuscript Koran. 308 ff. , 2006 Moscow, firm of Carl Fabergé, 1890s Desk medals , 16th century (text), 19th century (binding) Copper alloy Lace with a portrait of Peter I 14 items Russia, mid-19th century Sample of calligraphy (sheet from an album); in the lower left corner USSR, Japan, German Democratic Republic, 20th century 1 euro cent Finland, 2006 the calligrapher’s signature, Al-Hisari V.V. Meshcheryakov Ye.V. Lavrishcheva, V.K. Makovetsky Central Asia, 19th century Copper alloy Angel Six commemorative medals for the 300th anniversary Sample of calligraphy; in the lower right corner the calligrapher’s 10 francs St. Petersburg, 2004 of the foundation of the palace of Alexander Menshikov Swiss National Bank, early 21st century signature, Mirza Jachia Ye.V. Kramskaya, A.V. Baklanov T.P. Sazhin, L.A. Fomina (SAFO) Paper Central Asia, 19th century St. Petersburg Mint, 2011 Stream. Composition from the series Ecology Norwegian krona Moscow, 2000 Document file A. Dzanardi Landi 7 items Central Asia, first half of the 19th century , 20th – 21st centuries Pile carpet 10 euros commemorating the year of Russian culture and language in Italy Parts of a setting for a Japanese Samurai sword Italy, 2011 Zavidovo, Moscow Province, Russia, early 20th century V.A. Kalinin 36 items Silver Man’s long-sleeved shirt with an ascot tie Japan, 16th – 19th centuries Contemporary Western European coinage Western Europe (?), late 19th – early 20th century Michał Łukomsky, Zbigniew Bartkowiak 13 items Vessel. Welded above the handle a medallion cast from a Graeco-Bactrian Group of privately issued Polish coins. Arms of the Series Western Europe, late 20th – early 21st century Removable cuffs for a man’s shirt coin of Heliocles (late 2nd century B.C.) 6 items Western Europe (?), late 19th – early 20th century Contemporary Estonian coinage Central Asia, 3rd – 6th centuries Poland, early 21st century 15 items Bow-tie on elastic Scarab V.S. Kuleshov Estonia, late 20th – early 21st century Western Europe (?), late 19th – early 20th century Egypt, 2nd millennium B.C. Token of the Toronto Transport Company Coins and paper money of Pair of women’s long suede gloves Scarab Toronto, Canada, 1954 11 items Western Europe, 1910s Egypt, 1st millennium B.C. Aluminium Turkey, 21st century Pair of women’s white kid gloves Scarab N.L. Lysenko Two Tunisian coins Western Europe, 1910s Egypt, 1st millennium B.C. Tunisia, 20th century 25 cent coin Two white kid gloves Printed books in Chinese and Japanese USA, 1988 Five Ukrainian paper notes Western Europe, early 20th century 38 items White metal , 2005–2006 28 29 acquisitions by the state hermitage museum in 2011 Permanent Exhibitions

I.V. Saverkina M.V. Postarnak JJ PERMANENT EXHIBITIONS OPENED IN 2011 Contemporary Cypriot coinage Coinage of the Croatian Republic 7 items 4 items , 2008 Croatia, 21st century M. Savenets Government of the Yamalo-Nenets Autonomous 1 dollar marking Year of the Rabbit Souvenir mount for the 80th anniversary of the establishment Islands, , 2011 Silver of the Yamalo-Nenets Autonomous Region Museum of the Imperial Porcelain Factory Russian Federation, 2010 N.V. Burov White alloy, yellow alloy, enamel, glass, wood (?), velvet JSC Imperial Porcelain Factory Commemorative medal marking the 175th anniversary of the construction M.Ya. Kryzhanovskaya and consecration of the Smolny Cathedral of the Resurrection A new permanent exhibition opened at the Imperial Porcelain Factory Museum on 6 December 2011, St. Petersburg Mint, 2010 Two with images of the statuette St. Stephen the Deacon Tombac, stamped from the Hermitage collection during the Days of the Hermitage. The opening of a room devoted to porcelain of the Soviet and contem- Netherlands, 2000 porary period completed the display of the history of porcelain at Russia’s first porcelain museum (locat- Plastic, yellow alloy V.R. Arsenyev ed on the territory of the JSC Imperial Porcelain Factory), which became part of the Hermitage in 2001. Coinage of British West Africa The first part of the exhibition, representing the Imperial period, was opened in December 2003. 8 items Via the Purchasing Commission: British West Africa, first quarter of the 20th century The selection of exhibits required a special study and structuring of the materials, since the Hermitage Ancient Greek coins from the collection of F.N. Fedotov had not previously had a permanent display covering the Soviet and post-Soviet period. 68 items Commemorative token, Four Generations of the British Royal Family The new display includes about 1,000 of the most interesting items from a historical and artistic points 1837–1897 Near Eastern coins (95) and a fourteenth-century clay pot, of view, arranged on a thematic-chronological principle. This has meant that the main stages and char- , 19th century from the collection of F.N. Fedotov Bronze 96 items acteristics in the history of porcelain within the general compass of Soviet art could be highlighted. The outstanding period in the history of Soviet porcelain was the earliest. In March 1918 the State Commemorative coin marking the 50th anniversary of the D-Day landings Seal with arms presented to Gavriil Chernyshov (formerly Imperial) Porcelain Museum was put under the control of the People’s Commissariat for Edu- in Normandy. 50 pence Russia, late 18th – early 19th century United Kingdom, 1994 cation, which decided to make it an example of the new art industry. Porcelain had to be revolutionary Bronze-nickel alloy in content, but the artistic and technical potential and the culture of manufacture created over many MUSEUM OF THE IMPERIAL PORCELAN FACTORY Coins and vouchers of modern African states years were maintained. This served as the basis for a successful experiment in which the forces of vari- ous artistic trends were invited to work in porcelain. The porcelain made in the severe conditions of the 17 items Gifts: Africa, 20th – 21st century Revolution and the Civil War was a significant cultural phenomenon. Ye.V. Zakharova APPLIED AND DECORATIVE ART Propaganda porcelain appeared in autumn 1918 and was part of propaganda art in general. Quotes relating to “the philosophy and mood of the new socialist Russia” were featured on porcelain, which Four tokens of the Moscow Society JSC Imperial Porcelain Factory depicted the same themes as posters, banners and festive pictures. Russia, 2008–2009 Service: Ark M.B. Marshak T.V. Afanasyeva Imperial Porcelain Factory, 2009 20 roubles National Bank of the Belarussian Republic, 2000. Overprinted 2011 L.Yu. Tsvetkova Paper Mikhail Piotrovsky, G. Tsvetkova, Composition: Peony T. Tylevich and T. Chapurgina USSR 4 kopeck stamp, 1987, overprinted with a greeting to the participants L.Yu. Tsvetkova of the XVI All-Union Numismatic Conference. Overprinting 2011 St. Petersburg, 2007 Paper Bone porcelain; modelled T.A. Manturova MENSHIKOV PALACE Two advertising samples of the Perm GOZNAK printers 2005–2007 Gifts: V.S. Polozov PAINTING 20 francs. No. 05F6821857 Swiss National Bank, early 21st century V.V. Meshcheryakov Paper N.N. Blagoveshchensky N.S. Moiseenko Portrait of the Architect A.Ye. Gessen Leningrad, 1974 Commemorative medal, hexagonal: Factory of Communist Labour. Oil on canvas 1954–1974 USSR, 1974 (?) Yu.V. Tribunov Aluminium, varnish Yu.V. Tribunov V.G. Vilinbakhov Drawings recording the state of the ground floor 5 cents of the Menshikov Palace Estonian Republic, 1991 8 items Yellow alloy Leningrad, 1967–1970

I.D. Yermolayev documents 1 dollar commemorating the 100th anniversary of the Montreal Hockey I.B. Kharitonova Club Canada, 2009 Diary of A.A. Krutetsky. 11 notebooks Bronze alloy Petrograd–Leningrad, 1923–1926 30 31 Permanent Exhibitions Permanent Exhibitions

The stylistics of propaganda porcelain was formed largely thanks to Sergei Chekhonin, the first Artistic Director of the State Porcelain Factory. The most common type of porcelain in the early years after the was propaganda plates with the slogans and symbols of the new state. Along with works by artists who had been employed at the factory in the Imperial period – Rudolf Vilde, Zinaida Kobyletskaya and Andrei Bolshakov, the display also features pieces by young artists invited to work in the factory’s paint section opened in December 1918 at the former Baron Stieglitz Central School of Technical Drawing: Mikhail Adamovich, Alisa Golenkina, Alexandra Shchekotikhina, Maria Lebedeva, Yelizaveta Rozendorf and Yelena Danko. For several years they created their own designs on porcelain and reproduced sketches by well-known graphic artists and painters. Natan Altman’s composition that decorated the arch of the General Staff Building during the May holi- days of 1918 was reproduced on the Land for the Workers plates. A unique “document” of the time from an historical point of view is the Sovnarkom dish by the artist Basilka Radonich (1921) with a classic porcelain painting in the form of a bouquet in a vase and the inscription “New Construction”. Each flower has a “title” and symbolically represents one of the organs of Soviet power: “Sovnarkom”, “Sovnarkhoz”, “Cheka” (in the form of a thorn), “Ispolkom”, “Vneshtorg”, “Kompros”, “Komprod”, “Vseobuch”, “Profsoyuzy”, “IZO” and “MUZO”. An outstanding propaganda instrument was Natan Danko’s Red and White chess set (1923), allegori- cally representing two “kingdoms” (red for the proletariat, white for the bourgeoisie): the red king was a hammerer, his queen a beautiful reaper, the bishops were in the form of soldiers and the pawns were peasant girls; the white king was in the form of a of death in armour and a robe, his half-naked queen was “throwing around” gold from a horn of plenty, the bishops and were in knights’ armour and the white pawns were slaves in chains. Among a group of works with genre sketches the most interesting were those by Alexandra Shche- kotikhina, a pupil of Nikolai Roerich and , who worked in a theatrical-decorative style: the plate 1 May in Petrograd, on which a sailor and a girl are depicted strolling along the embank- ment; the Commissar plate portraying a hero of Petrograd in those years with the inscription on the side “Petrograd. Ploshchad Ulitskogo. 1921”. In the early years of the Soviet state art was declared to be purely social, non-state, and the attitude to the existence of numerous artistic trends was neutral. Porcelain reflected avant-garde trends in Rus- sian art like a mirror. Sketches were provided by Ivan Puni, Vladimir Konashevich, , Vladimir Lebedev and . Porcelain was an excellent medium for the Suprematists, whose works from the late 1920s and early 1930s show the development of this artistic trend – the problems of colour and texture in porcelain had ade is a documentary depiction of images of winter in Leningrad under siege. The patriotic theme is evi- never been so brilliantly resolved. The display includes Kazimir Malevich’s Suprematist teapot and half- dent in Alexandra Shchekotinskaya’s vases Dmitry Donskoy and , featuring heroes cups, which became a symbol of Russian avant-garde porcelain. A unique part of the collection features from Russian history. the Suprematist paintings of Malevich’s pupils Nikolai Suetin and Ilya Chashkin. The aesthetics of the totalitarian regime were manifested in the decoration of services and formal vases Works of the 1920s on themes that were traditional for Russian porcelain are represented by paint- with the new pompous forms of Soviet symbolism, portraits of Stalin and other political figures. An ex- ings and small items based on drawings and designs by Kuzma Petrov-Vodkin, Pavel Kuznetsov, Boris ample of clear “propaganda for happiness” is the multi-figure composition Under the Sun of Stalin’s Kustodiev and Alexander Samokhvalov. There is also the graphic art of Sergei Chekhonin transferred Constitution (1951), hymning the cult of the leader. The peoples of the USSR republics demonstrate on to porcelain, with added colour and gold. Vessels in the form of female heads, scent bottles, brooch- the achievement of socialist construction – the right for creative labour and a peaceful life. es, umbrella handles and smoking pipes were made to designs by Natan Danko. Vladimir Kuznetsov’s After the dreadful war years, when the value of human life was felt particularly keenly, the most popular Months of the Year series of porcelain sculptures and the figurines of nude women by Alexander Matveyev subjects were nature, childhood and motherhood, literary and theatrical classics. were awarded gold medals at the International Exhibition of Modern Decorative Arts in Paris (1925). The 1950s and 1960s were the heyday of the genre-based figurines traditional for porcelain. The style In the early 1930s Nikolai Suetin became Head of the Artistic Laboratory. His porcelain painting, like guidelines for mass production were set by examples that were highly rated at an international exhibi- the late figurative easel paintings of Malevich and his pupils, featured symbolic Post-Suprematist fig- tion in in 1958. The forms and painting became more understated and restrained in colour, ures: the Three Women dish, the Invalid and Three Figures plates and the Old Women service. The Su- with conventional decoration. This was evidence of the “austere” style in Soviet art that coincided with prematist school – the sense of style, proportion, rhythm, clarity and purity of form and painting and an “Krushchev’s thaw” and was reflected in decorative applied art by simplicity and utilitarianism. understanding of contrasts – had a huge influence on the introduction of the new style of the Leningrad Anniversaries of the October Revolution were traditionally marked by compositions of a propaganda Porcelain Factory, which was actually influenced by two artistic trends that were diametrically opposed character with the dates, symbols, inscriptions and traditions of 1920s propaganda. in many respects – the World of Art group and the Suprematists. In the mid-1930s, when the fight In the declining years of the Soviet period porcelain became a material for freer creativity. The legacy against formalism in art was at its height, this trend in porcelain was declared to be aesthetic formalism of Suprematism, which laid the basis for bold combinations of geometrical shapes and geometrical and formalist eclecticism and for many years remained in the shade. patches of local flowers, while retaining the precious whiteness of the porcelain, can be traced in the Socialist realism, which was prevalent in official Soviet art between the 1930s and 1950s, also pre- work of Mikhail Sorokin, Tatiana Afanasyeva and Inna Olevskaya. The sense of a critical period was con- dominated in porcelain. The works of the 1930s reflected the life of the country – industrialization and veyed by expressive pieces of complex shapes and active patches of painting. Contemporary porcelain collectivization, the fight against religion and illiteracy, the construction of new towns, the development has incorporated the best of the old enterprise’s legacy. of aviation, the opening up of the North, the friendship of peoples, the Soviet East, the upbringing of the While preserving the cultural tradition, twenty-first-century artists are continuing the search for new new generation. The sculpture represented the builders of socialism – workers, peasants and students. forms. The anxious pre-war years and the war itself were reflected in the paintings and themes of porcelain. The display features pieces made during the war. Lydia Lebedinskaya’s service Leningrad in the Block- 32 33 Temporary Exhibitions Temporary Exhibitions

In 2011, the Hermitage held 27 temporary exhibitions (objects from the Hermitage and other museums). In museums around Russia the Hermitage held nine exhibitions and took part in twelve exhibitions (a total of 2,809 exhibits). Outside Russia the Hermitage held twelve exhibitions and took part in 23 exhibitions (a total of 3,104 exhibits).

JJ TEMPORARY EXHIBITIONS IN THE HERMITAGE

Thomas de Thomon. Works on Paper in the Hermitage 22.02.11 – 29.05.11 The exhibition featured over 100 works of graphic art by the outstanding architect: drawings, blueprints and prints. Thomas de Thomon worked in various architectural fields: the planning of gardens, the re- construction of residential interiors and work on memorial structures. The display provided an oppor- tunity to demonstrate the versatility of the master’s talents, showing him to be not only an outstanding architect but also a gifted draughtsman. The exhibition was timed to coincide with the 250th anniver- sary of Thomas de Thomon’s birth.

The Prado in the Hermitage 25.02.11 – 29.05.11 This was one of the most important events of the Year of Spain in Russia and Russia in Spain. The exhibi- tion in the Nicholas Hall in the Winter Palace included the best examples of fifteenth- to nineteenth-cen- tury European painting – from the Dutch primitive artists to – from the famous Madrid museum. The exhibition demonstrated the variety and high standard of the Prado collection.

Blitz and Blockade: Henry Moore at the Hermitage Cultural programme accompanying Roads of Arabia. Opening of Annie Leibovitz. A Photographer’s Life. 1990–2005 exhibition 07.05.11 – 04.09.11 Archaeological Treasures of Saudi Arabia exhibition This exhibition, timed to coincide with the 70th anniversary of the outbreak of the Great Patriotic War (1941–1945), included 78 drawings by the British artist and sculptor Henry Moore provided by the Russian Painted Lacquers – 18th to 20th Centuries Henry Moore Foundation, as well as sixteen drawings by the Russian architect Alexander Nikolsky made 13.05.11 – 04.09.11 during the . The display also featured three monumental sculptures by Henry Moore, The exhibition included over 200 items from the State Hermitage’s unique collection of painted lac- which were shown in the Great Courtyard of the Winter Palace. quers: a variety of pieces, from furniture to adornments, made by masters in St. Petersburg, Moscow, , Nizhny Tagil, Zhostovo, Fedoskino, Palekh, Mstera and Kholui.

Roads of Arabia. Archaeological Treasures of Saudi Arabia 17.05.11 – 04.09.11 The exhibition comprised more than 300 objects discovered by archaeologists in Arabia in recent de- cades, displayed together for the first time. The items from various Saudi Arabian museums, which included coins and pieces of jewellery, funeral steles and colossal statues of , reflected the history of Arabia from the Palaeolithic Age to the 20th century. The main theme of the exhibition was roads – trade routes and pilgrims’ ways that have linked Arabia with the outside world since ancient times and have also connected various parts of the country.

Annie Leibovitz. A Photographer’s Life. 1990–2005 21.06.11 – 18.09.11 The exhibition included around 100 of the outstanding American photographer’s works. The photo- graphs, which were selected by Leibovitz herself, reflected her creative searches during those fifteen years and were displayed in chronological order. The Annie Leibovitz exhibition was a continuation of the State Hermitage’s tradition of showing the works of outstanding photographers, following exhibi- tions by Irving Penn, Robert Mapplethorpe and Boris Smelov. The Prado in the Hermitage exhibition Blitz and Blockade: Henry Moore at the Hermitage exhibition 34 35 Temporary Exhibitions Temporary Exhibitions

Opening of Dialogues. Baroque Paintings from Andalusian Museums Opening of Giorgione. The Tempest. From the Gallerie dell’Accademia, exhibition. Ludmila Kagane Venice. “Masterpieces from the World’s Museums in the Hermitage” exhibition. Irina Artemyeva and Matteo Ceriana

Dialogues. Baroque Paintings from Andalusian Museums 24.06.11 – 25.09.11 This exhibition, organized as part of the Year of Spain in Russia and Russia in Spain, featured paintings from the 17th century, the golden age of Spanish art, from Andalusia in southern Spain. The art muse- ums of Cordoba, Granada, Seville and Cadiz contributed works from their collections for the display, which was based on the most characteristic themes of the Baroque age: “The Loving Virgin”, “An Edify- ing Life – Saints, Ascetics, Mystics”, “Visions” and “From Sacred to Secular”.

Painting and Sculpture in Rome in the Second Half of the Eighteenth Century 24.06.11 – 02.10.11 This exhibition, whose theme was the heyday of art in Rome in the second half of the 18th century, in- cluded 48 paintings and 26 sculptures from the State Hermitage and the State Russian Museum, as well as from the and Pavlovsk State Museum-Reserves. The display was part of the Year of Italy in Russia and Russia in Italy.

Giorgione. The Tempest. From the Gallerie dell’Accademia, Venice. “Masterpieces from the World’s Museums in the Hermitage” 05.06.11 – 07.08.11 The exhibition featured The Tempest, a painting by the celebrated Venetian artist Giorgio da Castelfranco (Giorgione) from the Gallerie dell’Accademia in Venice. This was only the second time in the painting’s history that it left Italy and the first time it was shown in Russia. The exhibition was part of the Year of Italy in Russia and Russia in Italy.

Antony Gormley. Still Standing. A Contemporary Intervention in the Classical Collection 23.09.11 – 15.01.12 The exhibition, part of the “Hermitage 20/21” project, was intended to show works of contemporary art in a traditional museum. Seventeen works by the well-known British sculptor Antony Gormley were ­displayed in the Roman Courtyard in the New Hermitage. As part of the display, ancient statues in the Dionysus Hall were removed from their pedestals and placed on a level with visitors.

In the Shade of the Cross. Western European Crosses and Crucifixes of the 8th – 19th Centuries. From a Private Collection, 23.09.11 – 29.01.12 This exhibition from a private collection in Milan included 40 altar and processional crosses and cruci- Antony Gormley. Still Standing. fixes made at various times by European masters, predominantly Italian. The display demonstrated the A Contemporary Intervention in the Classical Collection development and variety of these church pieces over twelve centuries. The exhibition was part of the Year exhibition (p. 37) of Italy in Russia and Russia in Italy. 36 Temporary Exhibitions Temporary Exhibitions

Italian Nineteenth-Century Painting. From to Symbolism exhibition

Opening of Johannes Vermeer. The Love Letter. From the Collection Opening of Liberation of The Fugitive Slave. Restoration of the Sculptural of the Rijksmuseum, Amsterdam. “Masterpieces from the World’s Group by Vladimir Beklemishev exhibition Museums in the Hermitage” exhibition. Ernst Wein, Wim Pijbes and Caroline Gehrels

Johannes Vermeer. The Love Letter. From the Collection of the Rijksmuseum, Amsterdam. “Masterpieces from the World’s Museums in the Hermitage” 14.10.11 – 13.11.11 The latest exhibition in the series “Masterpieces from the World’s Museums in the Hermitage” featured The Love Letter by Johannes Vermeer, one of the most enigmatic artists in the history of painting. There are no works by this master in the Hermitage collection. 200 exhibits: painting, sculpture, graphic art, weapons, costumes, books, blueprints and archaeological Liberation of the Fugitive Slave. Restoration of the Sculptural Group by Vladimir Beklemishev finds from the State Hermitage and other St. Petersburg museums. One of the sections of the exhibi- 14.10.11 – 11.12.11 tion was devoted to the history of the restoration of the palace, the oldest stone building in the city, and The exhibition featured Vladimir Beklemishev’s group sculpture The Fugitive Slave (1891) after res- the creation of the museum display. toration. The composition was discovered by chance last April on the first floor landing of the Church Staircase in the Winter Palace when the brick cladding was removed. Lengthy restoration was needed Pool in a Harem and Other Works by Jean-Léon Gérôme in the Hermitage to return the sculpture to a condition in which it could be put on display; this was carried out in the 01.11.11 – 05.02.12 Hermi­t­age’s Laboratory for Scientific Restoration of Sculpture and Coloured Stones. The exhibition marked the return to the museum of Jean-Léon Gérôme’s painting Pool in a Harem, which had been cut out of its frame and smuggled out of the Hermitage. It was discovered in Moscow in “Around this Place the Memories are Alive”. Alexander Menshikov’s Palace: 1711–2011 December 2006 and returned to the Hermitage on 29 January 2007. From February 2007 to November 28.10.11 – 26.02.12 2009 the French master’s work underwent a complicated process of restoration in the State Hermit- The display marked the 300th anniversary of the Menshikov Palace and the 30th jubilee of the “Russian age’s Laboratory for Scientific Restoration of Easel Painting. Besides Pool in a Harem, the display Culture of the First Third of the 18th Century” exhibition in the Menshikov Palace and included over featured other works by the artist owned by the Hermitage.

Italian Nineteenth-Century Painting. From Neoclassicism to Symbolism 19.11.11 – 22.01.12 This exhibition, organized jointly by the State Hermitage and the Civic Museums of Pavia, was part of the Year of Italy in Russia and Russia in Italy. It was a major retrospective of nineteenth-century Italian painting comprising over 70 works, half of which came from the Nineteenth-Century Picture Gallery of the Civic Museums of Pavia. Among the museums taking part were contemporary art galleries in Florence, Milan, Turin and Genoa. The exhibition used the best examples of nineteenth-century paint- ing to demonstrate the whole range of styles and trends in which Italian artists were working: Neoclas- sicism, , Historicism, Macchiaioli and Symbolism.

Lomonosov and the Time of Elizabeth I 22.11.11 – 11.03.12 This exhibition, which was timed to coincide with the 300th anniversary of the birth of the great Russian scholar-encyclopaedist Mikhail Lomonosov, included over 700 exhibits from the State Hermitage and Opening of “Around this Place the Memories are Alive”. Opening of Pool in a Harem and Other Works by Jean-Léon Gérôme other St. Petersburg museums, archives and libraries. The careful selection of the works for the display Alexander Menshikov’s Palace: 1711–2011 exhibition. in the Hermitage exhibition. Alexander Babin demonstrated the variety and universality of the Elizabethan age, in which Lomonosov’s genius came Vladimir Meshcheryakov, Mikhail Piotrovsky and Anatoly Dutov to the fore. 38 39 Temporary Exhibitions Temporary Exhibitions

Giotto. God the Father. From the Civic Museum of Padua. “Masterpieces from the World’s Museums in the Hermitage” 06.12.11 – 31.01.12 The latest show in the “Masterpieces from the World’s Museums in the Hermitage” series featured Giotto’s icon of God the Father. The wall and ceiling paintings of the Scrovegni Chapel in Padua (Santis- sima Annunciata del Arena) were among Giotto’s early works (c. 1303–1305) and opened a new page in the history not only of painting, but of European art as a whole. The exhibition was part of the Year of Italy in Russia and Russia in Italy.

The Age of the Daguerreotype. Early Photography in Russia 07.12.11 – 05.02.12 The exhibition was devoted to early photography, describing the stages in its development in Russia. It included 72 daguerreotypes from the 1840s and 1850s from the State Hermitage, the Russian Acad- emy of Sciences’ Institute of Russian Literature and the Library of the Russian Academy of Arts. Many of the reproduced images of early photography were being shown for the first time and were virtually unknown – not only to the general public, but even to specialists.

Palaces, Ruins and Prisons. Giovanni Battista Piranesi and Italian Eighteenth-Century Architectural Fantasies 07.12.11 – 25.03.12 This exhibition, devoted to Piranesi’s early period, was part of the Year of Italy in Russia and Russia in Italy. The display, which included around 100 drawings and prints from the Hermitage collection, was divided into two parts. The first part was devoted to Piranesi and featured the series “Prima Parte”, “Grotesques” and “Prisons” in rare early editions that had never previously been published in Russia. The second part consisted of drawings by eighteenth-century Italian artists who worked as set design- ers, designers and architects and created the special genre of imaginary veduta, which is important for an understanding of the stylistics of such an original and complex phenomenon as Settecento.

The Hermitage in Photographs–2011 The Hermitage in Publications–2011 07.12.11 – 18.12.11 Opening of Herculaneum These traditional annual exhibitions reflected the chronicle of the museum’s life through the eyes of pho- Antiquities exhibition tographers and featured publications by Hermitage researchers. Herculaneum Antiquities From Birch Bark to Paper. The Book in Old Rus’ 16.12.11 – 12.02.12 08.12.11 – 19.02.12 As part of the Year of Italy in Russia at the State Hermitage, an exhibition entitled Herculaneum Antiq- The display included 74 exhibits from the Novgorod Museum-Reserve, including birch bark documents uities was held in the General Staff Building. It was organized jointly by the Hermitage and the Special and tseras, quill pens and ink-pots, manuscript and printed books from the largest centre of booklore. Directorate of the Archaeological Heritage of Naples and Pompeii, with the support of the Italian Em- Novgorod’s border location led to active mutual influences in technologies and artistic styles between bassy in Moscow and the Italian Consulate in St. Petersburg. It was the first time the Russian public Novgorod and other areas inside and outside Rus. The collection of the Novgorod State Museum-­ was able to see the well-known works of ancient art found on the site of the ancient city of Herculaneum, Reserve demonstrates an outstanding era in the history of the written language and book-learning which, like Pompeii and Stabia, perished during the eruption of Vesuvius in 79 A.D. in Ancient Rus. Sculptor Boris Vorobyov. Porcelain, Graphic Works. “Christmas Gift” Architecture in Islamic Arts. Treasures of the 20.12.11 – 01.04.12 08.12.11 – 26.02.12 This exhibition in the “Christmas Gift” cycle was timed to coincide with the centenary of the birth of the On display were 100 works of art from the collection of the Aga Khan Museum, which is due to open Leningrad animalist sculptor Boris Vorobyov (1911–1990) and featured the “porcelain” side of his shortly in Toronto, Canada. The exhibition included various architectural details and objects connected work. Besides original porcelain works from the State Hermitage collection and the artist’s family, to Islamic architecture in a variety of materials – bronze, fabric, ceramics, wood – from almost every the exhibition also included Boris Vorobyov’s graphic works. region of the Islamic world. We Draw and Paint in the Hermitage . The . Restoration Completed 24.12.11 – 26.02.12 08.12.11 – 15.01.12 The traditional annual exhibition of children’s drawings by pupils of the Hermitage Art School Centre. The Annunciation, by the well-known Venetian Renaissance master Giovanni Battista Cima da Coneg- liano, was shown after its restoration during the Days of the Hermitage. The removal of previous resto- ration layers and the filling in of lost parts of the original paint layer have returned The Annunciation to the artist’s original intention.

40 41 Temporary Exhibitions Temporary Exhibitions

JJ EXHIBITIONS IN MUSEUMS AROUND RUSSIA Images of Italy. Seventeenth- to Nineteenth-Century Western European Painting from the State Hermitage Collection Art Gallery Museum of the Kaliningrad Region 18.11.11 – 12.02.12 The exhibition included 60 works (paintings and drawings) united by a single theme – the art of Ital- ian masters and of artists from other European schools who were inspired by Italy. The display was the Artistic Weapons from the State Hermitage Collection crowning event of the large-scale “Hermitage in Kaliningrad” project organized by the State Hermitage State Historical, Architectural and Artistic Museum-Reserve, Kazan, and the Rosatom State Nuclear Energy Corporation in conjunction with the Government of the Kalin- 10.2.11 – 06.11.11 ingrad Region. The exhibition featured weapons from various countries and various ages, many of which are not only The Light of the Renaissance. Paintings and Sculptures by Italian Masters items of armour but also unique works of art. The display also included paintings and objects of decora- from the State Hermitage Collection tive applied art from the State Hermitage. Republican Museum of Arts, Yoshkar-Ola, Republic of -El East and West: The Art of the Islamic World 22.11.11 – 15.01.12 Hermitage • Vyborg Centre, Vyborg The exhibition featured two paintings and four sculptures from the 15th and 16th centuries, demonstrat- 25.02.11 – 18.09.11 ing the characteristics of the schools of art in the four centres of Italian Renaissance culture: Florence, Padua, Venice and Milan. The display included around 200 examples of from the 7th to 19th centuries: applied art and painting, jewellery and weapons, fragments of architectural decorations, textiles, ceramic, bronze, Spanish Art from the State Hermitage Collection glass and bone. Kazan Kremlin State Historical, Architectural and Artistic Museum-Reserve, Kazan, Tatarstan The Master and His Creation. Western European Painting, Sculpture and Graphic Art 24.11.11 – 27.05.12 from the State Hermitage Collection Opening of Artistic Weapons This exhibition in the Hermitage • Kazan Centre, part of the Year of Spain in Russia and Russia in Spain, Vladimir Sukachev , Irkutsk from the State Hermitage featured over 200 works of art: painting, graphic art, decorative applied art and weapons made by Span- 25.08.11 – 30.10.11 Collection exhibition. ish masters between the 12th and early 20th centuries. On the eve of Irkutsk’s 350th anniversary the State Hermitage staged an exhibition of Western Euro- Mintimer Shaymiev and Mikhail Piotrovsky pean art in the city. The paintings and sculptures reflected the principal stylistic trends and genres of the national schools of Italy, Spain, Flanders, the Netherlands, France, England and Germany. The exhibi- tion also included portraits and self-portraits by the artists.

Italian Baroque. Paintings and Sculptures from the Collection of the Hermitage Museum Hermitage • Vyborg Centre, Vyborg 01.10.11 – 25.03.12 The exhibition included 25 paintings and 34 sculptures, some of them being shown for the first time. The main part of the display consisted of sculptures made in Rome between 1600 and 1750 and seven­ teenth-century Italian paintings, of which the Hermitage has one of the most important collections out- side the Apennine Peninsula.

The Russian Descendants of the French Empress: the Dukes of Leuchtenberg in St. Petersburg State Museum of the History of St. Petersburg (Rumyantsev Mansion) 06.10.11 – 01.02.12 The exhibition, organized jointly by the State Hermitage and the State Museum of the History of St. Pe- tersburg, traced the history of the ducal house of Leuchtenberg and its Russian branch, which was part of the family tree of the Imperial . The display included painting, graphic art and decorative applied art from the State Hermitage that was previously in the Leuchtenberg collection.

The World of Russian Nobility. Life and Amusements. Historicism Epoch St. Petersburg Culture Palace of Education Workers (Yusupov Palace) 11.11.11 – 31.1.12 The exhibition included more than 400 works of art from the State Hermitage collection – painting, decorative applied art and costumes – describing the everyday life of a noble family, their entertain- ments, the education of the younger generation and the norms of social etiquette.

42 43 Temporary Exhibitions Temporary Exhibitions

JJ PARTICIPATION IN EXHIBITIONS IN MUSEUMS AROUND RUSSIA JJ EXHIBITIONS ABROAD

Tsar and President. Alexander II and Lincoln L’Ermitage. La naissance du musée imperial. Les Romanov. Tsars collectionneurs Russian Federation State Archive, Moscow Pinacothèque de Paris Artistic Heritage Society, Paris, France 21.02.11 – 27.03.11 21.01.11 – 15.09.11 Masterpieces of Semiprecious Stones. Peter Carl Fabergé and Russian The exhibition included over 70 works of art – painting, graphic art and sculpture. The display fea- Craftsmen-Lapidaries tured Hermitage masterpieces representing the principal stages in the formation of the museum’s collection. State Historical and Cultural Museum-Reserve, Moscow 29.03.11 – 24.07.11 Glans en glorie. Kunst van de Russisch orthdoxe kerk Inspiration Dior Hermitage • Amsterdam Centre, Amsterdam, Netherlands Pushkin State Museum of Fine Arts, Moscow 19.03.11 – 16.09.11 26.04.11 – 31.07.11 More than 400 exhibits were displayed in the Hermitage • Amsterdam Centre, including icons, frag- ments of frescoes from the interior of churches from the Dovmont Town in Pskov, church vestments, gold Gates and Doors and silver liturgical implements. Among the various themes of the exhibition were the Byzantine roots State Russian Museum (Marble Palace), St. Petersburg of Russian Orthodoxy and church festivals. 28.04.11 – 30.06.11 Ermitage. Tesoros de la Arquelogia rusa Holy Russia Alicante Archaeological Museum, Alicante, Spain State Tretyakov Gallery (Krymsky Val), Moscow 15.04.11 – 15.11.11 24.05.11 – 14.08.11 The exhibition was held as part of the Year of Spain in Russia and Russia in Spain and encompassed . “I will not Die Completely...” the period from the Palaeolithic Age to the Middle Ages. It included archaeological monuments from St. Isaac’s Cathedral, St. Petersburg Central Asia in the east to the Northern Black Sea Coast in the west, from Karelia in the north to the 30.06.11 – 30.08.11 Southern Caucasus. The exhibits demonstrated not only the history of the formation of the Hermitage’s archaeological collection, but also the history of the museum’s own archaeological expeditions. Paul Poiret: King of Fashion Moscow Kremlin State Historical and Cultural Museum-Reserve, Moscow “We Will Build a ...”. Early Soviet Porcelain from the State Hermitage Collection 06.09.11 – 12.01.12 Tampere Museum, Tampere, Finland Vadim Voinov. “The Plot of an Object” 27.05.11 – 30.10.11 Moscow Museum of Contemporary Art, Moscow The exhibition included 256 porcelain works and 40 graphic sheets dating from the post-revolution- ary period at the State (formerly Imperial) Porcelain Factory. These works, made at a difficult pe- 19.09.11 – 30.09.11 riod in Russian history, reflect the various trends of the Russian avant-garde and the tradition of early “To You as a Gift of Love towards Fatherland”. Exhibition Devoted twentieth-century art. to the 200 Years Anniversary of the Kazan Cathedral in Scientific Research Museum of the Russian Academy of Arts Dmitri (Dmitry) Prigov: 23.09.11 – 11.12.11 Ca’ Foscari University, Venice, Italy 01.06.11 – 15.10.11 Exhibition Dedicated to the Memory of Alexander Zhuravlyov This display of works by the outstanding Russian Conceptualist artist was an important cultural event All-Russian (Gavrila Museum), St. Petersburg and the first instance of the participation of a major Russian museum in the Venice Biennale. The project 07.10.11 – 08.11.11 was based on a gift to the State Hermitage of the main body of Prigov’s work, transferred to the mu- What is Truth? Nikolai Ge. To the 180th Birth Anniversary seum’s permanent collection of contemporary art by the Dmitry (Dmitri) Prigov Foundation. State Tretyakov Gallery, Moscow Ars longa, vita brevis. Eighteenth-Century Meissen Porcelain in the Modern Museum 18.10.11 – 05.02.12 Palazzo Ca’ Corner della Regina, Venice, Italy Holy Russia 04.06.11 – 02.11.11 State Russian Museum, St. Petersburg The Hermitage exhibition in the Palazzo Ca’ Corner della Regina was a kind of cultural experiment. 27.10.11 – 20.01.12 It was not a traditional academic exhibition with labels on the exhibits and explanations in a cata- logue, but an installation in which the “text” was the sum total of the objects themselves, appealing “The Virtuoso of Smart Choice” to the associative powers and cultural experience of the viewer. The composition consisted of pieces Gatchina State Historical and Artistic Palace-Park Museum-Reserve, St. Petersburg from the Meissen Porcelain Factory dating from 1730 to 1760. The exhibition was part of the 2011 01.12.11 – 31.03.12 Venice Biennale. 44 45 Temporary Exhibitions Temporary Exhibitions

Glass Admired by the Russian Tsars. History of European and Russian Glass JJ PARTICIPATION IN EXHIBITIONS ABROAD from the Collection of the State Hermitage Museum Hokkaido Museum of Contemporary Art, Sapporo, Japan 09.06.11 – 03.07.11 Tayen City Art Museum, Tokyo, Japan 14.07.11 – 25.09.11 Thrones in Majesty Okayama Prefecture Art Museum, Okayama, Japan Musée national du Château de Versailles, Versailles, France 01.10.11 – 06.11.11 28.02.11 – 19.06.11 This exhibition, devoted to the history of Western European and Russian glass-making, reflected the variety of forms and techniques from the 16th to early 20th centuries. The exhibits included not only Créer au féminin. Femmes artistes du siècle de Madame Vigée Le Brun table glass – cups, wine glasses and decanters, but also , jewellery and embroidery with beads. Mitsubishi Ichigokan Museum, Tokyo, Japan Rubens, Van Dyck and Jordaens. Flemish Painters from the Hermitage 01.03.11 – 08.05.11 Hermitage • Amsterdam Centre, Amsterdam, Netherlands L’Inverno Russo 17.09.11 – 16.03.12 National Museum of Popular Art and Traditions, Rome, Italy This exhibition of Flemish art from the State Hermitage collection included 75 paintings and more than 03.03.11 – 03.05.11 20 drawings by Pieter Paul Rubens, , and their contemporaries. Armures et décors maniéristes français Rembrandt. The Holy Family from the Hermitage Collection Musée de l’Armée, Paris, France Nieuwe Kerk, Amsterdam, Netherlands 15.03.11 – 25.06.11 14.10.11 – 16.11.11 Rembrandt’s The Holy Family was on display in the Nieuwe Kerk in Amsterdam for five weeks. This Leonardeschi. Da Foppa a Giampetrino: dipinti dall`Ermitage di San Pietroburgo event marked the start of a new tradition – every year the Nieuwe Kerk will display a work of religious e dai Musei Civici di Pavia art selected by the Director of one of the world’s leading museums. This year Rembrandt’s masterpiece Museo Castello Visconteo, Pavia, Italy was chosen by Mikhail Piotrovsky. 19.03.11 – 10.07.11

El Ermitage en el Prado Lucas van Leyden and the Renaissance Prado National Museum, Madrid, Spain Stedelijk Museum, Leiden, Netherlands 07.11.11 – 25.03.12 24.03.11 – 26.06.11 The display encompassed the period from the 5th century B.C. to the 20th century and included more than 100 works of art – painting, graphic art, sculpture, decorative applied art and archaeological Van Dongen. Fauve, Anarchist and Socialite monuments, the high standard of which fully demonstrated the richness and importance of the Hermit- Musée d’art modern, Paris, France age as one of the world’s major museums. The exhibition was the second stage of the exchange between 24.03.11 – 17.07.11 the two museums: the exhibition The Prado in the Hermitage, held in St. Petersburg from 25 February to 29 May 2011, was visited by over 600,000 people. Both exhibitions were part of the Year of Spain From Court Splendour to Bourgeois Luxury in Russia and Russia in Spain. Palazzo Pitti, Florence, Italy Omaggio a . I Dipinti dell’Ermitage alle Gallerie dell’Accademia 16.05.11 – 11.09.11 Gallerie dell’Accademia, Venice, Italy . Sculptor of Natural Beauty 24.11.11 – 22.01.12 Gallerie dell’Accademia, Florence, Italy The exhibition featured two paintings from the State Hermitage collection: Portrait of a Married Couple 30.05.11 – 06.11.11 and Madonna delle Grazie by Lorenzo Lotto, the outstanding sixteenth-century Venetian master, one of the leading representatives of Renaissance art. This exhibition was a return gesture by the Hermitage The Vikings for the opportunity to show Giorgione’s The Tempest in the “Masterpieces from the World’s Museums Musée de Normandie, Caen, France in the Hermitage” cycle. The exchange between the State Hermitage and the Gallerie dell’Accademia in Venice was part of the Year of Italy in Russia and Russia in Italy. 24.06.11 – 31.10.11

L’Ermitage a Padova. Un omaggio a Rembrandt Palazzo Rubens. The Master as Architect Padua Civic Museum, Padua, Italy Rubens House, Antwerp, Belgium 25.11.11 – 15.02.12 10.09.11 – 11.12.12

This exhibition devoted to Rembrandt featured two works by the great Dutch master, known in literature Destins Souverains as Portrait of an Old Woman (1654) and Portrait of an Old Jew (1654). Muséées et domaine nationaux de Compiègne et Blérancourt, Compiègne, France Musée des châteaux de Malmaison et de Bois-Préau, Malmaison, France 23.09.11 – 09.01.12 46 47 Temporary Exhibitions Temporary Exhibitions

World Class. The Düsseldorf School of Painting. 1819–1918 EXHIBITIONS OF SPANISH ART IN THE HERMITAGE Museum Kunst Palast, Düsseldorf, Germany 23.09.11 – 22.01.12 The Prado in the Hermitage Picasso in Paris, 1905 25.02.11 – 29.05.11 Kunsthalle, Bielefeld, Germany 2011 was declared to be the Year of Spain in Russia and Russia in Spain. In connection with this, a num- 25.09.11 – 15.01.12 ber of exhibitions of Spanish art were organized in the Hermitage and exhibitions from the Hermitage collection were held in Spain. The exhibition from the Prado National Museum included works by out- Cézanne and Paris standing European painters. The Madrid museum’s collection is based on the amassed Association of National Museums of France (Musée du ), Paris, France between the 16th and early 19th centuries. The Prado in the Hermitage was the museum’s largest and most representative exhibition outside Spain: it comprised 66 paintings – 33 of the Spanish school and 10.10.11 – 27.02.12 33 from other Western European countries; in chronological terms it encompassed the period from 1450 – Raphael’s Teacher to 1820. The artistic standard of the paintings included was exceptionally high. The first artists who should be mentioned were Raphael, Bosch, , van der Weyden, , Caravaggio, (three , Bayerische Staatsgemäldesammlungen, Munich, Germany paintings), Velázquez (three paintings) and Goya (four paintings). There were also paintings by Pous- 12.10.11 – 15.01.12 sin, Rubens, Van Dyck, Ribera, Zurbarán, Murillo and Watteau. Along with these well-known names, the exhibition also included works by masters who were completely unknown in Russia, but who deter- Architecture in Art mined the character of Spanish painting. The exhibition traced the history of collecting and patronage Museo Thyssen-Bornemisza, Madrid, Spain of the arts in Spain, as well as presented outstanding works by Spanish and other European painters. 18.10.11 – 22.01.12 The exhibition was visited by 630,000 people – the record for a temporary exhibition in the Hermitage. Svyatoslav Savvateyev Cézanne. Les Ateliers du Midi Palazzo Reale, Milan, Italy Dialogues. Baroque Paintings from Andalusian Museums 22.10.11 – 26.02.12 24.06.11 – 25.09.11 Another exhibition from Spain was held in the Twelve Column Hall in the New Hermitage. Dialogues. The Renaissance in Rome. From to Vasari Baroque Paintings from Andalusian Museums was organized by the State Hermitage in conjunction Fondazione Roma Museo, Rome, Italy with the Cultural Committee of the Assembly of Andalusia and the Committee of Alhambra and Gen- 25.10.11 – 12.02.12 eralife. The exhibition featured paintings from southern Spain from its artistic heyday in the 17th cen- tury. The word “Dialogues” in the exhibition’s title referred to the different interpretations of the same Louis-Léopold Boilly themes by various masters. It was both the dialogue between man and God by means of painted im- Palais des Beaux Arts, Lille, France ages and the dialogue that is sometimes carried on within a painting. The display was organized by the 04.11.11 – 06.02.12 themes that were most characteristic of the Baroque age: “The Loving Virgin”, “An Edifying Life – Saints, ­Ascetics, Mystics”, “Visions” and “From Sacred to Secular”. Andalusia, with its rich artistic : Artist at the Court of Milan traditions, was home to many famous artists: Diego Velázquez was born and raised there, and those , London, Great Britain who worked in ­Andalusia included Juan Sánchez Cotán, Francisco de Zurbarán, Alonso Cano, Bar- tolomé ­Esteban Murillo and Juan de Valdés Leal. Their paintings, as well as those by other artists, were 09.11.11 – 05.02.12 ­included in the exhibition of 24 works from museums in Seville, Granada, Cordoba and Cadiz. Il Settecento a Verona Svyatoslav Savvateyev Museo Castelvecchio, Verona, Italy 26.11.11 – 09.04.12 HERMITAGE EXHIBITIONS IN SPAIN

Matisse: Drawing Life Gallery of Contemporary Art, Queensland Art Gallery, Brisbane, Australia El Ermitage en el Prado 02.12.11 – 04.03.12 Prado National Museum, Madrid, Spain 07.11.11 – 25.03.12 In terms of its size, thematic content and artistic standard, this was the largest-scale exhibition in the history of the two museums, with six departments of the State Hermitage taking part. The display com- prised 61 paintings, thirteen graphic works, ten sculptures, 90 works of decorative applied art and 26 archaeological objects, encompassing the period from the 5th century B.C. to the mid-20th century. It was the first time a foreign audience had the opportunity to see such a full and comprehensive exhibi- tion from the Hermitage collections, whose high artistic standard fully demonstrated the richness and significance of the Hermitage as one of the world’s major museums. The exhibition included paintings by the most famous Western European masters – Caravaggio, Carracci, Velázquez, El Greco, Rubens, Rembrandt, Picasso, Matisse and Cézanne. Among the sculptors whose works were on display were , Houdon, , and Matisse. The exhibition also included drawings by Dürer, Clouet, the Elder, Rubens, Lorrain, Watteau, Ingres and Picasso. Great interest was aroused by the gold items made by ancient Greek and Scythian masters, including the famous comb with a battle scene from 48 49 Temporary Exhibitions Temporary Exhibitions

the Solokha burial mound. The display also included works by Russian and Western European jewellers, JJ HERMITAGE CENTRES as well as masters from , China and Central Asia. One section of the exhibition featured paintings by nineteenth-century Russian artists depicting views of St. Petersburg, the interiors of the Winter Pal- ace and the Hermitage. These were complemented by items of furniture from the Winter Palace, magnif- icent vases by Russian stonecutters, bronze pieces by Pierre-Philippe Thomire and examples of costumes (a dress of Empress Maria Fyodorovna and a the uniform of a general of the Life Guards of the Hussar Regiment), giving visitors some idea of the interiors of the residence of the Russian Emperors. Svyatoslav Savvateyev HERMITAGE • AMSTERDAM CENTRE

Ermitage. Tesoros de la Arquelogia rusa In 2011 the Hermitage • Amsterdam Exhibition Centre held two exhibitions from the collection of the State Hermitage. Alicante Archaeological Museum, Alicante, Spain The exhibition Glans en glorie. Kunst van de Russisch orthdoxe kerk (Splendour and Glory. The Art of the 15.04.11 – 15.11.11 ) ran from March to September and attracted over 110,000 visitors. In Janu- The Hermitage departments that took part in the organization of the exhibition were the Department ary 2011, as part of the preparations for the exhibition, a press tour to St. Petersburg and Pskov was of the Archaeology of Eastern Europe and Siberia, the Department of Classical Antiquity, the Oriental organized by the State Hermitage and the Hermitage • Amsterdam Centre for representatives of the Department, the Department of the History of Russian Culture and the Department of Scientific Resto- Dutch media. The journalists had the opportunity to learn about the traditions and customs of Russian ration and Conservation. The museum in which the exhibition was held is a specialized archaeological Orthodoxy by visiting the Pskov Caves Dormition Monastery in the town of Pechory, as well as several museum, a great rarity in Russia, and it was superbly equipped and prepared for this display. The mu- churches in Pskov. In the Staraya Derevnya Restoration and Preservation Centre the visitors were shown seum had already hosted archaeological exhibitions from the , the Louvre and from frescoes from the Dovmont town in Pskov that were later included in the exhibition in Amsterdam and Russia – an exhibition by the Russian Academy of Sciences’ Institute of the History of Material Culture also visited the workshops of the Laboratory for Scientific Restoration of Easel Painting. By tradition, devoted to the archaeology of . an extensive programme was organized for visitors to the exhibition at the Hermitage • Amsterdam A preliminary agreement was reached between the Hermitage and the Alicante Archaeological Museum Centre on the themes of the display. There was also a “Hermitage for Children” Centre, where children (the MARK Foundation) concerning long-term collaboration in various areas of museum activity, sci- could learn to paint Easter eggs, among other pursuits. ence and culture. An exhibition entitled Staff and Sword was held in the St. George Hall in the Hermit- The exhibition Rubens, Van Dyck and Jordaens. Flemish Painters from the Hermitage opened in Septem- age from December 2010 to March 2011: it featured only one object – the bronze hand from a statue ber 2011 and continued until June 2012. There are virtually no seventeenth-century Flemish paintings of a Roman emperor, discovered during excavations of the Roman city of Lucentium in what is now in Dutch museums, so public interest in the exhibition was very high. Special mention should be made Alicante. of the attitude of Belgians to the exhibition – the number of visitors from that country increased by many The Hermitage exhibition consisted of 484 items whose chronological range encompassed the period times. The programme for visitors included a lecture by the Dutch ornithologist Nico de Haan, who made from the Palaeolithic Age (20,000 years B.C.) to the Middle Ages (16th century), and in territorial Frans Snyder’s painting Concert of Birds “sing”. By collecting the calls of the various birds depicted terms – from Central Asia in the east to the Northern Black Sea Coast in the west and from Kare- in the Hermitage painting, he was able to give his listeners a real “concert of birds”. The possibility lia in the north to the Southern Caucasus. The display included items that are significant for our mu- is currently being considered of inviting Nico de Haan to the Hermitage, so that the St. Petersburg pub- seum’s archaeological collection and reflect not only the history of its formation, but also the history lic can hear the results of his artistic-ornithological research. of the archaeological research of Russian expeditions, including those from the Hermitage: Palaeolithic “Venuses”, unique finds from Neolithic pile-dwellings in Northwest Russia, jewellery items from the Maykop Bronze Age burial mound in the Northern Caucasus, the famous objects from “Peter the First’s Siberian Collection”, the world-renowned Hellenic-Scythian jewellery masterpieces (such as the gold plate in the form of a recumbent deer from the Kostroma burial mound, the gold comb from the Solokha Glans en glorie. Kunst burial mound and the gold vessel from the Kul-Oba burial mound), the extraordinary finds from the van de Russisch orthdoxe kerk Scythian “ice” tombs of the Altai, objects from excavations of monuments and early medieval (Splendour and Glory. The Art wall paintings from the Penjikent settlement in Central Asia, as well as ancient Russian jewellery and of the Russian Orthodox Church) domestic items. The display was well thought-out on a scientific basis with an original design and was ac- exhibition companied by films and slide shows about the Hermitage, Russian history, archaeological monuments, their exploration and the researchers who undertook it. The opening of the exhibition was accompanied by the publication of a catalogue and all kinds of supplementary materials, including some for children. Two lectures were given by Hermitage staff members: about the start of archaeological excavations in Russia (Yelena Korolkova) and about the exploration of ancient monuments on the Northern Black Sea Coast (Alexander Butyagin). The wide compass of the material in the exhibition was an entirely unique project – the first in the Her- mitage’s history. It was indisputably a great success with visitors (over 120,000 people) and was of ­interest not only for the Spanish specialists and public, but also for the science and culture of Russia. Andrei Alexeyev

50 51 Temporary Exhibitions Temporary Exhibitions

based on Protocols of Collaboration signed by the Hermitage with various cities and cultural institutions in Italy. One of the main events in the Year of Russia in Italy was the participation of the Hermitage in the 18th International Art Restoration and Conservation Fair (Ferrara, 30 March – 2 April 2011). This was the first time the Hermitage was one of the principal exhibitors at this important annual demonstration of modern technologies and achievements in the preservation of our artistic heritage – the museum’s stand featured the achievements of the Laboratories for Scientific Restoration of Murals and Precious Metals. As the Hermitage intends to be a regular participant in the Fair, a preliminary programme has already been drawn up, according to which the results of the work of all the museum’s restoration labo- ratories will be shown in the next few years. The publication of catalogues of the Hermitage’s permanent collections is one of the Centre’s priorities, and last year the latest volume of Tatiana Kustodieva’s Italian Painting. 13th – 16th Centuries was pub- lished. The previous volume was the subject of the international conference “Italian Sevententh-Century Painting in the Hermitage Collection” (based on materials from the catalogue by Svetlana Vsevolozh- skaya) held in the Palazzo Barberini in Rome on 20 October 2011. The opening of the conference was marked by a concert of early music “Dedicated to Caravaggio” in the Palazzo Giustiniani – the of the Republic of Italy. The cycles of seminars and lectures held in the Centre are very successful with the residents of Ferrara. In 2011 they were devoted to three main subjects: “The History of Collecting and the Birth of Great Museums”, “The 500th Anniversary of the Birth of Giorgio Vasari” and “The Origins of Genres: Italian and European Painting at the Turn of the Century (1600)”. The Hermitage’s exhibition activity is attractive to the public, both in Russia and in Italy. March saw the opening of the exhibition Leonardeschi. Da Foppa a Giampetrino: dipinti dall’Ermitage di San Pi- etroburgo e dai Musei Civici di Pavia (Castello Visconteo, Pavia, 20 March – 10 July 2011). In return, Pavia and many other Italian museums sent their works to St. Petersburg for the exhibition Nineteenth- Century Italian Painting. From Neoclassicism to Symbolism (Hermitage, 19 November 2011 – 22 Janu- ary 2012) – the first major retrospective show of Italian painting from a period that is little known in Russia. A significant event in the formation of the Hermitage’s collection of modern avant-garde art was a gift from the Dmitry Prigov Foundation – before coming to the Hermitage, the works by this clas- sic exponent of modern avant-garde were shown at Ca’ Foscari University in Venice as part of the Venice Biennale (4 June – 15 October 2011). This was not the Hermitage’s only participation in the forum of contemporary art: the Biennale also included the display Ars longa, vita brevis. Eighteenth-Century Meissen Porcelain in the Modern Museum (Fondazione Prada, Venice, 4 June – 27 November 2011). Rubens, Van Dyck and Jordaens. Since the Hermitage • Amsterdam Centre opened in 2009, there has been a tradition of celebrating Exhibition activity was no less pronounced in the Hermitage itself, where Italian projects dominated Flemish Painters from White Nights, providing an additional link between the State Hermitage and its Dutch branch. Last the year: The Works of Bruno Liberatore. A Gift to the State Hermitage and In the Shade of the Cross. Western European Crosses and Crucifixes of the 8th – 19th Centuries (23 September 2011 – 29 January the Hermitage exhibition year was no exception: on 21 June 2011, the longest day of the year, the Hermitage • Amsterdam Centre organized a special programme for visitors for this magical season. 2012). Of particular note was the showing of a painting that had never previously left Italy – as part In April 2011 the composer Sergei Yevtushenko, Director of the Hermitage Academy of Music, vis- of the cycle “Masterpieces from the World’s Museums in the Hermitage”, Giorgione’s The Tempest from the Gallerie dell’Accademia in Venice was on display for a month in the Hall (6 July – ited the Centre. He performed his improvizations and presented the music that he wrote for Alexander 7 ­August 2011). Sokurov’s film “The ”. As a return gesture the Hermitage sent two works by Lorenzo Lotto to the Venetian gallery – Portrait In spite of its short life, the Hermitage • Amsterdam Centre is establishing more and more new tradi- of a Married Couple and Madonna delle Grazie. tions. For example, it has become the centre for the annual musical Grachtenfestival (“Festival on the There was also a fruitful exchange with the Civic Museum of Padua, which sent Giotto’s God the Father Canals”). The collaboration can be said to be two-way, since for the last three years the prize winners from the Scrovegni Chapel to the Hermitage and received in return two portraits by Rembrandt (25 No- at this festival have taken part in the “Musical Hermitage” festival in St. Petersburg. vember 2011 – 26 January 2012). Another tradition is the participation of the Hermitage • Amsterdam Centre in the “Museum Night” The final stage of the Year of Italy in Russia was the opening of an exhibition of Herculaneum Antiqui- held in Amsterdam on the first weekend in November. This year the main theme of “Museum Night” was ties in the General Staff Building (16 December 2011 – 12 February 2012) – another very visible result Belgium – its musical and culinary traditions. of the close links between the Hermitage and cultural institutions in Italy, particularly in the region of Campania. For the Hermitage the study of monuments from the area of the eruption of Vesuvius was HERMITAGE • ITALY CENTRE not restricted to this exhibition: this is already the second year that the Department of Classical Antiq- uity has taken part in archaeological excavations in Stabia on the basis of a two-way agreement with the Foundation of Ancient Stabia. 2011 was a particularly busy year for the Hermitage • Italy Centre, since it had been declared by the governments of both countries as the Year of the Italian Language and Culture in Russia and the Year of the and Culture in Italy. The Hermitage prepared its own programme and it can be said with complete conviction that none of the featured projects were organized spontane- ously or “by chance”, but were all the consequence of close contacts between scholars over many years. They reflected the museum’s strategic policy to constantly broaden and strengthen links with its Italian partners. The Hermitage has been pursuing this policy for the last four years through its centre in the city of Ferrara, set up to coordinate all kinds of activity in Italy, primarily research and exhibition activity, 52 53 Temporary Exhibitions Temporary Exhibitions

HERMITAGE • KAZAN CENTRE Evening and Exhibition “The House had a Kind Face...” 18 May This exhibition, timed to coincide with Museum Day, contained 47 works by local artists portraying Chronicle of Events wooden architecture in Kazan and well-known architectural monuments in the city: the Kremlin, cathe- drals and mosques. The programme for the evening included a meeting with Professor Vladimir Kura- shov, author of the album Wooden Kazan, and a concert of city romances by Yulia Ziganshina, a prize winner at international competitions.

Opening of the exhibition Artistic Weapons from the State Hermitage Collection “We can do ANYTHING!”. Exhibition by the Children’s Art Studio 10 February 22 May Over a thousand items of armaments, dating from the Palaeolithic Age to the late 19th century, traced The annual review of the Hermitage • Kazan Centre’s art studio featured 92 works by young artists: the development of weapons and armorial art over the whole history of humanity, presenting the various painted ceramics, theatrical scenery, body art, silhouette graphics and glove puppets. The exhibition forms and types of weapons and providing information about centres of production and famous masters. included the children’s festival “Well, come on then...”. The geography of the items displayed encompassed numerous countries – from Japan to England, from the Asian to India, featuring weapons not only from leading world powers, but also from small Exhibition by the Spanish photographer Chema Madoz countries. 2 June The exhibition, part of the Year of Spain in Russia and Russia in Spain, included 45 works by the Spanish Annual festival “Hermitage Strolls with a Kazan Cat” master, who has been awarded a National Prize for photography and the Japanese Higashikawa Prize. 17 March The festival opened with the exhibition “Once upon a time there was a black cat...”. Over 60 depictions Practical seminar for directors of children’s art schools in the Republic of Tatarstan: “Experience and Future Prospects of cats – black, grey, spotted, of a jolly disposition, capable of standing up for themselves, well aware for the Collaboration of the Hermitage • Kazan Centre with Art Schools in Kazan” of their station in life – were created by the young artists who took part in the exhibition. The story of the 23 June life of the black cat was presented in all kinds of art: painting, graphic art, genre sketches, collages and The seminar’s participants sampled the interactive guided tours “Of Valour, Of Chivalry, Of Honour...” decorative applied art – dolls and small figurines. The display included works by pupils of Art Schools and “Close Your Eyes and See”, the State Hermitage computer programmes “From School to Acad- Nos. 1–5 in the art studio of the Hermitage • Kazan Centre. According to an already established tradi- emy”, the work of the children’s art studio and the current exhibitions at the Centre. tion, the exhibition featured art lessons entitled “A Game with a Black Cat”, master classes by profes- sional artists in small plastique (figurines), construction, graffiti and stained glass painting. The “KINO- KOSHKI” cinema showed cartoons about cats, not only black ones. Hermitage Assembly. To mark the sixth anniversary of the Hermitage • Kazan Centre 25 August Opening of an exhibition by young Kazan jewellers On the basis of the exhibition Artistic Weapons from the State Hermitage Collection the Centre de- vised the interactive programme “Long, Long Ago...”, devoted to culture at the time of the Napoleonic 25 March wars and the 200th anniversary of the Patriotic War of 1812. It included hussar romances and Cos- The exhibition included more than 60 pieces of jewellery made by students and graduates of the Jewel- sack songs performed by the Krasnaya Gorka group. The programme was designed to involve the ac- lery School of Professional Lyceum No. 34 in Kazan. The works of the young jewellers, who are striving tive participation­ of visitors. Those who answered quiz questions correctly received souvenirs from the to preserve traditions and, at the same time, reflect their own age in new artistic forms, were made using Hermitage • Kazan Centre. various metalworking techniques: , engraving, blackening (niello) and cloisonné enamel.

Exhibition by Rashid Gilazov to mark the artist’s 60th birthday Parents’ Meeting in the Hermitage 26 August 26 March The St. Petersburg artist Rashid Gilazov – landscape painter, portraitist and master of thematic compo- As part of the “Museum and School” project, a programme for young schoolchildren was done as an in- sitions – showed his work from the past decade in Kazan. Majestic St. Petersburg and the architecture troduction to the exhibition Artistic Weapons from the State Hermitage Collection. of Kazan, coastal views of the south of France and the mountainous Crimea, cosy corners of familiar places, ceremonial compositions and simple bouquets of wild flowers – all represented the mas- Pedagogical Board ter’s outstanding creative individuality. 13 April A discussion of the possibilities of the creative and spiritual development of children in a museum; the Practical seminar “Museum Educational Programmes of the Hermitage • Kazan Centre” Hermitage • Kazan Centre presented interactive programmes for various age groups, in which school- 7–9 September children would have the opportunity to see masterpieces of world art and culture and to study history This seminar for the Post-Graduate Education Institute of the Ministry of Culture of the Republic of Ta- based on the materials of genuine collections. tarstan consisted of excerpts from the interactive thematic guided tours “Of Valour, Of Chivalry, Of Hon- our...”, “Long, Long Ago”, “Close Your Eyes and See” and “In Search of Treasure”, as well as a discus- Museum Night sion on how they could be adapted for children of various ages. 14 May New non-stop guided tours were conducted on the following themes: “A Weapon for a ”, “The Long Life of Armour” and “Of Valour, Of Chivalry, Of Honour...”. Demonstration fights were staged by the Kendo Renmei Club of Japanese Arts in Kazan.

54 55 Temporary Exhibitions Temporary Exhibitions

All-Russian Scientific Conference “The Fourth Kremlin Readings” 7 October

Round table discussion “Preserving Our Cultural Heritage Together” 13 October This round table discussion was the first stage in a joint programme organized by the State Hermitage and the Coca-Cola Company.

Scientific-practical seminar for the staff of the National Museum of the Republic of Tatarstan and its branches 26 October The seminar featured excerpts from programmes devised by the Hermitage • Kazan Centre, its inclu- sion of multimedia programmes from the State Hermitage in its educational projects and a programme by the children’s art studio.

Opening of Italian Baroque. Paintings and Sculptures Opening of the exhibition Spanish Art from the State Hermitage Collection from the Collection of the Hermitage Museum exhibition 24 November One of the most important events of the Year of Spain in Russia in Kazan. The portraits and religious paintings, the unique graphic series by , on themes from , embroi- dery with silver and gold thread, the famous Spanish lace, weapons, pottery, glass and furniture created a bright and varied picture of Spanish art from the 12th to 20th centuries. The exhibition included works by the outstanding masters of the “golden age” who made Spanish painting famous throughout the In 2011 the Lecture Hall continued to operate for school pupils and students of higher education estab- world – Diego Velázquez, Bartolomé Esteban Murillo and . lishments, with the participation of researchers from the State Hermitage. In the 2010/2011 academic year lectures on the following subjects were offered for pupils at the Vyborg Gymnasium and the Chil- Opening of the exhibition Christmas Fantasies in Glass dren’s School of Art: “Pages from the History of Renaissance Art” and “A Journey to the Middle Ages. Byzantium and the West”. 21 December For the second season there were monthly sessions of the Hermitage Film Club. The showings of histori- The display featured the work of professional glass artists from one of the oldest centres of Russian cal feature films were preceded by an introduction on the theme of the film and the story of its making. glass-making, the famous “Red Giant” Nikolsko-Bakhmetievsky Crystal Factory – Alexander, Taisiya In February 2011 the Hermitage • Vyborg Centre was the venue for an official meeting and negotia- and Anton Fokin and Anna Vishnyakova. tions between Valery Serdyukov, Governor of the Leningrad Region, and Alexander Stubb, the Finn- ish Minister for Foreign Affairs. In June the exhibition East and West: The Art of the Islamic World was visited by participants in the international conference “”, which was being held HERMITAGE • VYBORG CENTRE in St. Petersburg. Great interest in the new exhibition centre was shown by the art museums of Finland. Cordial partnership The Hermitage • Vyborg Centre staged two exhibitions from the State Hermitage collection in 2011: relations were established with the Armoury Museum of Southern Karelia in the town of Lappeenranta. East and West: The Art of the Islamic World and Italian Baroque. Paintings and Sculptures from the Col- In September 2011 Lappeenranta and Vyborg were the locations for the joint Finnish-Russian confer- lection of the Hermitage Museum, the latter staged as part of the Year of Italy in Russia. For the opening ence “Russia and Finland. Common Features of Cultural Heritage in Museums”, attended by delegates of the exhibition of Italian art an avenue was opened in the landscaped area of the exhibition centre with from Finland, Britain and St. Petersburg. On the final day of the conference in the Hermitage• Vyborg copies of park sculpture by : Spring, Summer, Autumn and Winter. Centre the international museum community was presented with an experiment to create a unique mu- In 2011 the Centre also staged nine exhibitions of works by artists from Vyborg and St. Petersburg. seum centre, new possibilities and the increasing traditions of active artistic intervention in the circle of The Hermitage • Vyborg Centre attracted 27,270 visitors and ran 472 guided tours. The visitors included interests of various social groups. One of the prospects for collaboration was a proposal by Mr. Heikki residents of Vyborg, the Vyborg and twelve other in the Leningrad Region, as well Talvitie, the former Finnish Ambassador to Russia and now an honorary member of the Finnish Museum as visitors from more than 110 cities and of Russia. Association, to open a museum-studio of the legacy of Uno Ullberg in one of the buildings designed The Centre devoted particular attention to schoolchildren, students, pensioners, war veterans and peo- by him within the Hermitage • Vyborg Centre complex, which is becoming the main link between Finnish ple with physical disabilities. For instance, members of the Korchaginets wheelchair club were able and Russian museums. Similar initiatives are finding support both in the General Consulate of Finland to visit the exhibitions, and a group of sight-impaired people visited the Centre on two occasions. in St. Petersburg and in the State Hermitage. Cordial partnership relations were established with the naval training unit, members of which vis- With the aim of establishing long-term relations a number of contracts have been signed with the or- ited both of the Hermitage exhibitions. Open days were organized for veterans and the older genera- ganizers of tourism on the domestic and foreign markets: the “Viipuri Centre” (Vyborg, Helsinki), tion on 1 ­October (Old People’s Day) and for schoolchildren on 1 September (Day of Knowledge). “Viipuritours” (Vyborg), the “Vyborg-Info” City Tourist Information Centre, “Art-Vyborg Travel” and For the ­second academic year running, by agreement with the Vyborg District Education Committee, “Saimann Matkaverko Oy” (Lappeenranta). In conjunction with the “Vyborg-Info” Tourist Information Centre and the Vyborg District Administra- the Hermitage • Vyborg Centre provided free entry to school groups and reduced rates for guided tours. In 2011 over 5,000 ­pupils from 31 schools in Vyborg and the Vyborg District visited the exhibitions. tion, the Hermitage • Vyborg Centre took part in the Matka-2011 International Tourism Exhibition in Helsinki, as well as in tourist exhibitions and conferences in Moscow, St. Petersburg and Vyborg. International Children’s Day, 1 June, was an Open Day for children and their parents. The special pro- gramme included the opening of Invisible Children, an exhibition of photographs by Roman Bocharov de- voted to the problems of adopted children and the support of the “Sosnovy Mys” children’s sanatorium, performances by the children and a viewing of the exhibitions, as well as professional consultations on adoption matters with specialists from the Vyborg District Department of Guardianship and Care. 56 57 Temporary Exhibitions Temporary Exhibitions

JJ CURATORS ON EXHIBITIONS Of course he relies on historic knowledge and traditions, but his methods are today’s. Every well-known painting has its own display history, not directly connected with its artistic characteristics. The history of the Sistine Madonna encompasses about ten interiors and contexts, ranging from a monastery altar in Piacenza to its current home in the Dresden Picture Gallery. None of the old masters painted for the museum. On the contrary, the museum today uses their canvases for the adornment of its rooms and for the education of its visitors, formulating modern and set ideas – of the art of Rubens and his studio (the Rubens Room), of the history of the styles of furniture of the nobility (the Russian Interior ANTONY GORMLEY. STILL STANDING. Rooms), of the Petrine and Elizabethan ages (the Rooms of Russian Culture), of the culture of knights A CONTEMPORARY INTERVENTION IN THE CLASSICAL COLLECTION (the Knights’ Room), and so on. Thanks to the efforts of curators who create interior contexts, all the exhibits work on the educational and preservational concept of a museum, as opposed to the sacred State Hermitage Museum atmosphere of a church, the cosiness of a private house, the provocativeness of an art gallery or the 22.09.11 – 15.01.12 unwarranted pomposity of a Kunsthalle. The exhibition of Antony Gormley’s works in the Hermitage’s rooms of ancient art was an unusual mu- It was the idea of a museum interior as such that inspired Antony Gormley seum project. The experimental concept of showing ancient and contemporary art together focused at- in his Still Standing exhibition in the Hermitage. By removing the pedestals tention on the key questions of the museum’s everyday life and its philosophy: what is a museum image, from the ancient marble statues, creating a new floor and redesigning the is a dialogue with visitors possible in a permanent display, and what is the role of a museum – an institu- lighting, Gormley went straight to the crux of a museum display. He sub- tion of memories – in contemporary culture? jected to artistic doubt the inviolability of the old majestic-admonishing The location chosen for the exhibition was two rooms in the Department of Classical Antiquity in the context of the museum’s permanent display, treating it exclusively as a his- New Hermitage, a nineteenth-century building. The Department has been rearranging the displays torical given. This enabled him to formulate a number of fundamentally new ideas – about the power of space, about the material of sculpture, in these historical rooms for the past fifteen years. Now the programme has been completed, we took the about the ancient world. He was able to show that the perception of any decision to organize an exhibition of contemporary sculpture by proposing to the British sculptor that space depends on the position and mood of the observer, that the material he not only show his works, but also create a display of ancient monuments. of sculptures has a high degree of tactility, that ancient statues are not only Antony Gormley is one of the leading sculptors of our time: his works are to be found in the British majestic, but also eternally contemporary. By juxtaposing contexts of an- Museum and the Pompidou Centre, and also in museums in , Germany and Japan. An archae- cient simplicity and modern technology in one temporary display, Gormley ologist and anthropologist by education, Gormley focuses his attention on the human body, studying its made the viewer the main character in the exhibition, the most fragile and interrelation with the architectural and natural environment. For the British sculptor, as for his ancient ephemeral part of this humanistic drama of materials. predecessors, the body is the principal means of expression, embodying concepts about man and his Gormley’s Hermitage project stands alongside other contemporary projects place in the universe. to alter the context of museum rooms. More and more of these projects are The seventeen statues sculpted by Gormley especially for the exhibition were put on display in the Ro- now being pursued: they have been successfully staged in Versailles (Jeff man Courtyard. The rusted iron constructions depicting the human body were installed on a low podium Koons, Takashi Murakami, Joana Vasconcelos), in the Louvre (Jan Fabre) that stretched across the whole room: it was the same figure repeated seventeen times in various poses: and in the Rijksmuseum (Damien Hirst). These recent examples are unique: standing, lying down, bending over and prone. The next room, the Dionysus Hall, featured ancient sculp- it is immensely easier for a gallery or a Kunsthalle to give an artist com- tures: the statues were removed from their pedestals and placed on their own plinths, so that the figures plete freedom than for an old museum to even let him in. The pioneer of this of gods and heroes were on a level with visitors. This simple device, revolutionary for museum displays, genre was Willem Sandberg, Director of the Stedelijk Museum in Amster- fundamentally changes one’s perception of sculpture. Unlike two-dimensional art, sculpture is perceived dam. In 1963 he invited six contemporary artists – Jean Tinguely, Daniel not only by the eyes, but also by the “body”; viewers not only see the shapes, but also sense them through Spoerri, Robert Rauschenberg, Martial Raysse, Niki de Saint Phalle and their muscular system. The correlation between the dimensions of their own bodies and those of the Per Olov Ultvedt – to create a Dilabi (a dynamic labyrinth) in the museum Greek gods made it possible for our contemporaries to feel ancient sculpture organically, on the level itself. In terms of authenticity that museum project had no equals at that of heir own nature. time: the artists not only arranged their works in the interior, but created The temporary exhibition provided a unique opportunity for the museum’s staff and visitors – an open a new interior. co-creation, the reinterpretation of the museum as a context established once and for all. The meaning The authenticity of Gormley’s installation in the Hermitage was achieved of the ancient sculpture in the Dionysus Hall depended much more on the viewers’ own imagination than not by returning the ancient sculptures to niches in churches or , on the idea of the curator or the tenets of museum science – they could be free in their comprehension but by the creation of an absolutely new context in which to perceive them. of man, history, time and space. Opening of Antony Gormley. By removing the ancient gods from their pedestals, so bringing then down to visitors’ level, and by ar- The exhibition was organized jointly by the State Hermitage, the Gormley Studio, the Hermitage Foun- Still Standing. A Contemporary ranging the sculptures around the room in accordance with a specially devised dialogical conception – Intervention in the Classical dation (Britain), the British Council and the PRO-ARTE St. Petersburg Charitable Arts Foundation. as though the sculptures were conversing with one another – Gormley transformed independent works Collection exhibition. of art into a total installation that began to “operate” as soon as the visitor approached it. The key Anna Trofimova Antony Gormley. aspect of the project was its temporary, “episodic” nature: the installation was created especially for 23 September 2011 the Hermitage and placed in the rooms for a limited time. The “power of display”, so long an inalien- CONTEMPORARY ART IN THE HERMITAGE’S ROOMS OF ANCIENT ART: able property of the Hermitage’s “permanent display”, was perceived by Antony Gormley as a historical given and subjected to artistic criticism. The role of the curators in this was minimal: they withdrew ANTONY GORMLEY’S EXPERIMENT into the background, giving the artist full rein to perform their role in embodying the integrity of the interior concept, temporarily turning the historical narrative of the permanent display into an undiluted Any artist and curator working in a museum is concerned primarily with the interior. Largely by rely- pronouncement on the theme of sculpture as such. ing on the interior we attempt to form a definite impression, to bring our original artistic idea to la- Dmitry Ozerkov conic fruition. As visitors stroll through museum rooms, they see the curator’s arrangement of works by old masters on the walls – a modern assemblage of old paintings and sculptures. In what environment a work will be hung, at what height, in what frame, at what angle, with how much space for viewing it from a distance, with what lighting – all this is decided by the modern museum curator. 58 59 Temporary Exhibitions Temporary Exhibitions

JJ SOCIOLOGISTS ON EXHIBITIONS

ROMAN NEOCLASSICISM IN THE HERMITAGE: VISITORS’ IMPRESSIONS

The exhibition Painting and Sculpture in Rome in the Second Half of the Eighteenth Century was devoted to a time of change in Western European art, when Neoclassicism gave way to Baroque and Rome be- came the centre for artists from all over Europe. The exhibition in the State Hermitage was open for 87 days – from 24 June to 2 October 2011. It at- tracted a total of 520,000 visitors – 52% of those who visited the Hermitage during the temporary exhibition. A survey of individual visitors who had seen the temporary exhibition was carried out from July to September 2011 on a random basis. The overwhelming majority of the visitors (82%) were women. They were predominantly young people under 30 – 60%. 21% of the respondents were of mature age (31 – 50), and 19% were older people (51 and over). The viewers mainly had a high level of education: 9% had university degrees, 48% had completed a course of higher education and 31% had not completed their studies. The exhibition was visited primarily by the following social groups: those in full employment and entre- preneurs (11%), teachers (7%), doctors (7%), managers (5%), engineering-technical workers (4%); schoolchildren and students (30%); unemployed people and pensioners (16%). The numbers of people from inside and outside St. Petersburg visiting the exhibition were almost equal: 55% from outside the city, as opposed to 45% who were residents of St. Petersburg. This is explained by the fact that the exhibition was held in summer, the time when a large number of tourists visit the Hermitage. Almost a third of those questioned (30%) had known about the temporary exhibition before their visit. Among the sources of information were the Internet (14%) and word of mouth (12%); the mass media were also mentioned – TV, radio and “Your Leisure” magazine. On average, two of every five questioned (42%) had specific motives for wishing to see the exhibition. Three main subjects interested visitors: 1) the characteristics of as an artistic style (Clas- sicism in painting and sculpture, the comparison of Baroque and Classicism, Classicism and Neoclas- themes, style of painting, means of conveying colour, the specifics of depicting man and nature, methods sicism); 2) the artistic peculiarities of eighteenth-century Roman painting and sculpture (artists and of reflecting the characters of those portrayed); 3) the work of individual masters (primarily Anton Raphael Mengs and Antonio Canova). The exhibition as a whole was highly rated by the public, the questioners receiving only positive re- sponses. The majority of those questioned (70%) remarked on the richness of the display, the excellent selection of works and the high artistic standard of the paintings and sculptures: – the exhibition is very interesting and spiritually uplifting (Volgograd res., 51, higher natural science education, hospital doctor); – a great selection of paintings (St. Petersburg res., 15, secondary school pupil); – splendid, the selected artists are wonderful, the lighting and arrangement of the exhibits is excellent (St. Petersburg res., 71, degree in economics, lecturer at St. Petersburg University of Management and Economics); – wonderful works, a well-arranged display ( res., 20, uncompleted higher humanities edu- cation, student at the Far East Civil Service Academy). It has to be noted that the visitors characterized their impressions of the exhibition by using emotion- laden adjectives such as interesting, impressive, informative, wonderful and stunning. The results of the research are evidence of the many-sided and profound perception of the works displayed in the exhibi- tion. The respondents mentioned eighteen “key” characteristics connected with the aesthetic, techni- cal and rich qualities of the paintings and sculptures: beauty, brilliance, colourfulness, monumentality, realism, detail, harmony, picturesqueness, lusciousness, subtlety, airiness, integrity, richness, loftiness, historicity, romance, emotionality and eroticism. Alexander Roshchin

Opening of Painting and Sculpture in Rome in the Second Half of the Eighteenth Century exhibition 60 61 Temporary Exhibitions Temporary Exhibitions

THE PRADO IN THE HERMITAGE EXHIBITION ers”; El Greco’s Christ Embracing the Cross – “freedom from accepted canons”; Dürer’s Portrait of an AND THE PERCEPTION OF ITS VISITORS Unknown Man – “an individualized image”, “remains an enigma for us”; Velázquez’s Portrait of Philip IV – “complexity of image, conveying of subtle inner emotions”; Lorrain’s Landscape with a Hermit – “the presence of a kind of mystery”, “nuances of daybreak”; Martinez del Mazo’s Portrait of Margarita The exhibition was hugely successful – it attracted 630,000 visitors and was a significant event, particu- of Austria – “the sad Infanta Margarita”, “an amazingly delicately devised colour range”. larly in the lives of St. Petersburg residents: 82% of the visitors were from St. Petersburg and only 18% The extent to which the exhibition broadened the perception of Spanish and other European artists from outside the city. For the overwhelming majority (89%) the motivation for visiting the Hermitage among the 25–30 age group is demonstrated by the following replies: was the huge interest in The Prado in the Hermitage exhibition. – “the exhibition gave the chance to see well-known artists in a new way” 53% This impression, in the opinion of viewers, was on account of the layout of the exhibition: the well – “broadened the perception of some artists” 34% thought-out distribution of the material in the room, the accents within each section of the dis- – “perceptions remained unchanged” 6%. play and the possibility of comparing works according to their thematic, compositional and pic- Respondents in the middle age bracket (31–54) can be roughly divided into two groups: numerous turesque aspects. The exhibition as a whole was undoubtedly very respondents with a humanitarian or artistic education and a smaller group with a technical and sci- highly rated by visitors – 96% (of those questioned), the majority entific education. In these two groups the respondents had a fairly personal attitude to the exhibition of whom remarked on the rare opportunity to see many works by and the very fact that it had been held, remarking on the well thought-out arrangement of the display, well-known European masters, primarily Spanish artists, the ex- the good lighting of the paintings and the interesting texts on the labels. Although they listed numer- cellent presentation of the exhibition and the pleasure of seeing ous works, the respondents devoted particular attention to Velázquez’s Portrait of the Jester Don great works. Diego de Asedo – “penetration into the image”, “intellect”, “high merit”; Goya’s Portrait of Ferdi- In analysing the results of the survey an attempt was made to cat- nand VII – “brilliantly conveyed dryness of the subject – craftiness, cunning, a penchant for villainy”; egorize the visitors by age, the similarities and differences in their at- in Hamen y Leon’s Portrait of a Dwarf viewers felt the profound tragedy of human existence; Coello’s titude to the exhibition and individual works, accents in perception, Portrait of Infantas – “provided pleasure understanding and appreciation. from contemplation”, “the character of the In the division by age, where the figures were fairly close, an equal girls can be read”, “very delicately painted percentage was recorded in two categories: schoolchildren and stu- fabrics”. dents and elderly people. Visitors in the older age group (55 and over), 14–24 22% just as numerous as the youngest category 25–30 19% (under 25), were represented by a numer- 31–54 37% ous technical group (engineers, technolo- 55 and over 22% gists, electronics experts) (the most active The overwhelming majority of the visitors had complete or incom- visitors of temporary exhibitions in the 1970s plete higher education. and 1980s) and by teachers, scientific work- In the youngest group (14–24, schoolchildren and students), a quar- ers, scholars and the creative intelligentsia. ter of the respondents who gave short opinions about the exhibition – The majority’s impression of the exhibition “positive”, “impressive”, “difficult to say”, “a ray of light on a grey as a whole was expressed in their judgments: weekday”, etc. left questions about their perception of individual “delight, a feeling of happiness, involve- works unanswered. For these young people, visiting the Hermitage ment”, “thanks for the encounter with be- for the first time, the exhibition seemed extensive and complex, but loved art and names”, “huge gratitude to the nevertheless their visit to this exhibition was an important factor organizers – behind the beauty of the display in their lives. lies the hard work of museum staff in Spain The other, larger part of this age category remarked on “the vari- and Russia”. ety of the works on display”, “the outstanding individuality of the A number of the respondents also expressed Spanish artists”, “the desire for a deeper understanding of a par- another opinion: “impression of tranquility”, ticular work”. Most respondents placed Zurbarán’s Crucifixion first. “we have been ‘spoilt’ by the fullness and In explaining their choice, visitors wrote about the emotions aroused richness of the Hermitage Museum display”, by the painting: “despair”, “an oppressive feeling”, “drama and ir- and so on. reparability”, “The Crucifixion attracts you and frightens you to an Viewers picked out the works of Spanish artists extent”. It was in this group of visitors (under 25) that the percep- which supplemented those from the Hermitage collection: El Greco, Velázquez, Portaña, Goya – “unique tion of the work was an acute emotional experience, and for some a psychological shock; among the passionate style”, “amazing recognizable colour”, “conversation about the eternal”. most popular works were: Velázquez’s Portrait of a Jester – interesting for its “extraordinary realism, The majority of the respondents thought that the exhibition veracity”; Goya’s Autumn – “a sense of peace and harmony”; Mengs’ Portrait of Carlos III – “cold gran- – “broadened the impression of some artists” 65% deur”; Carnicer’s Ascent of a Montgolfier Balloon – “a feeling of a festival”, “unusual”, and a number – “provided a new look at well-known artists” 29% of others. – “the impression of the artists remained unchanged” 6%. In the next age group, also consisting of young people (25–30), who were mainly historians, philoso- phers, artists, engineers and doctors, the replies demonstrated an understanding of the unique nature Tatiana Galich of the exhibition as a whole and the successful use in their evaluations of associative links, interesting and rich opinions. The respondents’ impressions were expressed in various forms: from rapturous comments – “stunning”, “amazing” – to fairly detailed judgments and evaluations. The works in the centre of this group’s at- tention also included Zurbarán’s Crucifixion, though their attitude was of a somewhat different char- acter and another level of perception – “and expresses the Christian content of the Spanish image of Christ”, “The Crucifixion possibly reflects the influence of Byzantine iconography on Castilian paint-

62 63 Temporary Exhibitions Temporary Exhibitions

JJ the press on the exhibitions collections – collections that were based on the personal tastes, com- It includes virtually all the schools of painting, all the significant plexes, characters and even the passing moods of crowned heads. trends and masters – from Gothic and Early Renaissance to the ear- The massive austerity of the Winter Palace’s Nicholas Hall was un- ly 19th century. The way the paintings have been hung in the Her- able to conceal the passion of the Prado. The assiduous black colour mitage’s Nicholas Hall is as close as possible to the original setting, of the Spanish canvases is only accentuated against the background creating the impression that you are actually in the Madrid museum. of the hall’s white walls. The European art in this exhibition turns Alexandra Polyanovskaya, “You Must Go to the Prado”, The Hermitage: The Birth of the Imperial Museum. Visitors can see unique examples of weapon art, decorative applied out to be not so much a riot of colours as a test of your eye in under- “Izvestia”, 26 April 2011 standing the essence of the painting. The Romanovs – Tsar-Collectors art and paintings from six departments of the State Hermitage. L’Ermitage. La naissance du musée imperial. Alexandra Kalashnikova, “Culture Poll: The People of Kazan Still Kira Dolinina, “A Royal Gift”, “Kommersant”, 28 February 2011 Les Romanov. Tsars collectioneurs Write with Goose Quills”, “Prokazan.ru”, 7 October 2011 East and West: The Art of the Islamic World The Hermitage has the world’s largest collection of works by Span- An exhibition entitled The Hermitage: The Birth of the Imperial Mu- The Hermitage has brought to Vyborg around 200 first-rate works ish artists, and it is complemented by the exhibition in the Nicho- seum. The Romanovs – Tsar-Collectors has opened in the Pinaco- of Islamic art dating from the 12th to 19th centuries – applied art, las Hall. It also demonstrates the quality of the Prado’s collection thèque de Paris. It includes about 100 paintings and drawings col- Thomas de Thomon. Works on Paper in the Hermitage painting, jewellery, weapons, fragments of architectural décor, tex- and describes the history of a museum that has a great deal in com- tiles, ceramics, bronze, glass and bone. One is struck by the excel- lected by four autocrats – Peter I, Catherine II, Alexander I and The Hermitage has never previously exhibited its collection of works with the history of the Hermitage. The Winter Palace is featur- lent layout of the display. Birds singing incessantly in a cage, wa- Nicholas I. The display consists of works by Titian, Rembrandt, Ru- by Thomas de Thomon. Unfortunately, some of the drawings are in ing the portrait gallery of the kings to whom the Prado is indebted ter babbling in a tiny fountain, the grilles on the windows that copy bens, Poussin, Van Dyck, Velázquez, Murillo, Chardin and other albums that visitors are unable to leaf through. However, the works for its collection, as well as paintings purchased or commissioned by the pattern of bronze inlays on Egyptian or Syrian doors in the 15th masters. of graphic art hung on the walls can say everything about the man them. Every work in the exhibition is worthy of attention. Each one century – all this creates an atmosphere of the Garden of Eden. who created the postcard view of St. Petersburg. Yury Kovalenko, “The Romanovs’ Pictures in Paris”, is a masterpiece. The Muslim world managed to combine spirituality with striving for “Izvestia”, 28 January 2011 Pavel Ryzhkov, “The Creator of Postcard St. Petersburg”, Ludmila Leusskaya, “Kings do not Need Guides”, a beautiful life. “NTV”, Moscow, 22 February 2011 Many people are attracted by the chance not only to see master- “St. Petersburg Vedomosti”, 28 February 2011 Ludmila Leusskaya, “The Garden of Eden in Vyborg”, “St. Petersburg Vedomosti”, 4 March 2011 pieces from the Hermitage, but also to learn how the picture gallery This, the first exhibition devoted entirely to Thomas de Thomon, It is not often that the general public is so excited by an art-relat- of one of the world’s largest and best-known museums was formed. gives an idea of his talent as an architect and a brilliant draught- ed event. The visitors include people of various ages and nationalities interest- sman. It is a fitting tribute by the Hermitage to the memory of one Alexander Lastochkin, “The Prado in St. Petersburg”, ed in Russian history and culture. of our city’s outstanding creators. Splendour and Glory. “Modorama”, 28 February 2011 “Paris will Learn How the Hermitage was Born”, Ludmila Leusskaya, “Thomas de Thomon Cannot Expect The Art of the Russian Orthodox Church “Voice of Russia”, 6 August 2011 Any Awards”, “St. Petersburg Vedomosti”, 24 February 2011 All this is very much like a real miracle – a dream that has finally Glans en glorie. Kunst van de Russisch orthdoxe kerk come true. This exhibition in the Hermitage’s Twelve Column Hall, opened – The exhibition from the State Hermitage collection is structured Mikhail Kuzmin, “The Prado – a Museum of Great Artists”, a little late – to coincide with the 250th anniversary of Thomas in such a way as to enable the visitor to trace the Byzantine origin “Hermitage News”, No. 1, February-March 2011 Artistic Weapons from the State Hermitage Collection de Thomon’s birth, includes around 100 examples of his designs, of the Russian Christian tradition, clearly showing the history of the drawings and prints. This exhibition is the result of research into This exhibition is undoubtedly the principal event of the year – nev- Russian Orthodox Church since the baptism of Rus in 988 and de- Of course there are some veteran exhibits here that took part in ac- the architect’s archive, presented to Alexander I by his widow. er before have so many first-rate masterpieces left Spain. The ex- scribing the principal Orthodox saints, the most important feasts – tual battles, in particular in the Russian-Turkish and Crimean Wars. hibition gives a precise idea about the celebrated Madrid museum: especially Easter – and the history of Orthodox monasticism. There are also swords and epees that have seen a number of knights’ Stanislav Savitsky, “Three Fountains and One Stock Exchange”, portraits of kings and queens, court jesters and dwarves, religious “An Exhibition of Russian Orthodox Art Entitled tournaments and duels. “Delovoy Peterburg”, 11 March 2011 and genre scenes, landscapes and still life paintings. Half of them ‘Splendour and Glory’ is Opening in the Hermitage’s Oleg Koryakin, “An Exhibition of Weapons are works by renowned Western European painters, while the oth- Branch in Amsterdam”, “ITAR-TASS”, from the Hermitage Collection will be Held in Kazan”, er half are by local masters who are important for the history of the Moscow, 19 March 2011 The Prado in the Hermitage “RG.RU”, 2 February 2011 Spanish school of painting. There is a special accent on formal por- The Year of Spain in Russia is opening with an event that is indisput- traits, so the exhibition creates the correct image of the museum A great deal of attention is devoted in the exhibition to Russian icon- The exhibition consists of four sections. The first section features ably unique: 66 paintings from the 15th – 19th centuries are com- that grew from the royal collection. The exhibits provide the possi- painting – early and later examples, the major icon-painting centres weapons of the most ancient periods; the second – weapons from ing to the Hermitage from the Prado Museum in Madrid. The artis- bility to trace virtually the whole history of the Spanish kings’ col- in Pskov, Novgorod, Moscow… The icons, the fragments of frescoes countries of the East beginning from the 16th century; the third – tic riches in this exhibition are not oppressive – rather they arouse lecting activities and patronage of the arts. from the churches of the Dovmont town in Pskov, church robes, gold items from the Russian armorial school of the 17th – 19th centu- a surge of strength that is quite sufficient to go on into the rooms and silver liturgical items are all witnesses of the centuries-old spir- ries; the fourth – Western European weapons from the 15th – 19th Olga Luzina, “Prado Masterpieces in the Hermitage: featuring the works of , who personally looked after itual tradition of Russian Orthodoxy. centuries. The Worship of Kings”, “Fontanka.ru”, 3 March 2011 these masterpieces when he was the Director of the Prado Museum. “Splendour and Glory”, “Argumenty i Fakty”, Olga Ivanycheva, “Weapons as Works of Art”, The exhibition could be called a museum within a museum. It in- 11 April 2011 Artyom Magalashvili, “Kings Can Do Anything”, “Kazanskiye Vedomosti”, 16 February 2011 cludes the best of the best creations of the Spanish, Dutch, German, “Time Out St. Petersburg”, 15–28 February 2011 Italian and French schools. Many genuine works of art are on display: covered in elegant en- The paintings for the exhibition have been carefully selected. It was Sergei Khachaturov, “A Royal Embassy”, The Lombardy Followers of Leonardo da Vinci graving, encrusted with gold, silver, bone and precious stones. Some important for Spanish and Russian art experts that the public were “Stengazeta.Net”, 5 March 2011 of the weapons in the exhibition belonged to monarchs, including shown not only the best works, but what does not feature in the Her- Forty paintings from the State Hermitage in St. Petersburg and Sixty-six masterpieces – a brilliant display in the Hermitage, that Catherine the Great, Alexander I and Napoleon Bonaparte. mitage or in other Russian museums. a similar number from local churches and collections in Pavia are Imperial treasury of world art – is a genuine gift for all lovers being shown together for the first time in a unique exhibition as part Andrei Nikolayevich, “Exhibition of Weapons”, Pavel Ryzhkov, “St. Petersburg has Never Seen so Many Spanish of painting. of the Year of Russia in Italy and the Year of Italy in Russia. “Krasnaya Zvezda”, Moscow, 21 February 2011 Masterpieces”, “NTV”, Moscow, 25 February 2011 Alexei Yerofeyev, “The Exhibition ‘The Prado in the Hermitage’ “The State Hermitage is Showing its Masterpieces The exhibition features various types of weapons: defensive, cold This exhibition also represents a very important conversation for has Opened in the Winter Palace’s Nicholas Hall”, from Leonardo’s School in Lombardy”, “ITAR-TASS”, steel, firearms. Among the highlights are Persian and Indian blades. both museums – a conversation between the two largest Imperial “Parlamentskaya Gazeta”, 11 March 2011 Moscow, 19 March 2011 64 65 Temporary Exhibitions Temporary Exhibitions

Archaeological Treasures of the Hermitage Roads of Arabia. Archaeological Treasures Dmitri (Dmitry) Prigov: Dmitri Prigov Leibovitz considers herself to be a conceptual photographer, work- ing in various genres. The exhibition includes landscapes and still Ermitage. Tesoros de la Arqueologia rusa of Saudi Arabia The exhibition by Dmitry Prigov at Ca’ Foscari University will take life, but the most important photographs are her portraits. Unlike up 800 square metres. According to the organizers, besides a dis- Historical objects will be arranged in three halls of the Alican- However, this exhibition is not pure history, a textbook or a contour many of her colleagues, Annie does not attempt to strike up a dia- te Museum – from the age to the 16th century, in geo- map. It is primarily objects: over 300 exhibits, the absolute major- play of Prigov’s graphic art, the exhibition will include his video per- logue with her models, to capture the moment when the subjects re- graphical terms – from the Black Sea to Siberia. The rooms will ity of which are archaeological finds (ceramics, tools, funeral steles, formances, as well as installations of wood, string and glass based veal themselves. She decides upon a theme and makes even famous be designed in three colours – red, white and blue – representing coins, sculpture, silver tableware and ) framed in the most ex- on his sketches. They will be accompanied by excerpts from music people do what she wants. the Russian flag. The exhibition is the result of collaboration be- quisite manuscripts. These are the traces of people who spoke doz- by and Wagner, on whose work Prigov was an expert. Ludmila Leusskaya, “And the Queen Took Off Her Crown”, tween the two museums as part of the Year of Russia in Spain and ens of different languages, wrote in various scripts, believed in quite “The Hermitage is Presenting Contemporary Russian Art “St. Petersburg Vedomosti”, 27 June 2011 Spain in Russia. different gods, were friends and foes of one another and fought with in Venice with Works by Dmitry Prigov”, “RIA Novosti”, Ana Marcos, “El Ermitage desembarca en Alicante”, outside enemies. Reading these traces is not a simple matter, but, Moscow, 29 April 2011 “El Pais”, 8 March 2011 (“The Hermitage Lands in Alicante”, considering the realities of today’s world, it is essential. Showing media personalities in unexpected perspectives, poses and “Nevskoye Vremya”, 12 March 2011) Kira Dolinina, “The Eternal Peninsula”, This exhibition of works by the outstanding Russian Conceptual- images, the photographer makes the viewer see in the portraits not “Kommersant–St. Petersburg”, 24 May 2011 ist artist will be an important cultural event and the first instance the clichéd image drooled over by the press, but personalities whose of a major Russian museum participating in the Venice Biennale. mental effort in negotiating life is evident. Blitz and Blockade: Henry Moore at the Hermitage The Hermitage has never known anything to equal the exhibition The project is the result of a gift to the Hermitage of the main body Yekaterina Ometsinskaya, “In Love with a Moment”, Roads of Arabia. Archaeological Treasures of Saudi Arabia, which of Prigov’s work, contributed to the Hermitage’s permanent collec- “St. Petersburg Courier”, 14 July 2011 The difference between the current Hermitage exhibition and those has opened in the “Rooms on the Third Floor”. The culture of the Ara- tion of contemporary art by the Dmitry Prigov Foundation. two projects is in the change of emphasis. Whereas in previous Rus- bian Peninsula is represented by hundreds of objects, from the Paleo- sian displays Henry Moore has been shown principally as a sculp- “The Hermitage is Bringing a Display of Works lithic age to the turn of the 19th and 20th centuries. Dialogues. Baroque Paintings from Andalusian tor (his drawings played a subordinate role), the current exhibition by Dmitry Prigov to the Venice Biennale”, “Balt Info” Museums in the Courtyard Gallery in the Winter Palace presents Henry Moore Alexei Mokrousov, “Secret Treasures”, (“Baltic Information Agency”), 1 May 2011 primarily as an outstanding draughtsman. “Vedomosti”, 2 June 2011 This exhibition is being shown in the New Hermitage building un- The Hermitage’s Department of Modern Art has surprised everyone­ der the title Dialogues. Virtually all the paintings are devoted to the Lev Shirokov, “Henry Moore in the Winter Palace”, with this exhibition of the work of Dmitry Prigov – stylish and well relationship between man and God, the human and the celestial, “Hermitage News”, No. 2, April–May 2011 The exhibition blends extraordinarily well into the Hermitage con- text: there is nothing superfluous or distracting. There is sufficient thought-out, quite unlike its exhibitions in the Hermitage ­itself. the secular and the sacred. It is also a complex dialogue between space in the rooms to allow the exhibits to “breathe” and enough Anna Tolstova, “Lions did not Even Dream about it”, four museums and four Spanish cities: an Andalusian conversation In short, this is not a cheerful exhibition, but it does not leave you “air” for visitors to feel the of each item. The close proxim- “Kommersant”, 8 June 2011 in the field of art. It is a dialogue between works of art from various with a feeling of despair. All the works in the Courtyard Gallery ity of absolutely different ages seems to present most difficulty, but places, but on the same theme. of the Winter Palace are very beautiful – in shape, line and colour it is actually this cosy confined space that makes this exhibition (Pedro Espinosa, “Rusia admira el barroco andaluz”, (suddenly blossoming out so inexpressibly tenderly that your heart unique. stands still). Giorgione. The Tempest. From the Gallerie dell’Accademia, “El Pais”, 17 July 2011) “Andalusian Baroque Delights Russia”, Alexei Solodeynikov, “Roads of Arabia”, “Hermitage News”, Venice “Nevskoye Vremya”, 23 July 2011 Yekaterina Emme, “Henry Moore. Wave after Wave”, No. 4, August–September 2011 “Infoskop”, May 2011 People stand for a long time in front of the painting, which is on dis- play in the Apollo Room, attempting to divine the meaning of this The exhibition shows the desert from an unusual perspective – Painting and Sculpture in Rome in the Second Half In the centre of the display, organized jointly with the British Hen- charade and to comprehend the artist’s message that has come as a region permeated by roads. The main theme is the trade routes of the Eighteenth Century ry Moore Foundation, are 78 works of the sculptor’s graphic art down to us over five centuries. and pilgrims’ roads that have linked Arabia with the outside world that have been brought to Russia for the first time, supplemented The exhibition in the Hermitage includes around 80 paintings and from the mists of time to the present day. Zinaida Arsenyeva, “‘The Tempest’ will be in St. Petersburg by 16 drawings from Leningrad under siege by the Soviet architect for a Whole Month”, “Vecherny Peterburg”, 7 July 2011 sculptures by European masters who were working in Rome when Alexander Nikolsky. Yelena Titarenko, “It did not Vanish in the Sands”, the Eternal City was the main centre where the neoclassical style “Ekho Planety”, 1 September 2011 Alexandra Polyanovskaya, “Children of the Underground An exhibition of a single painting in the series “Masterpieces from was formed. are Visiting the Hermitage”, “Izvestia, St. Petersburg”, the World’s Museums” has opened in the State Hermitage. This “Rome in the 18th Century”, “St. Petersburg Vedomosti. 16 June 2011 time it is one of the most famous Italian Renaissance paintings – Events of the Week”, 20–26 June 2011 “We will Build a New World…”. Early Soviet Porcelain Giorgione’s The Tempest from the Gallerie dell’Accademia in Ven- from the State Hermitage Collection ice, idolized by all the romantics from Lord onwards. The theme of the exhibition, whose timeline is the artistic revolu- Luokaamme uusi maailma! Agitaatioposliini ja nuori Russian Painted Lacquers – 18th to 20th Centuries Kira Dolinina, “A Tempestuous Pass of the Renaissance”, tion in the 1760s in Rome, enables the visitor to properly appreciate neuvostoliitto­ the flourishing of art in the Eternal City. Taken together, all the works in this exhibition give the visitor a fes- “Kommersant”, 9 July 2011 tive feeling – bright, warm and poetic. In the exhibition in Finland the Hermitage is showing 256 works Yelena Titarenko, “At the Intersection of Two Festivals”, of porcelain and 40 of graphic art made in the post-revolutionary Olga Bobrova, “Masters of Lacquer”, “Ekho Planety”, 11 August 2011 period at the State (formerly Imperial) Porcelain Factory. These ex- Annie Leibovitz. A Photographer’s Life. 1990–2005 “Hermitage News”, No. 2, April–May 2011 hibits demonstrate the various trends of the Russian avant-garde and artistic trends of the early 20th century, including unique Su- Her works are a chronological story recorded in photographs. In this The Master and His Creation. Western European Painting, The showcases contain a great variety of items – from furniture prematist porcelain, the symbols of which are the teapot and cups story, as in any work of art, there are principal and secondary char- Sculpture and Graphic Art from the State Hermitage to jewellery: washing implements, trays, snuffboxes, adornments… designed by Kazimir Malevich. acters, a plot and several thematic lines, supplemented by descrip- tions – detailed, or added in passing. The enigma of Leibovitz lies Collection They demonstrate the characteristics of the art of Russian masters Yulia Andreyeva, “Around 300 Exhibits from the Hermitage in her talent – each photograph is self-sufficient and unique. in various centres and schools over two and a half centuries. ­Collection are being Shown at an Exhibition What did they look like: Dürer and Michelangelo, Titian and Julia Iskakova, “A Snuffbox with a Portrait of Peter”, of Soviet Propaganda Porcelain in Tampere, Finland”, Valeria Bityutskaya, “The Life of the Photographer , Caravaggio and Rubens, Snyders and Rembrandt, Ber- “St. Petersburg Vedomosti”, 17 May 2011 “ITAR-TASS-Sibir, Novosibirsk”, 26 May 2011 Annie Leibovitz”, “Utro Peterburga”, Issue 861 nini and Piranesi, Boucher and Canova? Each master appears 66 67 Temporary Exhibitions Temporary Exhibitions in all the ­originality of his unique image. The exhibition provides Seventeen sculptures, apparently assembled from oxidized iron Italian Baroque Paintings and Sculptures from the Collection The Hermitage has opened the latest exhibition in the series “Mas- the ­opportunity to see, compare and reflect, which is fascinat- cubes, have taken up residence in one of the most famous rooms of the Hermitage Museum terpieces from the World’s Museums in the Hermitage”. On this ing in itself. Sometimes the artist’s face does not at all correspond in the New Hermitage – the Roman Courtyard. The anthropomor- occasion Johannes Vermeer’s The Love Letter has been brought The exhibition Italian Baroque Paintings and Sculptures from to the spirit of his work, but sometimes seems to be an inalienable phic figures stand, lie, bend and twist right on the floor. to St. Petersburg from the Rijksmuseum in Amsterdam… The paint- the Collection of the Hermitage Museum is timed to coincide with part of it. It is a good place for Gormley’s people – plenty of space, plenty ing is “flesh of the flesh” of its time, which could read things into the Year of Italy in Russia. It features 25 canvases by such well- of light and architecture intended especially for showing sculpture. a painting that were not apparently there. However, that is Vermeer. Sophia Shemyakina, “The Master and His Creation”, known Baroque painters as , Domenico Gui- It is not the sculptures that feel strange but the visitors – coming into And much sweeter than this “reading” is a single glance at the fa- “Vostochno-Sibirskaya Pravda”, 4 October 2011 di, Ercole Ferrata, Peyrano Genovese, Luca Carlevaris and others. the room past dozens of ancient statues, they suddenly find them- mous yellow colour, the strict geometry of the right angles from The Roman school, which set the tone in sculpture in the Baroque selves in a different dimension in which the sculptures are of the which the painting is constructed, his trademark light streaming period, is represented by such outstanding masters as Bernini and same proportion as the viewer. It is not man before a statue, but through the window – in fact, everything that makes Vermeer Ver- In the Shade of the Cross. Western European Crosses Matteo Ponzone. man next to a statue. It makes an enormous difference. meer. Almost forgotten for a couple of centuries, rescued from obliv- and Crucifixes of the 8th – 19th Centuries. Tatiana Tokareva, “Italian Baroque has Graced Vyborg”, ion in the second half of the 19th century and immediately deified by From a Private Collection,­ Milan Kira Dolinina, “Something Human”, “Vesti Leningradskoy Oblasti”, 4 October 2011 aesthetes, the Sphinx of Delft remains just that to this day. And mu- “Kommersant-Weekend”, 23 September 2011 The Milanese collector Giovanni Cova Minotti was collecting medi- seums that have just one of his paintings consider themselves to be eval crosses when most such pieces had already found their places­ wealthy. For us, this “chance” meeting is a gift from heaven. Ver- in major European museums… One of the characteristics of the col- The epicentre of our retro-world, the Hermitage, retains the mu- The Russian Descendants of the French Empress: meer is one great temptation. And his paintings should be visited lection is that the crosses on display have no connection with the rec- seum spirit of the 19th century. Gormley has taken it upon himself the Dukes of Leuchtenberg in St. Petersburg a great deal and often. to enliven its display. He has raised the floor in the Dionysus Room ognized European centres of decorative applied art: these medieval This joint project by St. Petersburg’s two largest museums makes Kira Dolinina, “The Play of Light and Mystery. to the upper edge of the pedestals. Now the statues can be viewed on relics were made mostly at old churches in remote provinces. it possible to recreate for a while the atmosphere of magnificence Vermeer’s ‘The Love Letter’ is being Shown in the Hermitage”, Alexei Oliferuk, “A Milanese Collection of Old Crosses the same level, as if we were faced not with ancient masterpieces, that once reigned in the mansion on the English Embankment, right- “Kommersant”, 18 October 2011 and Crucifixes is on Display in the Hermitage”, but by an amusing staffage or wax figures. ly considered to be one of the most beautiful palaces in the North- “Rossiya K (Kultura)”, 26 September 2011 Stanislav Savitsky, “The Right to be Idolized in Bronze”, ern Capital, and reminds us of the lives of its celebrated owners. “Delovoy Peterburg”, 30 September 2011 The display will include items from the art collection of the Dukes of Leuchtenberg, including decorative applied art: porcelain, furni- Liberation of The Fugitive Slave. The forty or so crosses on display in the Hermitage’s Blue Bedroom ture, weapons and bronze objects from Germany, Italy, France, Chi- Restoration of the Sculptural Group cannot be seen as an exhaustive history of Christianity, illustrating The juxtaposition of antique marble and rusty iron, mythological na and Turkey. by Vladimir Beklemishev all the characteristics of the artistic styles and technologies of the characters known to any schoolchild and faceless metal figures ten centuries over which they were made, but they describe the prin- placed on the same level (in both the direct and indirect sense), ini- “In the Rumyantsev Mansion You can See the Restorers have reassembled The Fugitive Slave from thirteen large on account of which Napoleon Met Josephine”, cipal trends of each age very precisely. tially causes slight confusion: how can a heap of rusty iron be in- fragments and several dozens of smaller ones. Several parts, such as “Baltic Information Agency”, 6 October 2011 Tatiana Markina, “‘In the Shade of the Cross’ stalled alongside ancient gods that are still idolized by all histori- the shoulder of the plaster slave, had to be remoulded. The Fugitive Slave now appears as it did in the late 19th century, when it repre- in the Hermitage”, “Kommersant-Weekend”, ans and museum employees! However, that sensation is followed The display includes around 100 exhibits. Among them are paintings sented Russia at the World Exhibition in Chicago. 14 October 2011 by a desire to look them in the face, and it then becomes clear that by Italian, Flemish, French and German masters of the 15th – 19th they are close relatives, suffering equally from what people and centuries, weapons – including Napoleon Bonaparte’s ceremonial “Vladimir Beklemishev’s ‘The Fugitive Slave’ has Returned time have done to them. And it is evident that these rusty and sex- sword – and items from the Chinese collection. And, of course, por- to the Hermitage”, “St. Petersburg” Antony Gormley. Still Standing. less figures, on the one hand, are also marble gods that have lost traits – of Empress Josephine, Napoleon Bonaparte and members State Radio & TV Company, 14 October 2011 A Contemporary Intervention in the Classical Collection arms, faces and sometimes even heads, and, on the other hand, of the Leuchtenberg family. Many of the exhibits had a chequered are moving to meet one another, as though they are attempting And nevertheless, thanks to the new art objects, the Roman Court- history prior to resuming their place in museum rooms. Vladimir Beklemishev’s sculptural group The Fugitive Slave is on to enter into a dialogue. yard is also being structured according to the new artistic laws. Natalya Perevezentseva, “The Legacy of the ‘Russian Dukes’”, display in a separate room in the Winter Palace. Besides the work The corporeality of the sculptures, so clearly expressed in the classi- Natalya Shkurenok, “People the Size of Gods”, “St. Petersburg Vedomosti”, 13 October 2011 of the famous master, the exhibition also includes detailed photo- cal statues, recede into the background in Antony Gormley’s works. “Kultura”, 6 October 2011 graphs and a film about its restoration. And in the foreground is a new existentialism, fresh formulas of ex- Ludmila Leusskaya, “From a Shack to a Palace”, Johannes Vermeer. The Love Letter. From the Collection istence in rusty iron. Interactivity is the main characteristic of this exhibition – not in its “St. Petersburg Vedomosti”, 21 October 2011 Artur Mezentsev, “From Marble to Metaphysics”, literal, consumerist sense, but as the possibility of, for example,­ of the Rijksmuseum, Amsterdam. “Masterpieces “Hermitage News”, No. 4, August–September 2011 touching ancient marble and/or scraping the rust from one of Gorm- from the World’s Museums in the Hermitage” ley’s statues. This is interactivity of a different kind, implying the The Love Letter, a painting by the great Dutch artist Johannes Ver- “Around this Place the Memories are Alive”. In presenting our contemporaries, the museum is - maximum participation of viewers in the process of cognition meer from the Rijksmuseum in Amsterdam, has gone on display Alexander Menshikov’s Palace: 1711–2011 ing to find a way – sometimes an ironic way – of remaining aloof of their place in the world around them – initially among the arte- in the Italian Cabinet. Any Vermeer exhibition is an event, if only from topical art. For instance, the seventeen metal sculptures that facts in a large cultural establishment. because there are only 35 of his pictures in the world and the Her- An exhibition entitled Around this Place the Memories are Alive has Gormley has made especially for this exhibition are being shown mitage, alas, has none of them. Also because virtually no-one in opened in the ground floor rooms, including more than 200 exhib- Dmitry Novik, “Antony Gormley. Still Standing”, in the Dionysus Room and the Roman Courtyard. They simply de- world painting has managed to convey daylight with all its change- its from the Hermitage, the Moscow Kremlin, the Russian Museum, “Iskusstvo”, No. 6, 2011 cided not to clear a space for the British sculptor’s works – the ten ability like this artist, who is sometimes called the Sphinx of Delft the Artillery Museum and the Suvorov Museum – painting, sculp- ancient statues will merely be removed from their pedestals. (Vermeer was born and lived his whole life in Delft, and very little ture, graphic art, weapons, costumes, books, blueprints and archae- In this way, standing on the floor, they will be on the same level as The figures were moulded according to the templates of Gormley is known about his life). And hardly anyone has been able to achieve ological finds. Antony Gormley’s people – broken down into pixels, crude, almost himself, but outwardly they look as if they have come from a bad- such purity of colour and complexity of shades, which alone can en- Ludmila Leusskaya, “A Witness of Glory and Fall”, abstract, both with Antony Gormley himself and with contempo- ly tuned computer screen whose scattered pixels have subjected the viewer. the human body to a radical transformation. “St. Petersburg Vedomosti”, 31 October 2011 raries in general. Zinaida Arsenyeva, “The Riddle of the Sphinx of Delft. Andrei Kudryashov, “All are Equal”, Alexei Mokrousov, “Gormley has been Dropped The Hermitage has Opened an Exhibition ‘for Gourmets’”, “Vedomosti. Friday”, 16 September 2011 and Put Together Again”, “Izvestia.Ru”, 9 January 2012 “Vecherny Peterburg”, 18 October 2011 68 69 Temporary Exhibitions Temporary Exhibitions

Pool in a Harem and Other Works by Jean-Léon Gérôme study, a smoking room and a dining room – featuring over 400 art Those who like to fill the gaps in their artistic education have a rare Based on a limited number of exhibits visitors can form an impres- in the Hermitage works: decorative applied art, sculpture and painting from the Her- opportunity to see Italian Ottocento paintings, so poorly represent- sion of the principal artistic trends of the Renaissance, which re- mitage collection. These items speak of the everyday life of a no- ed in Russian museums… to see them and be convinced that talk mains an outstanding period in the history of humanity. The painting in the title of the exhibition is, of course, famous ble family with settled habits in their leisure time, of the upbringing of a crisis in Italian art at the time of the fight to unite the coun- and memorable for the curves of the ladies’ bodies, but malicious “The Hermitage is Coming to Us”, “MK.RU”, of the young generation and of the norms of social etiquette. try is fully justified. However, the Italians have never been behind (or happy) fate has conspired to make it the highlight of a whole 17 November 2011 the times – if the Romantics liked to portray famous people from exhibition. “Life and Amusements of Aristocrats”, “St. Petersburg Vedomosti”, 14 October 2011 the past, then they had to be included in the exhibition. The display Kira Dolinina, “‘Pool in a Harem’ has Earned its Author in the Armorial Hall includes, for example, Cristiano Banti’s Gali- Spanish Art from the State Hermitage Collection an Exhibition”, “Kommersant”, 11 November 2011 The unique feature of this display is that the exhibits do not “show” leo before the Inquisition, Lorenzo Delleani’s Christopher themselves individually, being museum items in their own right. on His Return from America (Columbus in Chains) and Giacomo Tre- Perhaps the main highlights of the display are the works by Goya, Pool in a Harem by Jean-Léon Gérôme can be added to the list Brought together in a composition they provide the opportunity court’s Lord Byron on the Greek Coast. There are also the inevitable who embodied the best traditions of Spanish art at the turn of the of “single” exhibitions. It is being shown among the Hermitage’s of seeing customary objects in a new light or, on the contrary, unusu- landscapes so valued by wealthy tourists, from Capri to Venice, and 18th and 19th centuries. A hundred works of graphic art demon- other works by the French academic artist: Duel after a Masked al objects in a familiar role. portraits of national heroes such as Garibaldi and . strate the talent of this unique draughtsman. Ball, General Bonaparte with His Staff in Egypt and Sale of a Slave “The World of Russian Nobility. Life and Amusements”, Ilya Shalman, “The Weeping of the Guitar Begins…”, Woman. Alexei Mokrousov, “The Hermitage is Showing Italy in Painting”, “St. Petersburg Muzykalny Vestnik”, No. 9, November 2011 “Izvestia”, 18 January 2012 “Time and Money”, 25 November 2011 Alexei Mokrousov, “‘The Fugitive Slave’ and ‘Pool in a Harem’ have been Returned to Visitors”, “Izvestia”, 26 December 2011 Paintings by artists of world renown – Diego Velázquez, Francisco Images of Italy. Seventeenth- to Nineteenth-Century Western Lomonosov and the Time of Elizabeth I Goya and José de Ribera – can be seen in the Kazan Kremlin. A sub- European Painting from the State Hermitage Collection stantial part of the display is taken up by sixteenth- to nineteenth- The Hermitage in the Prado The idea of showing the Elizabethan age as a “framework” for the century painting, but it also includes embroidery with Spanish orna- An exhibition has opened in the Kaliningrad Art Gallery that in- great achievements of the scholar-encyclopaedist has justified it- One hundred and seventy rare exhibits that reflect the various stag- ments and utensils – vases of various shapes and colours; a so-called cludes 40 paintings and 20 works of graphic art reflecting Italian self. The period is presented in portraits, documents, architectural es in the development of humanity are to be sent from the North- cabinet, which is a chest of drawers made from wood, metal, bone life: urban and rural views and magnificent marine sketches. Visi- models, painting, graphic art, decorative applied art and jewellery, ern Capital to the Pyrenees. This archaeological exhibition from the and fabric, decorated with carving and engraving, and a great deal tors will be able to see images of Italy in the 17th – 19th centuries costumes… As a true genius, Lomonosov was not lost against the Hermitage’s reserves includes, for example, objects from the first more. captured by celebrated artists – Claude Gellée, Jan Bloemen, Gi- background of Elizabethan luxury. The exhibition includes unique peoples who settled in what is now Russia in the Bronze and Iron Andrei Lebedev, “A Little Piece of Spain in the Kazan Kremlin”, useppe Angeli, Jacob Hackert and many others. The exhibition fea- documents in several languages with his signature. After Lomono- Ages. It also features the Scythian world, the Middle Ages and the “Republic of Tatarstan”, 26 November 2011 tures works by representatives of various schools and trends. sov’s death, his extensive archive was purchased from his widow by way of life of the ancient Greek cities along the Northern Black Sea Grigory Orlov, who had it systematized and gave it to the Academy coast. “Italy through the Eyes of Seventeenth- to Nineteenth-Century Artists: an Exhibition from the State Hermitage Collection”, of Sciences. The showcases feature Lomonosov’s poetry and prose “Far Lands Dear to the Heart”, “Gudok.ru”, 29 August 2011 Giotto. God the Father. From the Civic Museum of Padua. “Kaliningrad Region Ministry of Culture” (website), compositions, a model of his estate on the Moika, and a model of his chemical laboratory on Vasilievsky Island that has not survived, “Masterpieces from the World’s Museums in the Hermitage” The Prado Museum will present to its visitors the Hermitage in all 30 November 2011 mosaics and pictures made from beads and bugles… This is only the third time in six centuries that this icon has left Pad- the variety of its treasures, clearing all its exhibition halls for the purpose. Ludmila Leusskaya, “Lomonosov in the Framework of an Age”, ua… Giotto’s painting has been brought to Russia’s cultural capi- Architecture in Islamic Arts. “St. Petersburg Vedomosti”, 25 November 2011 tal in an armour-plated showcase. It not only protects the master- “Hermitage Treasures on a Visit to the Prado Museum”, Treasures of the Aga Khan Museum piece from physical damage, but also maintains a microclimate with “Diversant”, 7 November 2011 The exhibition is a success. The age of Lomonosov and Elizabeth I is the optimal temperature and humidity. God the Father is the cen- The title of the exhibition suggests its specific content, but it is much presented exhaustively and entertainingly. Many rare items are on A special place in the display is accorded to paintings by nineteenth- trepiece of a huge composition that Giotto di Bondone worked on broader than that. Architecture, depictions of it, ornaments and display in the Nicholas and Concert Halls: physics instruments, ar- century Russian artists with views of St. Petersburg, the interiors of for two years. On a commission from an Italian merchant he painted decorative details turn out to be only a pretext for immersing oneself chitectural models, military relics and various views of St. Peters- the Winter Palace and the Hermitage. The atmosphere of the prin- the Scrovegni Chapel. God the Father was above the triumphal arch in Islamic culture, into the aesthetics of tiles and stalactite-muquar- burg in Elizabeth’s reign. There are descriptions of the Russian ar- cipal residence of the Russian Emperors is reinforced by furniture alongside the archangels. In the Hermitage this can only be divined nas (hanging decorations), cornices, consoles and capitals, carved my’s victories, the activities of the Academy of Sciences and the from the Winter Palace and examples of historical costumes. and encrusted doors, as well as and brocade curtains. if you know the whole composition of the frescoes. God the Father creation of an Academy of the three noblest arts – painting, sculp- is appealing to the Archangel Gabriel with His right hand, requiring “Part of the Hermitage Collection has Gone on Display to the Alexei Mokrousov, “The Hermitage has Given Refuge ture and architecture. Lomonosov really was ubiquitous. He worked him to announce to the Virgin Mary the forthcoming birth of Christ. Prado”, “Iskusstvo-TV”, 9 November 2011 to 100 of the Aga Khan Treasures”, “Izvestia”, 2 February 2012 on a description of the mineral collection and published a sumptuous coronation album recounting Elizabeth’s accession to the throne. Anatoly Mayorov, “Giotto’s Painting has been Brought to He set up mosaic workshops, devised the process for the manufac- St. ­Petersburg in an Armour-Plated Showcase”, St. Petersburg The World of Russian Nobility. Life and Amusements. Italian Nineteenth-Century Painting. From Neoclassicism ture of smalt and was in at the beginning of the famous St. Peters- TV & Radio Company, Channel 5, 6 December 2011 Historicism Epoch burg Porcelain Factory. Against the background of these large-scale to Symbolism The exhibition of even one painting by Giotto di Bondone can be This is a reconstruction of the past with the aid of details: costumes, projects his reform of Russian versification seems to have been for It is as though this exhibition of works by Italian painters is intend- nothing but a sensation. As it happens, there is not a single work porcelain, furniture, children’s toys, light fittings – all from the Her- his own personal satisfaction. ed to lift the pre-New Year depression of St. Petersburg’s residents in Russian museums by the Italian painter who was active at the be- mitage collection. The wonderfully preserved interiors create the at- at the darkest time of the year in Russia. Not only is the display Stanislav Savitsky, “Dreaming of Lomonosov”, ginning of the Renaissance. His ideas and methods exercised an in- mosphere in which everyday life went on – reading, receiving guests, located in one of the “sunniest” rooms in the Winter Palace (the “Delovoy Peterburg”, 9 December 2011 credibly powerful influence on his contemporaries and followers. drinking tea, scientific pursuits and games. The purpose of some Armorial Hall is richly decorated in gilding), but also the canvas- When mentioning the indubitable masterpieces of these sixteenth- of the items is difficult to guess without expert explanation. es themselves radiate the powerful energy of a warm country that century artists, people always say: “With some images borrowed “The World of Russian Nobility in an Exhibition in the Yusupov is never short of sunshine. The scale of the exhibition has to be men- The Light of the Renaissance. Paintings and Sculptures from Giotto”. The Hermitage has such paintings. Palace”, “Rossiya K” (Kultura), 14 October 2011 from the State Hermitage Collection tioned: around 80 works have “arrived” in St. Petersburg, most Pavel Ryzhkov, “A Giotto Masterpiece can be Seen in Russia for An exhibition has opened in the Nicholas Hall expressly to demon- of them from the museum in the small town of Pavia… This is a small exhibition, but its unique characteristic is that the the First Time. The Hermitage is Showing a Painting that Antici- strate the rich collection of the Yusupov family. The room is divid- Yekaterina Ometsinskaya, “The Ineffable Warmth of Italy”, paintings and sculptures are examples of the various artistic tech- pated the Renaissance and has Become one of the Symbols ed into corners – a drawing-room, a boudoir, a bedchamber, a man’s “St. Petersburg Courier”, 8 December 2011 niques and genres used by masters in Florence, Venice and Milan. of Italian Art”. NTV St. Petersburg, 7 December 2011 70 71 Temporary Exhibitions Temporary Exhibitions

Porcelain of the Soviet and Contemporary Period Cima da Conegliano. The Annunciation. An exhibition of seventeenth-century Dutch painting is being staged coes, two reliefs, five statues, six dedicatory inscriptions on marble in the Courtyard Gallery in the Winter Palace. It is an unusual ex- and one on bronze. These antiquities from the Roman city of Hercu- The compilers of the exhibition have adhered to the chronologi- Restoration Completed hibition – a joint project between the Hermitage’s curators, art- laneum (Ercolano in Italian), which perished along with Pompeii on cal principle. Examples of porcelain made between the 1920s and Cima da Conegliano’s Annunciation, painted in the late 16th centu- ists and restorers and the Friends of the Hermitage in the Nether- 24 August 79 A.D. under a layer of lava and ash from Vesuvius, ap- 1990s are displayed in a new room. The history of these decades ry, was originally in a church of the Cruciferian Order. In the 19th lands, as a result of which nineteen paintings by Dutch masters from pear quite at home surrounded by the unfinished construction work is reflected in the style and themes of the painting… In the 1930s century it was acquired by the Golitsyn family. The first restora- the collection of Russia’s principal museum have been given new and the huge majestic atrium. porcelain turned out to be an ideal medium for Suprematist compo- tion of the painting was carried out in 1873, when it was transferred frames, skilfully made copies of their seventeenth-century predeces- sitions. One of the showcases contains a famous teapot and “half- from its wooden base on to canvas. It became part of the Hermitage Nikita Yeliseyev, “Ercolano in the Atrium”, sors. They were made according to original old Dutch technology cups” designed by Kazimir Malevich… collection in 1886. Cima da Conegliano’s painting was taken away “Expert North-West”, 23 January 2012 in a workshop in the town of Spankeren. Vera Girenko, “Art of the Soviet and Post-Soviet Period for restoration in 2005... During the restoration work the artist’s is on Display in the Imperial Porcelain Factory Museum”, fingerprints were discovered on the painting, in line with the prac- Ludmila Yemelyanova, “The Dutch in Black Frames”, Sculptor Boris Vorobyov. Porcelain. Graphic Works “Iskusstvo TV” Internet channel, 7 December 2011 tice that existed in Venice of applying the finishing touches with the “St. Petersburg Vedomosti”, 13 January 2012 fingers. Latin letters were also discovered at the bottom of the can- The Hermitage is staging an exhibition of works by the Leningrad vas – the remains of the painter’s signature... sculptor Boris Vorobyov. He is renowned for his works in one of the Palaces, Ruins and Prisons. Giovanni Battista Piranesi “Cima da Conegliano’s ‘Annunciation’ has Returned Herculaneum Antiquities most underrated artistic genres – animalism. The best-known part of his legacy consists of porcelain, but the exhibition in the Rotun- and Italian Eighteenth-Century Architectural Fantasies to the Hermitage after Restoration”, “RIA Novosti”, About 40 works of art that graced the Basilica in Herculaneum are da of the Winter Palace also includes pottery, metal and glass. Vo- 9 December 2011 on display in the General Staff Building. Assembled in one place, The State Hermitage has launched an exhibition that is as exqui- robyov’s graphic art is also featured... A special place is occupied they give an idea of the appearance of the building where priests site as it is seductive. The name of Piranesi in the title is quite ca- by works connected with literature. Besides figures inspired by the of the cult of the Emperor gathered. Pride of place is rightly occu- pable of attracting the attention of a wide public, but the sheets works of Pushkin and Chekhov, and Krylov, Vorobyov pied by sculptures of Augustus and Claudius. This is the first time themselves and the complex dramaturgy of their hanging is rather From Birch Bark to Paper. The Book in Old Rus’ created a series of works devoted to the characters in Dead Souls. the Hermitage has shown ancient statues of such a size from other a delight for the eyes of experts… Piranesi’s work includes staircas- Fashions in clothes have changed over two centuries, but the char- Besides individual sheets of birch bark, the exhibition also includes museums... At temporary exhibitions it was also not possible to see es that lead nowhere, bridges without supports, the smoke, light and acters of Manilov and Nozdrev conveyed by the artist look quite a little birch bark book. It was found in the old Slavensky district ancient bronze statues, which are extremely rare to be found in mu- deathly stillness of ruins, paradoxical perspectives, morbid allego- ­modern. of Novgorod and contains the outline of an Old Church Slavonic seum collections. Until now the Hermitage has not had suitable ries, ­people as staffage for great architecture and, of course, Rome text. Tseras were another ancestor of the modern book: that was the premises for showing sculptures of these dimensions... Magnificent “The Porcelain Season has Opened in the Winter Palace. – as an absolute deity… The result is a well-balanced account of the name given in Ancient Rus to little wooden boards covered in wax. frescoes on mythological themes are in “niches” behind the statues, Among the Exhibits in Boris Vorobyov’s Exhibition former grandeur and fall of the great city, of various ways of seeing Notes and drawings could be made on them, as they could on birch as they were in the Basilica...They include the fresco Hercules and in the New Department of the Porcelain Museum Rome and the ability of a single artist to tell a new story time and bark. Two tseras can be seen in the exhibition – one dating from , portraying the hero with his illegitimate son. At the feet are Polar Bears and Characters from ‘Dead Souls’”, again on what is apparently the same material. “Architectural Fan- the 12th century, the other from the 14th century. Manuscript books of Theseus is the prostrate Minotaur, a monster with a bull’s head “Izvestia.Ru”, 1 February 2012 tasies” as a visiting card of early Piranesi, as his path to huge fame, on parchment are of particular value. They appeared in Novgorod and a man’s body... No less famous is the fresco of Achilles and his as a powerful trend in Roman graphic art and subsequently a spe- with the spread of the written language... The oldest fragment of teacher Chiron the centaur. cific branch of European art, is a compact subject, though one that manuscript in the exhibition dates from the 11th century and is writ- is worth a thorough discussion… ten in “uncials” – geometrically correct letters, separated from one Ludmila Leusskaya, “Everyone is Admitted to the General Staff. Kira Dolinina, “The First Paper Architect”, another and completely contained in a line... Logically, the exhibi- Both Ancient Heroes and the General Public”, “St. Petersburg “Kommersant”, 20 December 2011 tion ends with examples of the first printed books. Vedomosti”, 19 December 2011 Vera Girenko, “An Exhibition of Old Russian Books has Opened All the monuments brought to St. Petersburg from the National Ar- at the Hermitage”, “Iskusstvo TV” Internet channel, chaeological Museum in Naples once graced the Basilica (or Augus- The Age of the Daguerreotype. Early Photography 9 December 2011 teum) – the building for ceremonies of the Imperial cult. And now in Russia a fragment of the ancient basilica has been reconstructed in the fifth The Hermitage is staging an exhibition of a particular type of pho- courtyard of the General Staff Building. The courtyard was designed tography – the earliest daguerreotypes, taken in the 1840s to 1860s. New Frames for the Dutch Masters. The Dutch Paintings in the style of an ancient theatre: steps lead up in a semicircular The display is concentrated on Russia – works by masters who of the Hermitage Collection Shown in New Frames amphitheatre, the smoothly plastered walls of the inner courtyard worked in Russia and photographed the country. It was they who The Hermitage in St. Petersburg has refurbished its paintings by resemble classical columns, while the limpid St. Petersburg light “injected” the art of photography into St. Petersburg and Moscow Dutch masters. As opposed to the customary restoration of the can- streams through the glass ceiling and reflects off the light walls. in the mid-19th century. However, the exhibition is by no means re- vases themselves, it was decided on this occasion to restore the And here colossal sculptures of Augustus, his successor Claudius stricted by this framework. On the one hand, it also includes works frames, which over the centuries have suffered no less harm than and the Emperor Titus stand facing the steps – the figures of Roman by Western photographers working in Europe, and, on the oth- the canvases and their layers of paint... The four rooms in the Win- emperors in the guise of gods appear to be moving up the steps lead- er hand, numerous portraits taken by the first Russian photogra- ter Palace’s Courtyard Gallery feature not only old paintings in new ing to heaven... phers... It is actually the portraits that set the tone of the exhibition. frames (they have not stinted on the space – there are only three Natalya Shkurenok, “From Ashes and Lava”, The little plates – as a rule, a little larger than the size of a postcard or four in each room), but also reminders of the condition of the “Itogi”, 26 December 2011 – cost ten gold roubles at the time... Maria Kamenskaya, née Count- old frames. It is quite obvious from the photographs what a par- ess Tolstaya, sits calmly in an armchair holding a cigar. The art- lous state they were in – and still would be today, had it not been for However, what is the point of saying everything about all the exhib- ist Karl Bryullov has not frozen when faced by the camera and ap- the Dutch patrons Kees ter Horst and Nico Cobelens. It is thanks its in the amazing exhibition in the Hermitage’s still-unfinished new pears to be continuing his conversation with an unseen interlocutor. to them that this unusual exhibition has been made possible. rooms? Go and see it. This exhibition is a must... It has something This shot could have been included with a number of paintings of the of the eccentric grace of St. Petersburg – something strange, beau- Alexei Mokrousov, “The Hermitage has ‘Dressed’ the Dutch”, time, were it not just a little photograph. tiful, enchanting... The first thing you see is a wide staircase leading “Izvestia”, 21 December 2011 Vasily Kogalovsky, “Old Photographs – New Trends”, up to a firmly closed gate. Behind them construction work is going “Roskultura.ru”, 2 January 2012 on. And here is the exhibition Herculaneum Antiquities – 22 fres- 72 73 Restoration and Conservation Restoration and ConservationПодраздел

In 2011, the Department of Scientific Restoration LABORATORY FOR SCIENTIFIC RESTORATION and Conservation (headed by Tatiana Baranova) OF EASEL PAINTING restored 4,981 cultural and artistic objects Headed by V. Korobov

Including: cima de conegliano THe annunciation Transferred from wood to canvas. 142.5 × 113 cm easel paintings 551 Restored by L. Kovaleva temper paintings 94 The painting was transferred to the Hermitage in 1886 from the murals 52 Golitsyn Museum in Moscow. Over more than five hundred years of its existence, repeated attempts to restore it have made a con- Oriental paintings 8 siderable negative impact on its state of preservation. While it was still in the collection of Prince K. Golitsyn, the Hermitage restor- graphic works 241 er A. Sidorov transferred it from wood to canvas, adding a layer of conservation priming. The transitional priming contained white mounted and assembled works 595 zinc and a substantial amount of binding oil, which led to clear- books, book bindings, documents and objects ly visible creasing presented as fine rounded bulging wavy lines which were also reproduced in the original paint layer. The transfer of applied arts 98 to a new support meant that the original priming, as well as some sculptures and objects made of coloured stones 107 sections of the paint layer, had become excessively thin on the re- verse side, causing the painting to be substantially damaged and objects of applied art made of decorative even lost in places, and producing numerous microscopic displace- and “new” metal, stained glass panels, ments of paint layers visible as overlaps which distort the artist’s ceramics 2,533 brushwork. The pronounced heterogeneous craquelure reflects the different stages in the painting’s provenance; thus, the medium- objects of applied art made of organic materials 221 mesh and vertical craquelure on the green curtain follows the tex- ture of the fibres of the early wooden support, while linear breaks Cima de Conegliano. The Annunciation. Before restoration Cima de Conegliano. The Annunciation. After restoration fabrics 150 of the paint and priming layer can be traced to the areas where wooden boards had been previously glued together, and the rigid timepieces and musical mechanisms 4 irregularities of the transitional oil priming over the whole surface, loss and widely overlapped with the original paint layer, distorting losses of the paint layer and priming were caused by the transfer objects made of precious metals 200 with sharp raised edges, were the result of the repeated replace- the design and colour scheme of the painting and solidly merging and the early clearing by means of hard solvents. After the canvas ment of the original support. with the structure of the original paint layer. Their removal also was cleaned of five centuries of random restorative interpretation chandeliers 49 The true state of preservation and the colour of the artist’s original called for extreme caution and care and was carried out under and after the losses of the paint layer were subsequently filled painting was masked and distorted by differently dated later layers a microscope. As the canvas was gradually cleared of the variously in (toned), the masterpiece was restored to its original colour furniture pieces 75 of darkened and uneven varnish and broad restoration overpaint- dated restorative repaintings, the fine original colour scheme was scheme with its light, cheerful gamut and an exquisite original im- photographs 3 ing. With time, the transfer canvas has been burned by the restora- uncovered. At the same time, substantial damage and numerous agery of the Venetian master of the 15th – 16th centuries. tion materials, has deteriorated along the edges and detached from the stretcher. The surface of the paint layer, which had rigid raised areas typical for transferred paintings, was in need of consolida- tion, while the fragile support needed reinforcing by a new (back- ing) canvas and the painting distorted by early conservation efforts had to be cleared of later layers. A complex and painstaking restoration process, which started in 2004, had been preceded by a full set of physical and chemical investigations. In January 2005, the painting was backed to a new canvas and mounted on the old stretcher, which was followed by many years of unprecedented efforts to clear the painting and com- pensate for the losses of the paint layer. The dark and dilapidated varnish which had lost its optic qualities was gradually thinned out, layer after layer in small patches, while at the same time, many ­areas of inpainting in the middle layers were removed. A thick un- even albumin layer looking like a dark film was discovered under the varnish layer and over the paint layer. It was removed from the whole surface of the painting under a Leica MZ-6 microscope, layer after layer. On the surface of the painting, there were numer- ous variously dated restorative mastic applications, overpaintings Cima de Conegliano. The Annunciation. Detail. Before restoration Cima de Conegliano. The Annunciation. Detail. After restoration and inpaintings which covered areas greater than the areas of paint 74 75 Restoration and Conservation Restoration and Conservation laboratory for scientific restoration varnish layers (dark areas with pronounced borders of brushstrokes of TEMPERA painting or spots). The restoration paint layers occupy a substantial area of the paint- Headed by I. Permiakov ing. They can be tentatively divided into three groups: 1) restoration inpainting which was probably made as soon as the support started MARCO PALMEZZANO (Forlì, 1460–1539) to buckle, creating cracks and losses which were filled with mastic The CRUCIFIXion WITH THE VIRGIN MARY, ST. JOHN, ST. JEROME, and painted over; 2) small restoration inpainting over losses and ST. FRANCIS AND MARY MAGDALENE abrasions of the original paint layer (oil, varnish); all of these have Oil on wood (poplar). 80 × 70 cm blanched or darkened; 3) layers of paint retouching (oil, varnish) Restored by I. Gefding concealing the darkened old inpainting or corrective overpainting; these are especially numerous on the area showing the sky and along The Hermitage painting is close to one of the best signed works by the perimeter of the painting; the upper layers of retouching usually Palmezzano, The Crucifixion with the Three Maries and St. John cover its lower layers, which have changed shade and colour. (Uffizi Gallery, Florence; 112 × 90 cm). The Florentine version has Restoration inpainting and retouching layers are sandwiched be- nearly identical figures of Christ, the Virgin, and St. John. tween layers of varnish, creating an opaque semi-transparent thick The turn of the 16th century is an extremely interesting period in mesh which masks and distorts the original painting. This is the rea- terms of the history of Italian easel painting. Old traditions of tem- son why the craquelure of the original paint layer was hard to see. pera painting were gradually falling out of use, giving way to the The priming and paint layers were reinforced along the lower edge new technique of oil painting. It offered the opportunity of using of the painting and along the perimeter in the areas adjacent to the a highly attractive artistic method: chiaroscuro modelling by means frame. The 3% solution of sturgeon glue was used along with tissue of soft stumping of the pliable pigment paste. paper. After the areas in need of reinforcing had been saturated with The painting has belonged to many owners and has been subjected to glue, they were heated by means of an electric spatula over teflon many restoration attempts. The damaged original layer was eventu- film (spatula warmed to 60°С). ally buried under a “pie” of homemade overpaintings. Numerous After the reinforcement process, the tissue paper was removed with late layers of varnish concealed the original colour-scheme. cotton-wool pads and water. The same method was also used to rein- Investigations of the wooden support of the painting and IR-beam force the priming on the frame. and visible UV luminescence tests were held in the lab. The IR- Before the original painting was cleared of later layers, investiga- beam test confirmed that the date and signature on the sheet tions were held and test clearings were made, which discovered of paper depicted in the lower part of the cross were original, a layer of original painting in a good state of preservation. All the “Marc palmazanus/pi… forolivienus/fatiebat/MCCCCCXXXI” work was done using a microscope. Various solvents and their (Marco Palmezzano painter of Forlì made 1531). The investigation Marco. Palmezzano. The Crucufixion with the Virgin Mary, St. John, Marco Palmezzano. The Crucufixion with the Virgin Mary, St. John, combinations were used to soften and remove the multi-layered uncovered a fine drawing which made it possible to trace the artist’s St. Jerome, St. Francis and Mary Magdalene. General view. St. Jerome, St. Francis and Mary Magdalene. General view. overpainting. Dimethyl formamide is good for softening the upper Before restoration working method and the changes made to the design in the process. After restoration layers of overpainting, which were subsequently cleared away with The investigations of the luminescent surfaces of the painting a scalpel. In order to remove the layers of glue and grime, a solution revealed all the restorative inpaintings made over old bright of water and ox-gall was used. Macrophotograph of a fragment of the painting during the removal The underlying layer of later varnish was thinned out with a scal- of overpainting and after restoration The sky and figure of Christ in visible UV luminescence pel after it had been softened by the alcohol and turpentine solution (1:3), and the final removal was done with a scalpel after varnish clots had been removed with a cotton-wool pad soaked in complex ferment. This method was used to remove all late layers. The clearing revealed some losses of the original painting going down to the priming layer. The losses of the artist’s original paint layer were filled in for “aesthetic” effect, since large abrasions and small losses of the original paint layer could be seen along the whole surface, and the painting had numerous scratch marks. Retouching consisted of applying a thin layer of paint over abrasions in order to “level” the tone and colour of the painting and avoid the exposure of the priming layer. The original painting had to be pro- tected by a layer of easily soluble varnish. The retouching of abra- sions, losses and scratches was done using a technique similar to the technique of original painting; reversible paints were used which can be removed if necessary.

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LABORATORY FOR SCIENTIFIC RESTORATION painting is framed with silk and a wooden frame covered with black OF ORIENTAL PAINTING lacquer. The corners, edges and parts of the screen adjacent to the floor are decorated with bronze ornaments, which have both a deco- Headed by Ye. Shishkova rative and a practical function. The images are painted over primed paper with glue colours and then covered in gold leaf. The total area screen showing a scene in the pleasure quarter of the painted part of the screen is 6.39 sq.m (12.78 sq.m with the for the permanent exhibition on the art of japan reverse side). Japan, last third of the 16th century A screen could serve many functions in a Japanese house: it could Restored by Ye. Shishkova, A. Divletkildeyeva, Ye. Lapshina, divide the living space, shield the inhabitants from unwanted eyes, A. Tsepkova, M. Korotkov or serve as a decorative object. In over three centuries of its exis- tence, the screen has sustained damage of various kinds; the side The screen was moved to the Laboratory in 2007 following the areas of the panels had been greatly soiled by the fingers touch- request from A. Bogoliubov, curator of the Oriental Department. ing it. The painting and the golden background were dusty and cov- It is a fine example of the Azuchi-Momoyama period (1558–1603). ered in a layer of dark grime. On the reverse side, there were paint The characters depicted fall into two categories: those listening streaks, tears, and losses. Before it was acquired by the State Her- to music and those contemplating a scroll. The linking figure is that mitage, the screen had been kept in humid conditions, which caused of a man, a guest in one of the tea houses, who is shown sitting in the frame and the paper to warp and peel, the primed paint layer a free position at the centre of the panel. Next to him is a tray with to detach from the support, and scratches to appear on the painted a smoking set, and on the floor there is a pipe with a long mouthpiece. paper surface. Along the whole painted surface, including the re- The girls’ hairdo (a knot tied on the top of the head) was known as verse, there were numerous scratches, losses, caved priming and karawa-mage, a knot “wheel (ring) of Tang”, after the Chinese Tang abrasions of the paint layer. The paper fastenings of the panels had (618–907). In Japan, these hairdos were used exclusively been damaged in places: the paper had split and separated from the by courtesans and actresses of the early women’s Kabuki theatre. frame, and some bronze decorative elements had been lost. Screen showing A Scene in the Pleasure Quarter. After restoration The hair style and the short-sleeved kimonos decorated with wide The screen had already undergone conservation before it came to stripes and zigzagging patterns make it possible to date the painting the Hermitage. It is likely that it was completely disassembled and of the screen to the last third of the 16th century. The technologi- re-assembled, albeit without due care, which is proved by painted of ­conservation methods was presented by the fact that the ubiqui- cal elaboration of the craft that went into the making of the screen fragments which appear upside down and by the broad overpaint- tous oily grime had to be removed from the surface, without com- indicates that it was commissioned by a wealthy client. The screen ing over the golden background. The main task of the restorers ing into contact with underlying water-soluble layers (paste, glue consists of six kari-bari panels made of several layers of Japan pa- was to prevent the screen from further disintegration and to make colours, and priming). per stretched over wooden frames. The final layer which bears the it functional and fit to display. The key challenge in the choice First and foremost, the total surface of the screen on both sides was brushed with soft squirrel-hair brushes in order to remove the dust. Further conservation entailed the reinforcement of the priming and paint layers in damaged areas; the painting was subjected to deep clearing with polyurethane sponges and the methyl cellulose solu- tion, which made it possible to clean the areas most soiled by the oily film and soot layer by layer, without causing any damage to the paint layer. The cracks, support tears and linking elements of the panels were pasted over, and losses of Japan paper filled in. The pasting process was made more difficult by the fact that the work had to be done without an additional support, that is, on suspended lay- ers of Japan paper which cover the kari-bari frame. This is why the Screen. Fragment. Before restoration pasting was done in several stages, following a strict sequence, with the use of special implements which ensured that the artefact was least disturbed and that the restorers were comfortable working on it. The artistic restoration of the image was complicated by the presence of areas which had been subjected to early conservation attempts and inpainting: they were much darker than the original colours and contrasted with the general colour scheme, while some painted areas had been displaced. The curators and restorers came to the general conclusion that the old restoration ought to be pre- served as part of the history of the screen’s provenance. Toning was only applied to damaged and inpainted areas. The silk frame of the screen was cleaned with a sponge, the sepa- rated threads smoothed down, the peeling areas of silk pasted to the support, decorative copper elements restored to their original positions, and the frame was cleaned. After nearly four years, the restoration and conservation of the screen are now complete. Screen. Fragment. After restoration

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LABORATORY FOR SCIENTIFIC RESTORATION OF GRAPHIC WORKS

Headed by T. Sabianina graphic works for the exhibition Ruins, Palaces and Prisons. Giovanni Battista Piranesi and Italian Eighteenth-Century Architectural Fantasies Restored by M. Gambalevskaya, O. Mashneva, Ye. Tatarnikova, Ye. Shashkova

Over 40 graphic works have been prepared, including the conserva- tion of six large-scale drawings by Guiseppe Barberi (1746–1809) (restored by M. Gambalevskaya) made in ferro-gallic ink. As a re- sult of the restoration, it was possible to rectify the considerable deformation of the sheets, which was primarily caused by paper Guiseppe Barberi (1746–1809). View of the Capitol with Figures stripes pasted along the perimeter of the drawings. The multi-lay- of Warriors. Before restoration ered paper frames prevented the sheets, which were backed by thick rag paper, from straightening and caused a wave-shaped deforma- ­ferro-gallic ink. The damage caused by leaks is plainly visible on tion whenever even minor changes of the temperature and humid- one of the drawings (upper right-hand corner of the reproduced ity conditions occurred. The drawings were made in ferro-gallic photograph from the exhibition). The vertical light streaks are the ink, which reacts badly to excessive humidity. Any liquid affecting traces of the water. The paint layer is irreparably lost, and the im- Alexander gessen. The former menshikov palace and the effect of other detrimental factors mitigated. The elasticity the paint layer inevitably causes leaks, which completely ruin the age has been affected. in universitetskaya embankment of the paper support has been restored and the structure of the paper (south faÇade restoration project) Guiseppe Barberri (1746–1809). View of the Capitol with Figures reinforced. Paper on cardboard, watercolours, China ink, graphite of Warriors. After restoration The image has become clearer and more unified, reflecting the sym- Restored by Ye. Shashkova metry of the original design. The challenges presented by the project were as follows: the need The project is drawn on paper based on thick low-quality cardboard. to detach the project from thick cardboard given that the paper sup- The paper support has been cleaned of degradation products, the port was fragile and acidified; removal of the degradation products general yellow discoloration has been reversed, various stains par- from the paper structure by means of water and chemical treatment; tially removed, the paper support reinforced, tears pasted together, clearing the surface of the document painted in non-waterproof wa- lost margins replaced. The destructive impact of the old backing glue tercolours and China ink; removing the persistent thick layer of dust and highly acidic low-quality cardboard has been partly reversed, and various stains ingrained deep in the surface of the paper.

80 81 Restoration and Conservation Restoration and Conservation

restoration of items for the exhibition Lomonosov The surface stains have been removed, the varnish film thinned out, routine conservation – items from stack storage and the time of elizabeth I and lost areas of priming along the edges of the ring and the joints have been filled in and retouched. a series of 36 japanese colour woodblock prints restoration of the 1795 bible The compass has a wooden support over which printed paper has from the collection of the oriental department One-piece leather binding, printing on paper been pasted. The surface had become very dusty, and the paper had Restored by M. Gambalevskaya, I. Guruleva, Restored by S. Kudryavtsev, D. Smirnova yellowed in places. The surface stains have been removed, and the V. Kozyreva, O. Mashneva, M. Matveyeva, yellowing reversed. N. Petushkova, Ye. Rudakas, T. Sabianina, The task of the restorers was to preserve, inasmuch as possible, the Ye. Tatarnikova, V. Khovanova, Ye. Shashkova original large-scale binding by restoring its lost elements. The spine of the block was cleared of glue, the lost cords substituted with linen The start of the year 2011 saw the conservation of a series of Japa- thread, and the upper cover attached. The surviving fragments made nese colour woodblock prints (xylographs) which had been moved it possible to determine the type of the footband, so that the foot- from storage stacks of the Oriental Department in 2008. Each of the band could be restored using the same technique. An extra prob- 36 prints is an image in the traditional Japanese manner printed lem was the removal, conservation and reattachment of flyleaves on a small sheet of Japan paper with unevenly clipped edges. and inset sheets underlying them. The first quire of the block with The prints were crudely pasted with silicate glue on low-quality sup- the title page and the preface has also been restored; the lost cor- ports. In places, clots of glue had spread out beyond the edges of the ners of the boards replaced; the leather cleaned, all lost areas of the print, covering the margins of the support. The glue also penetrated leather replaced, and tears on the surface reinforced and retouched. to the front side of the prints, encroaching on the image itself. There was some damage to the paper typical for printed graphics: surface a celestial globe on a mount with a compass soiling, individual stains, physical damage of different kinds. in the subframe It was very important to remove as much glue as possible in order 1799. Made by J. and W. Cary. Plaster, printed paper to complete an important stage in the restoration, i.e. to neutral- Globe diameter 53.4 cm, total height 118 cm ize the areas which had been damaged by “glass” glue. After most Restored by S. Sevastianova of the glue had been removed, the support was inevitably thinned out in the most damaged areas, as the crystals of silicate glue had pen- The restoration of the globe was undertaken in cooperation with the etrated deep into the structure of the paper. The replacement of the Laboratory for Scientific Restoration of Furniture. The globe was paper support in areas which had sustained some damage was also dismantled and found to consist of several parts: the globe itself, a painstaking project. the coordinates ring, and the compass. Some challenges were also presented by local and general pressing The papier-mâché globe with a layer of plaster over the surface was which was a necessary stage after some patching was applied over pasted over with paper bearing images printed in colour. The whole surface was covered with varnish, which had gradually yellowed in places, and there were significant abrasions on its upper surface. A method was developed for removing surface stains and thinning out the film of varnish until it was more evenly spread. Scratches on the paper and a dent on the plaster where paper had been partially lost were filled in and retouched. The ring of coordinates consists of several fragments of the primed wooden support, with printed pa- per pasted over it in strips. The whole surface was varnished, and the varnish had become yellow and very grimy. Globe. After restoration

Restoration of the Bible Globe. During restoration

82 83 Restoration and Conservation Restoration and Conservation deformed areas. The problem was presented by the complex texture of the image which the Japanese craftsmen had achieved when pro- ducing the prints (fragments of repousse image are a characteristic feature of this series of xylographs). It was paramount to preserve the texture of the image outline. Some of the fragments had lost nearly all of their colour, which can be dimly discerned under a specific angle thanks to the re- pousse elements of the image. The preservation of the texture un- der pressing is one of the operations that is specific to this conser- vation project. The restorers’ task was extremely challenging where toning was concerned: watercolours were not straightforward to apply to areas which had been damaged by the silicate glue, and it was necessary to pay attention to the most minute changes in the colour of the wa- tercolours applied, despite the fact that the paper support had been cleared of silicate glue crystals as much as it was possible. The final stage of the project was “margining”, or the addition of “faux” margins for each print. Japan paper margins replacing those which had been cropped were pasted to the xylographs. This is a method widely used in international conservation practice, which often serves as the final stage of the conservation before the graphic sheet is placed in the passe-partout. At the end of the restoration, after all the margins had been re- After gluing together the fragments of the pedestal and the rock placed, all 36 xylographs have a uniform and complete appear- and the assembly of the upper part ance, which makes a marked difference between this series of prints and the other series stored in the Oriental Department. The prints have been added to the new permanent exhibition of the Japanese collection. Replacing the lost details and fragments

LABORATORY FOR SCIENTIFIC RESTORATION artistic interest. It was impossible to display the sculpture imme- OF SCULPTURE AND COLOURED STONE diately after it was extracted from the wall because of numerous losses and stains. Headed by S. Petrova After the sculpture was subjected to the initial on-the-spot examina- tion, the scale and nature of the future restoration project became Vladimir Beklemishev (1861–1920) apparent, as well as the need to dismantle the sculpture as it was sculptural group The fugitive slave impossible to transport it in one piece. This important stage of the Rome. 1891–1892 project was carried out under the supervision of the master restorer Restored by V. Mozgovoi, A. Bogdanova, Ye. Andreyeva V. Mozgovoi. The pedestal was taken apart, and some of the pieces Vladimir Beklemishev. Sculptural group The Fugitive Slave were found to contain the sculptor’s signature “Vladimir Beklemi- The Fugitive Slave sculptural group (1890) made of plaster-of-Paris shev” and the inscription “Rome 189...”. The top part of the sculp- The mold for the youth’s foot has been cast in plaster-of-Paris and mounted tinted to look like bronze was found on Monday 26 April 2010 on the ture, attached by block-and-tackle, was lowered to a pre-prepared in its proper place analyzed the paint layer which was intended to imitate a patinated first-floor landing of the Church Staircase, when the brickwork of foundation, after which all the parts of the sculpture were moved bronze surface. the wall had to be broken through to install an electric service panel. to the lab. The reassembly of the sculptural group was a more com- When the complex and challenging assembly of the sculptural group Vladimir Beklemishev graduated from the St. Petersburg Academy plicated challenge as it had to be done correctly in order to enable was over, the number of lost details and fragments became appar- of Fine Arts in 1887, having obtained a Distinction (the Great Gold the restoration of this unique original model; precise joining of the ent. These were restored by A. Bogdanova, a sculptor and a member Medal); in 1888–1892 he was a recipient of the Academy of Fine broken fragments would determine the success of the subsequent of the St. Peterbsurg Artists’ Union, under V. Mozgovoi’s supervi- Arts grant which enabled him to study in Paris and Rome; The Fugi- ­recovery of the losses. sion. Large-scale losses of independent sculptural fragments, such as tive Slave was sculpted in Italy. This work represented Russian art V. Mozgovoi pieced and glued together the heavy fragments of the the right shoulder and index finger on the left hand of the slave figure at the World’s Columbian Exposition in Chicago, USA, in 1893, foundation, after which the upper part of the sculptural group was as well as the left foot of the youth figure were replaced on the ba- after which it was restored to the Academy of Fine Arts. In the re-installed in its proper position using a mobile hoist constructed sis of preliminary plasticine models, which were followed by molds 1920s, the sculpture was given over to the Museum of the Revo- in the lab specifically for this restoration project. Ye. Andreyeva, and plaster-of-Paris castings; the joining surfaces were given a finish lution, which occupied some rooms in the Winter Palace at the a highly qualified restorer, glued the fragments together, rein- to ensure that they could be seamlessly re-attached to the main sculp- time. According to the note found with the sculpture, it was placed forced the cracks and weak areas in the plaster and cleared the ture. The losses on the pedestal and the rock-like foundation and lost in the space between the two walls on 22 February 1947; there it re- surface, making it possible to appreciate in full the quality of the fragments along breakage lines were filled in with plaster-of-Paris by mained until 26 April 2010. tinted surface, still in a good state of preservation and present- the straightforward modelling method, and the replaced areas were The discovery of an early student work by a prominent Russian ing a perfect imitation of bronze patinated sculpture. K. Kalinina, given a finish to ensure the uniformity of the texture. sculptor which was long considered lost is of great scholarly and senior research of the Department of Expert Examination, After the retouching of the restoration additions 84 85 Restoration and Conservation Restoration and Conservation

After studying the methodology of working with plaster-of-Paris been lost; two crudely glued together fragments of the leaf from Restorer Alexander Androkhanov sculpture and carrying out independent experiments, A. Bogdano- the bottom of the stem had been preserved; two pearl buds have at work va arrived at a technological strategy for tinting the replacement detached from the stem. ­details by using conservation retouching paints. The replacement The extant fragments of the greenstone leaf were removed from the fragments and the lost areas of the original paint layer were re- stem and separated and then re-attached in a more precise man- touched, making the end of the restoration of this sculptural group ner. In order to replace the lost parts, the restorers consulted photo- and returning the work to its original uniform and display-worthy graphs from the archives of the Department of the History of Russian appearance. This unique sculpture, which exists in a single copy, Culture. They had to select a material which would exactly match may now take its proper place in the exhibitions of the Department the colour and pattern of the surviving fragments and to reconstruct of the History of Russian Culture in the General Staff Building and apply the historically adequate methods of treating the coloured and the Staraya Derevnya Restoration, Conservation and Storage stone in order to create replacement details which would be as close Centre.­ to the original as possible. First and foremost, it was necessary to find greenstone of the same variety as the stone used to make the lily of the valley leaf and to make a template of the right colour. This stage is especially rock crystal glass with a stem of lily challenging as greenstone tends to be transparent when it is used of the valley to make fine pieces, while thicker blocks of stone are usually opaque. Restored by A. Androkhanov In view of this, several templates were made for the greenstone leaf, one of which was selected as a replacement piece. Another complex A rock crystal glass with a golden stem and pearl buds of lily of the stage was the final finishing of the replacement piece. The surface valley (Inv. No. ЭРО-6158) from the Department of the History of was filed and polished by hand, by means of grindstones specially Russian Culture was sent for restoration in 2011. The object was made for the purpose, keeping in mind the difference in the textures not fit for display – a lily of the valley leaf made of greenstone had of the prominent parts and depressions of the leaf. After the state of the lily of the valley stem was evaluated and its dimensions compared to archive photos, it became apparent that originally, the size of the object had been different. The stem of the bouquet was lengthened in order to fit the glass precisely; a 2 cm brass tube was used for the purpose. The stem was fitted in the brass tube and then attached to the glass. The object has become fit to be displayed as part of the exhibition Masterpieces of Semiprecious Stones. Peter Carl Fabergé and of the Hermitage piece and to create a full inventory of stone types porarily backed on a glass sheet. The inlaid pieces adjoining the lost Russian Craftsmen-Lapidaries, which opened in the Moscow Krem- used in the making of the table-top, which turned out to contain areas have been reinforced. In order to fill in the numerous losses in lin State Museum of History and Culture in 2011. a number of rare and unique varieties. the Florentine mosaic on the basis of the surviving analogues, new The restoration was continued at the Hermitage: the new fragment pieces of Badakhshan lapis lazuli, agate, and black Belgian marble was finished and installed. During the procedure, the surface has have been selected. The identical extant pieces of the mosaic were been cleared of stains, the crude distorting plaster additions have copied onto tracing paper and used for the making of templates; been removed, revealing that the mosaic inlay has been completely the elements of the inlay were then filed out, glued together and lost in these areas. The peeling sections of the mosaic have been tem- ­assembled using reversible glue. inlaid table-top lapis lazuli star (room of late sixteenth- and seventeenth-century ) Restored by A. Androkhanov

In 2010, some of the Laboratory employees went for a training trip to the Restoration Laboratories “Opificio delle Pietre Dure” (OPD) (Laboratories for the Restoration of Mosaics and Florentine Inlays) in Florence. The aim of the trip was to study the methods of making and restoring Florentine mosaics. The training included filing out the pieces for mosaic inlays on a nineteenth-century workbench, employing archetto filing and polishing techniques with the help of abrasives and hand tools. The collections of natural stone and equipment, as well as eighteenth- and nineteenth-century tools, were also studied. The trip made it possible to undertake the pre- paratory work for the restoration of a lost fragment of the corner of the Lapis Lazuli Star table-top (Inv. No. Эпр-5069), which is made in the Florentine inlay technique. The colleagues at the OPD helped to select red and yellow Sienese marble used in making some of the elements of the mosaic inlay. The skills and experience gained A rock crystal glass with a stem of lily of the valley. After restoration during the trip have made it possible both to start the restoration Table-top. Fragment. Before restoration Table-top. Fragment. After restoration

86 87 Restoration and Conservation Restoration and Conservation statue of dionysus laboratory for scientific restoration Roman, 1st century A.D. after a Greek original of the 4th century B.C. of applied art objects Restored by K. Blagoveshchensky Headed by A. Bantikov The marble statue of Dionysus is a figure of a youth which was re- stored to look like Dionysus, probably while the statue was in the parnassus table ornament collection of Marquis Campana in Rome, from which it was acquired , Meissen Porcelain Manufactory. C. 1760 by the Hermitage in 1862. Porcelain; overglaze polychrome painting, gilding The challenge of the project was the need to remove a large number Restored by N. Bolshakova of plaster pastings, to clean extensive areas of the surface which had become soiled, and to fill in the linking joints using a selec- On 2 June 2011, the Hermitage installation Ars longa, vita brevis. tion of pre-assembly composite materials based on different shades Eighteenth-Century Meissen Porcelain in the Modern Museum: be- of marble. The restoration of this work provided new and illumi- fore the Exhibition opened in Venice, in the Palazzo Ca’ Corner della nating information on the methods of historical restoration used Reggina, as part of the 54th Biennale. The central piece in the pre- in the 19th century. After the plaster pastings had been removed sentation was a unique work by Johann Joachim Kandler, the table- from the reverse side of the pedestal and the tree-stump, a partly top ornament Parnassus, which contains twenty individual figures dubbed out ornamental relief was uncovered; this was probably and their combinations. a marble frieze of Byzantine or Oriental provenance, which had been This unique work was in need of a complex and substantial resto- reworked at the time of restoration to make the lower part of the ration. The porcelain was covered in various stains, many details sculpture, which consists of the plinth, the support shaped as a tree- had been lost, there were a number of old adhesions and large-scale Parnassus: a table-top ornament. After restoration stump, and the legs of the figure. After restoration, the statue has overpainting. The figures of Pegasus, Apollo, Urania and Mel- Statue of Dionysus. After restoration been once again displayed as part of the permanent collection. pomene have suffered the most. Apollo’s lyre was broken into eigh- sus has no direct analogues, all the missing fingers were sculpted teen fragments, and his hands had no fingers. Fingers were miss- anew, with the unique production techniques used as guidelines. ing from most of the figures, while some were also missing feet and All of Kandler’s hands and arms were made from similar molds, other important sculptural details. while the mass was still pliable; the master himself would create The restorer faced a difficult task: taking the group apart and the gestures of the arms and hands. This means that any hand in the removing the old glued-together joints and overpainting, and to group can serve as a prototype. Besides, the Meissen porcelain has reconstruct the work as a visual and aesthetic whole. The most its own unique style, which has helped the restorer to recapture lost prominent of the losses were the first to be rectified. Apollo, who details. The key challenge was to follow the movement of the hands is the crowning figure of the ornament and the focus of the whole and to ensure that they form an organic whole with the texture installation, had to be visually complete. As the Hermitage Parnas- of the work.

Statue of Dionysus. Pedestal. Test clearings Statue of Dionysus. Pedestal. During restoration

Statue of Dionysus. Pedestal. Removal of plaster pasting Statue of Dionysus. Pedestal. After restoration Figure of Apollo. Before restoration Figure of Apollo. After restoration

88 89 Restoration and Conservation Restoration and Conservation

LABORATORY FOR SCIENTIFIC RESTORATION techniques were in need of different conservation methods. The key The tassels, cords, and were dry-cleaned at the Labora- OF OBJECTS MADE OF ORGANIC MATERIALS challenge was to address the peeling of the papier-mâché without tory for Restoration of Textiles, after which the stains were re- excessively softening and deforming the canvas relief. In these ar- moved in a water solution of a neutral detergent. The liquid was Headed by Ye. Mankova eas, an “open” method of conservation was applied, without a pre- removed with hygroscopic cloth and absorbent paper to prevent liminary saturation and using a more concentrated glue. the access of liquid to the leather and metal elements. The tassels Relief grand duke cosimo ii medici praying Areas with a dark background (paint layer with dark varnish) pre- were straightened out during the drying process, and the fringe sented yet another problem: the paint layer was more rigid and was threads teased apart. The ribbons were straightened out and dried, Restored by Ye. Kozlova not softening at the same rate as the canvas and the papier-mâché pressed, and re-shaped. The loose threads of the tassels and cords when glue was applied. In such areas, the conservation required the were tightened and fixed. The damaged braided cover was rein- The relief in a carved wooden frame was admitted for restoration application of a prophylactic pasting which was then steam-dried forced. in a very poor state in March 2011. over fluoroplastic film. The cheek-piece with a tassel was detached from the head- Duke Cosimo II Medici is depicted in the central part of the panel: A different approach was needed for the conservation of papier- piece. The damaged braiding was fixed. The fringe of the tassel his right knee is placed on a cushion, his right arm is outstretched mâché layers with priming and pigment layer over the sleeve of was straightened out. The crownpiece was fixed, and the gold-spun and points at the altar, his left arm is resting on his breast. To the the Duke’s left arm. There was an indent there with areas of gild- thread braiding was restored, with all the petals linked together. left of the Duke there is a table with a crown lying on it, and to ing either lost or loose; the canvas had lost its rigidity and was out The rosette was cleaned and press-dried. The deformation of the the right there is a window facing the Cathedral of Santa Maria del of shape. The canvas was fixed first, and the other technological leather padding was rectified. All the loose gold-spun threads on ­Fiore. The figure of the Duke, wearing a light-coloured ermine man- layers were then attached to it. The losses of papier-mâché were the cords and floral elements were tightened, attached with a fine tle, contrasts with the dark, nearly black background of the wall. filled in with mastic made of glue and mashed paper, and a layer silk thread, the cords sown to the support, and flower petals fixed The cloak glistens with gold, while the lining of the cloak and the of conservation priming was applied over it. The yellow varnish in place. kaftan are decorated with a floral pattern. The perspective formed was thinned out across the whole surface so that the original colour by rows of chequer-work floor tiles creates the illusion of space Relief Grand Duke Cosimo II Medici Praying. Fragment. scheme became visible again. The filled-in losses were then con- in a two-dimensional image. After restoration cealed with watercolour inpainting in the pointillé technique. This seventeenth-century work is remarkable in terms of its tech- The examinations and restoration made it possible to collect impor- nique. The Duke’s bas-relief portrait is shaped on the level surface the papier-mâché, gesso and pigment layers had been lost in many tant information on the history of this work and its existing ana- by means of canvas and glue over a hollow structure. On top of the areas: at the joining of the Duke’s left leg along the joining line logues; the sequence and contents of the layers making up the relief canvas template, the relief image has been added by means of pa- above the knee, on the knee itself, on the ankle, on the cheek, on the has been established, and new methods have been developed for re- pier-mâché accretion. The surface is covered with gesso and painted sword scabbard; the index finger on one of the hands was missing; storing other artefacts made in a similar manner. in oil. Some details are gilded. Coloured varnish (red and black) the canvas had come loose along the margins on the right-hand side, is also used for additional decoration. on the bottom and left-hand side; there were abrasions and an un- The frame is decorated with anthropomorphic heads in the corners even layer of yellow varnish on the paint layer, as well as various and in the centre of the listels (borders). The remaining frame space overlays and stains. is filled with cartouches. The surface of the frame is painted a dark A full set of restoration measures was needed: the work had to be colour, and light ochre-coloured wood can be seen in places where examined, conserved, and then subjected to artistic restoration. harness items: harness saddle, crupper, pigment has recently chipped off. The frame may have been gilded The following tests were carried out ahead of the restoration proper: breast band rosette, headpiece originally, which is proved by traces of gilding that can be found the image was photographed in visible UV luminescence, the paint Paris, 1739 in the of the carving. The frame contains a groove for glass layer was examined under a microscope, and ordinary and macro which would have been inserted vertically. photographs were also taken. Restored by N. Karachun, T. Grunina-Shkvarok The relief was in a disastrous state when it was sent to the Labora- The unique relief technique required a special approach to devel- Headpiece. Before restoration tory: the image and margins had become both buckled and indented; oping the method for fixing it, as areas exhibiting different artistic The harness elements were sent for restoration from the Department of Western European Applied Arts. The restoration was undertaken jointly with the Laboratory for Scientific Restoration of Textiles. The set was originally commissioned by Empress Anna Ioannovna. This was processional imperial livery, bearing the double-headed eagle on the bronze plaques. It was made of dark wine-coloured leather, decorated with gilded bronze bosses. The leather has re- tained its bright colour in the areas where it was covered with met- al elements. The bronze bosses were gilded by the “fire” method. The harness elements are decorated with tassels and rosettes made of silk and metal threads. The bit of the bridle is made of iron. The quality of leather working is very high: it is still supple despite being kept in inclement conditions and being over three hundred and seventy years old. The restorers have removed the stains from the leather, textile, and metal elements of the harness. Peeling and loose upper layers of the leather have been reinforced. The leather itself has been softened by greasing and saturating in a special solution. These conservation ef- forts helped to get rid of nearly all the creases in the leather. The lost leather fragments have been replaced, and all the additions toned over. Retouching was also applied in places where the leather had Relief Grand Duke Cosimo II Medici Praying. Fragment. Relief Grand Duke Cosimo II Medici Praying. been much worn with use. Before restoration After restoration Headpiece. After restoration 90 91 Restoration and Conservation Restoration and Conservation laboratory for scientific restoration the healing of the paralytic from the deeds of the apostle series of textiles England, Mortlake Tapestry Works, 17th century Headed by M. Denisova Restored by G. Fedorova Restoration project financially supported by the American country estate decorative panel Friends of the Hermitage Russia, first half of the 18th century Canvas embroidered with glass beads and bugle beads. 250 × 215 cm The tapestry was bought by the Hermitage in December 1886 from Restored by T. Grunina-Shkvarok, M. Tikhonova von Haupt, who had purchased it from the merchant V. Meshkov. The cartons for the tapestries in the Deeds of the Apostles series The panel was acquired by the State Hermitage in 1931 from the were drawn by Raphael and his studio in 1515–1516. It is believed Society of Ancient Writing. It is embroidered with glass and bugle that the border images in the series were drawn by Anthony Van beads of various colours, shapes, and sizes (differing both in length Dyck. The cartons were bought by many tapestry manufactures and diameter). The embroidery is applied to a canvas, and the faces and workshops in turn up till the 17th century. In 1623, the Prince of the people are painted in oil, while the figures of peacocks still of Wales (the future Charles I) bought seven cartons from the Deeds retain some of their original feathers. The panel depicts a wealthy of the Apostles series for the Mortlake tapestry works (founded aristocratic estate surrounded with a solid wall. The fenced house, in 1619). All of them (without the borders) were part of the Royal wings and chapel are in the centre. Beyond the fence is a regular collection and are at present at the and Albert Museum. The Healing of the Paralytic tapestry. General view. park with ponds, gazebos, sculptures, and large flower beds. Swans When the tapestry was sent for restoration, it was grimy, worn out, After restoration and peacocks are shown walking amid the trees. The park is sur- desiccated and deformed. There was staining and mottling over the rounded with a grove with flowers, mushrooms, and berries. Below whole surface, many large and small tears, cuts, abrasions, warp the stately home one can see a meadow, a large pond, and a village. and weft threads, many tears of the joining stitches. There were The lower part of the panel shows genre scenes from the everyday losses and tears made by upholstery nails along the entire margins. life of peasants, figures of people, animals, birds, and fish. There were also crude stitches, mendings, and patches which had to be removed. The border and the hems were entirely missing along the bottom edge, and the narrow blue hem along the whole perim- Country Estate decorative panel. General view. After restoration eter was only partially preserved. The few extant fragments of the border along the bottom edge had been tucked to the reverse side of the tapestry. The tapestry had been sewn to a canvas and mounted The panel underwent restoration over fifty years ago, when the on a stretcher. The canvas, which served both as backing and lining, whole surface was covered with a thick layer of gelatine to prevent was very grimy, stained with black spots and damaged. the beads from scattering. The gelatine has become yellow with time In the process of restoration, the tapestry was first removed from and has started to peel. The sticky surface attracted dust and soot, the stretcher and disassembled; all the parts were photographed so that the panel was covered in a thick layer of grime, and the beads in great detail. have lost their sheen. Several cleaning methods were used to remove the stains and grime The first stage of the restoration consisted in cleaning the panel from the tapestry. Dry cleaning: removal of plasticine. Mechanical from dust with the restoration vacuum cleaner. cleaning: the threads joining the lining to the tapestry were removed The opaque layer of gelatine was removed by spatula and forceps. with fine scissors and forceps. A soft flat brush and vacuum-cleaner The whole surface was then thoroughly cleaned by applying a Greek with a special nozzle were used to remove mechanical particles, Fragment of the upper edge of the tapestry after water treatment sponge soaked in a weak solution of a neutral detergent, and rinsed. fibrous dirt on the surface and in the seams. Lab tests were run and removal of rough stitching and patching

In the process of cleaning Country Estate decorative panel. Fragment. After restoration The tapestry undergoing restoration Fragment of the upper edge of the tapestry after restoration

92 93 Restoration and Conservation Restoration and Conservation to determine the type of soiling and the best appropriate detergent. Ahead of washing, samples were taken to establish how resistant the pigments would be to the detergent. The water treatment consisted in the application of a neutral detergent, at a temperature of 40°С, with subsequent rinsing and testing the rinsing water for PH, and plasticization. The cleaned tapestry was first placed on top of hygroscopic fabric to remove excessive liquid. It was dried between layers of absorbent paper at room temperature, on a horizontal surface. The paper was replaced as it was saturated. The deformation of the tapestry was partly removed by applying steam over a cotton cloth. Rough stitching and patches which distorted the texture of the tap- estry were removed. The lost joining stitches were replaced and the tears reinforced. The tapestry was fully backed on a cotton and linen Back part of the saddlebow. Before restoration. plain weave cloth. The areas with abrasions or damaged weft or All parts restored layer by layer warp threads, as well as losses, were fixed with silk threads by using conservation stitching. The tangled warp threads were teased apart, laid parallel to one another, and fixed with conservation threads. The colours of the conservation threads were selected to match those of the tapestry. Saddle-blanket after restoration In order to improve its display qualities and achieve an impres- sion of completeness, the tapestry was given a blue 4-cm wide hem, part put back in place. The back saddlebow had sustained multiple identical in width to the original hem. The tapestry was also placed types of damage which required different restoration techniques: on a lining of blue rep. A 6-cm wide pocket for hanging has been the wooden saddle support was rebuilt out of papier-mâché, the ­attached to the top edge of the lining. fabrics and leather were put on a new backing, conservation stitch- The Healing of the Paralytic has now taken its place at the perma- ing was applied, the lost metal threads were replaced, and an imi- nent exhibition of tapestries in the Ministry Corridor. tation chevron lacing put in place. As a result of the restoration, it is possible fully to appreciate both the historic and artistic value of the item, its exquisite and elegant decoration. a saddle and harness set Back part of the saddlebow. After restoration. owned by catherine II All parts restored layer by layer Western Europe, the , last third of the 18th century chinese painted silks Restored by T. Grunina-Shkvarok China, 18th century Panel before restoration Panel after restoration Restored by A. Alexandrova, L. Kovaleva, The set was transferred to the Hermitage in 1926 from the Stables N. Lyakina Museum. All its parts were greatly soiled, covered with a layer of soot, deformed, with the fabrics, gold embroidery, leather, metal, A series of silk panels showing genre scenes against a landscape and wood considerably damaged. with a river was sent for restoration in early 2007. The panels were The complex restoration involved a cleaning and fixing of all the greatly soiled all over, with greasy stains, large-scale mottling, components. Since the set contained items of different types, dif- small dark stains of fly droppings. There were large tears and cuts ferent cleaning and reinforcement techniques were used for fab- on the silk fabric. The fabric had become deformed, with multiple rics and embroidery. The headpiece and the breast band were creases. There were abrasions on the painting and losses of the dry-cleaned; the saddle-blanket was taken apart, the decorative painted layer. details detached, the saddle-blanket, tassels, and fringe subjected In order to undergo restoration, the paint layer was fixed in 3% so- to the water treatment, and the pistol holsters, saddle, and deco- lution of fluoroplastic-42 (in the following mixture of solvents: ethyl rative rosettes of the saddle-blanket cleaned with moist tampons acetate, acetone, butyl acetate 1-1-1). The panels were cleaned soaked in soap solution. The surface of the embroidery was sub- in the water solution of a neutral detergent at the temperature jected to X-ray fluorescence tests and studied under a microscope. of 40°С and then rinsed in distilled water until the PH indicators In the process of restoration, the deformation of all the parts has were neutral. In the process, the staining and mottling was neutral- been considerably rectified. All the parts of the set (fabrics, gold ized, and the insect droppings removed. embroidery, wood, leather) were subjected to fixing treatments. The deformation and creases of the fabric were removed by sizing, The creased and cramped velvet pile was steamed into shape with i.e. application of 2% flour paste. a steam generator. The cuts on the velvet have been fixed, the tears In the areas with tears and cuts, the fabric was partially backed joined together, and losses replaced with identical velvet patches on tinted silk by pasting on 3% flour paste. and concealed. The loose sequins were sown back to the fabric, and The important experience amassed during the restoration of Chi- deformed sequins were ironed. The cotton-wool padding of the sad- nese silk wallpaper from the Menshikov Palace has made it possible dle-blanket has been reconstructed, and the stitching of the middle Saddle after restoration to conserve the panels and make them fit for display again. Discussion of restoration procedures in the lab

94 95 Restoration and Conservation Restoration and Conservation laboratory for scientific restoration by opaque light-blue glass instead of the dark transparent cobalt ink, watercolours, and aniline colours. Three posters were fully re- of chandeliers glass. The places of some bronze elements were swapped. stored during the training session, while the rest of the projects were The Laboratory carried out all the stages of the restoration process, completed by the trainees themselves. Headed by P. Khrebtukov with the exception of making curved glass panes and glass dishes. The second training session held as part of the programme, “The Ba- All the lost metal elements were replaced (bronze, brass, casting, sics of Restoring Museum Pieces Made of Leather, Including Ar- lantern from the study-cum-bedroom embossing, shaping, welding, gilding), and the extant ones returned chaeological Artefacts”, was led by Ye. Chekhova, a highly qualified of emperor alexander i to their proper shape. The Department of the History of Russian Cul- restorer from the Laboratory for Scientific Restoration and Conser- St Petersburg, 1790s ture helped to find replacement elements of crystal decoration and vation of Objects Made of Organic Materials (late October – early Restored by P. Khrebtukov a counterweight similar to the lost one, which had been listed as November 2011). Seven restorers took part in the training. Their an unidentified object and was also in need of restoration as it was tasks included learning how to store museum items made of leather In spring 2011, an eight-candle lantern made by the chandelier damaged. The lantern was then wired with the use of smaller Italian and acquiring basic leather conservation skills. maker Johann Zech from a design by the architect Giacomo Qua- lamp holders, which made it possible to make false candles as thin Practical lessons focused on items made of “new” leather, then pro- renghi was sent for restoration. The lantern was originally made for as possible. ceeded to archaeological artefacts provided by the SRLHM, as well the private rooms of Grand Duke Alexander in the Winter Palace; The irreplaceable lost glass elements – the curved glass panes of as ethnographic materials brought by seminar attendees. Differ- the room served as both study and bedroom for Grand Duke Nicho- the body of the lantern, the upper and lower dishes – were recon- ent methods of leather conservation and restoration were tested. las (Nicholas I) and later Grand Duke Alexander (Alexander II). structed on the basis of extant moulds and sketches by Macgrave, Restoration techniques included: the removal of dust, rectification During the Winter Palace fire of 1837, the lantern was badly dam- a company which specializes in making artistic objects of glass and of leather deformation and the reconstruction of the original shape, aged. The interior decoration of palace rooms, including lighting, crystal. Since all the curved glass elements were made using the reinforcing the leather in damaged areas, gluing pieces together was reconstructed according to their original look, following sur- same mould, but were meant to fit differently-shaped positions, with the use of backing materials, filling in losses with mastics. viving documents and drawings. But the lantern of the Study-cum- their sizes were adjusted in the Laboratory ahead of their instal- During the training session, seven archaeological and five eth- Bedroom, although badly damaged, was still extant and in need lation. Each glass pane was placed in a container full of water and nographic pieces underwent the complete restoration process. of restoration, which was duly carried out at the factory run by the gradually adjusted with the help of a drilling engine and a The work on four more items was completed by the restorers after they returned to their home museums. This was the first, “basic” bronze master A. Schreiber. The lost details were replaced during burr. The panes were then assembled. After the project was completed, the restored lantern could once programme dedicated to the restoration of leather items. A further this restoration. The lantern was then returned to its original place again be used for its original purpose. After the restoration of the training is scheduled for 2012. in the Study-cum-Bedroom (Room No. 172). The lantern underwent rooms dedicated to the Russian culture of the 18th century, it will be The activities of the Hermitage Restoration School were recognized another restoration in the 1880s, when electricity was installed in returned to its place in Alexander I’s Study-cum-Bedroom. by the Museum Olympus competition founded by the St. Petersburg the Palace. The coloured glass elements were replaced and the con- Committee for Culture and the Interdepartmental Museum Council struction of the suspended candelabrum was altered. The decoration (November 2011). The programme was a winner in the “St. Peters- of the room where the lantern was placed did not change until 1917. burg Prestige” category. In the 1930s, the lantern was dismantled and kept in storage. November 2012 will mark the 15th anniversary of cooperation be- In the 1970s, it was transferred to the Museum, tween the State Hermitage and the museums of Yekaterinburg and but in the late 1980s it was returned to the State Hermitage. Before the hermitage restoration school the Sverdlovsk Region. The Sverdlovsk Regional Local History Mu- it was sent for restoration, the lantern had been kept in dismantled programme seum has been selected as the venue for the 3rd Research and Prac- and partly ruined state. tical Conference “The Hermitage Restoration School: Conclusions The lantern is cylindrical in shape, tapering towards the bottom, and Coordinated by the restorer M. Michri and Prospects”. is comprised of four curved glass panes in the bronze gilded frame. The hoop of the frame is decorated with four male mascarons; above The programme, which was launched in 1997, continues to flour- it, mounted on four rods, is another hoop with a cut-through orna- ish and develop. Within the framework of the Restoration School, ment of with gilded “spurs” bearing crystal pendants. experts from the Department of Scientific Restoration and Conser- In the centre of the lantern there is a candelabrum pendant for eight hoop (48), three out of four suspension chains and four vation have provided extensive support in the preparation of exhibi- horns, with two baluster-like vases made of blue smalt glass; the bot- hooks for them, as well as the decorative counterweight with chains. tions and conservation of collections to the museums of Yekaterin- tom part of the pendant is shaped like a bronze cone and rosette with Only 23 pendants were preserved out of all the crystal decorations. burg, Sverdlovsk Region and other areas of the Urals and Western a floral ornament, which holds a glass dish. The candelabrum pen- One candelabrum horn was broken, and the remaining bobèches Siberia. dant is attached to the crown with fine chains by means of a coun- had been damaged by the electric lamp holders which were soldered The training sessions are held by the State Hermitage experts at one terweight. The lantern is suspended on four chains leading to the to them. All the remaining “spurs” of the hoops and fountains were of Yekaterinburg’s key museum centres: the restoration workshop crown, which looks like a bronze hoop with a glass dish. The central bent out of shape. And, of course, the bronze and crystal were cov- of the Sverdlovsk Regional Local History Museum (SRLHM). rod and four side rods connect the hoop to the plume, which is com- ered in grime which had accumulated over many years. In April 2011, the training session on “Restoration and Conserva- prised of three bronze wire fountains. The lantern is decorated with The restoration began with the study of the collected iconographic tion of Military Propaganda Posters of the 1930s and 1940s” pro- crystal pendants and festoons. and archival documents which bore evidence to the fact that the lan- vided a continuation for the graphic works restoration programme By the time it was sent for restoration, only two of the four curved tern had undergone at least two different restorations, during which taught under the supervision of Ye. Tatarinkova, a restorer working glass panes were extant, and those were badly chipped, cracked, the glass panes, the arrangement of crystal elements, and even part at the Laboratory for Scientific Restoration of Graphic Works. Six and incomplete. The lower glass dish was missing. The dish of the of the metal frame of the suspended candelabrum were all altered. restorers took part in the training. The selection of the topic was crown, made of opaque blue glass with a large fragment missing, did Both the shape and the colour scheme of the lantern underwent conditioned by the need to prepare a number of graphic works for not match its socket in either diameter or height. It must have been some changes. display, which presented challenges both in terms of techniques used made during the restoration in the 1880s, and an additional hoop After the restoration of 1839–1840, the shape of the lower dish and the state of preservation of the pieces. was made to keep it in place. Besides, the losses include one horn, was altered, the upper dish made of opaque glass was replaced Seven posters from the SRLHM collection were selected for practi- one bobèche (candle container), two drip pans (trays for catching by another one, made of dark transparent cobalt; the arrangement cal demonstration. The project was all the more challenging since melted wax), and two “spurs” of the upper candelabrum fountain, of the crystal pendants was changed. The work of the 1880s led to an individual restoration method had to be selected for each of the as well as two “spurs” on the lower hoop, and all the “spurs” of the the replacement of the upper dish and beads of the candelabrum exhibits, as the posters were made by hand or stencil using gouache, 96 97 Publications Publications

JJ Publications of 2011 catalogues of Temporary exhibitions

The Prado in the Hermitage. Exhibition catalogue. The State Hermitage Museum and the Museo ­Nacional del Prado. St. Petersburg: The State Hermitage Publishers, 2011. – 224 pp. Ills. The catalogue shows masterpieces of the collection of the Prado National Museum, the largest exhi- bition so far shown outside Spain. The catalogue includes works by outstanding Western European Collection catalogues and Spanish artists, such as Hieronymus Bosch, Raphael, Pieter Paul Rubens, Titian, El Greco, Diego ­Velásquez, and Francisco Goya. Thomas de Thomon. Works on Paper in the Hermitage. Collection catalogue. By Valery Shevchenko; The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2010. – 320 pp. Ills. The catalogue marks the occasion of the exhibition devoted to the work of the outstanding architect, Blitz and Blockade: Henry Moore at the Hermitage. Exhibition cata- representative of French Neoclassicism, who, at the beginning of the 19th century, considerably influ- logue. The State Hermitage Museum and the Henry Moore Foundation. enced the development of . Besides architectural designs and sketches, the cata- London: Fontanka Publications, 2011. – 144 pp. Ills. logue shows drawings and prints by Thomas de Thomon. The catalogue of the exhibition commemorating 70 years of the begin- ning of the Great Patriotic War (1941–1945) shows drawings by the British artist Henry Moore and the Russian architect Alexander Nikol- sky made during the Blitz in London and the Blockade in Leningrad Italian Painting. 13th – 16th Centuries. Collection catalogue. (now St. ­Petersburg). By Tatiana Kustodieva; The State Hermitage Museum. St. Peters- burg: The State Hermitage Publishers, 2011. – 448 pp. Ills.

The catalogue presents a collection of paintings by Italian artists Roads of Arabia. Archaeological Treasures of Saudi Arabia. Exhibition catalogue. The State of the 13th – 16th centuries. It is the publication of one of the largest ­Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 264 pp. Ills. and most famous collections of the Hermitage. The catalogue in- cludes 303 paintings, four of which are published for the first time. The catalogue of the exhibition of archaeological finds of the loaned by museums of Saudi Arabia, includes both pre-Islamic works and those connected with the rise of Islam and the holy cities Mecca and Medina, as well as the formation of the Kingdom of Saudi Arabia.

Annie Leibovitz. A Photographer`s Life. 1990–2005. Exhibition catalogue. Translation from the English, introduction and compi- Monuments of Byzantine Applied Arts. 9th – 15th Centuries. Collection catalogue. By Vera Zaless- lation by Yekaterina Lopatkina; The State Hermitage Museum. kaya; The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, St. Petersburg: The State Hermitage Publishers, 2011. – 128 pp. Ills. 2011. – 256 pp. Ills. The catalogue demonstrates works by the modern photographer The catalogue includes c. 500 works, different in shape, technique and ornamentation. The catalogue ­Annie Leibovitz, reflecting her evolution as an artist during the pe- continues the series devoted to works of Byzantine applied art, started in 2006. riod of fifteen years, from 1990 to 2005. In addition to portraits of eminent personalities, the catalogue includes pictures from Annie Leibovitz’s archive.

Dialogues. Baroque Paintings from Andalusian Museums. Exhibition catalogue. Granada: Esparvel Libros, 2011. – 264 pp. Ills. German Medals of the 16th Century. Collection catalogue. The catalogue of the exhibition devoted to Baroque painting from Andalusian museums demonstrates By ­Yevgenia Shchukina; The State Hermitage Museum. St. Peters- works by great Andalusian artists such as Zurbarán, Alonso Cano, Murillo and Valdes Leal. The exhibi- burg: The State Hermitage Publishers, 2011. – 240 pp. Ills. tion was shown as part of the Year of Russia in Spain and the Year of Spain in Russia programme. The catalogue includes 380 commemorative medals, many of which are published for the first time. The miniature sculptures of the elite type, which arose at the German Baroque period, represent a richest Dialogues. Baroque Paintings from Andalusian Museums. Exhibition iconographic and heraldic fund. The catalogue also contains brief catalogue. By Ludmila Kagane. The State Hermitage Museum. St. Peters- information on the artists. burg: The State Hermitage Publishers, 2011. – 68 pp. Ills. The catalogue was published for the exhibition featuring the art of Spain’s southern region, Andalusia. Twenty-four paintings from the museums of Se- ville, Granada, Cordoba and Cadiz offered a unique opportunity of learning more about the “golden age” of Spanish painting, i.e. 17th century.

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Painting and Sculpture in Rome in the Second Half of the Eighteenth Century. Exhibition catalogue. Italian Nineteenth-Century Painting. From Neoclassicism to Symbolism. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 240 pp. Ills. The State Hermitage Museum. Genève and Milano: Skira, 2011. – 240 pp. Ills. The book presents Neoclassical painting and sculpture created in Rome in the second half of the 18th The catalogue of the exhibition from Musei Civici di Pavia presents a wide range of eighteenth-century century. The catalogue includes 48 paintings and 26 sculptures from the collections of the State Hermit- paintings typical of the Italian art milieu at the time. age and other museums of St. Petersburg, plus articles on Roman, German and French artists working in Rome in the second half of the 18th century.

Lomonosov and the Time of Elizabeth I of Russia. Exhibition ­catalogue. By Natalya Guseva; The State Hermitage Museum. Antony Gormley. Still Standing. A Contemporary Interven- St. Petersburg: The State Hermitage Publishers, tion in the Classical Collection. Exhibition catalogue. The State 2011. – 596 pp. Ills. Hermitage Museum and the Antony Gormley Studio. London: Fontanka Publications, 2011. – 128 pp. Ills. The catalogue of the exhibition on the occasion of Mikhail Lomono- sov’s 300 years shows over 700 items of the time of Elizabeth I This is the catalogue of the exhibition of the modern British sculptor of Russia. The book reflects the many aspects of Lomonosov’s talent. Antony Gormley shown in Classical Antiquity rooms of the Hermit- age. Seventeen statues were created specially to be displayed in the Roman Courtyard of the New Hermitage. Besides, classical statues from the Hermitage collection, removed from the pedestals, were displayed at the spectator’s level. The Age of the Daguerreotype. Early Photography in Russia. Exhibition catalogue. The State ­Hermitage Museum. St. Petersburg: The State Hermitage Publishers 2011. – 168 pp. Ills. The catalogue demonstrates early examples of photography, 1840s – 1850s, from the collections of the State Hermitage, the Museum of Literature of the Institute of Russian Literature of the Russian Acad- In the Shade of the Cross. Western European Crosses and Crucifixes of the 8th – 19th Centuries. emy of Sciences and the Library of the Russian Academy of Arts. Many of the daguerreotypes are pub- From a Private Collection, Milan. Exhibition catalogue. The State Hermitage Museum. St. Peters- lished for the first time. burg: The State Hermitage Publishers, 2011. – 108 pp. Ills. The book contains 40 Western European crosses in different styles and techniques. Several introductory articles deal with the history of the collection, the significance of the cross in the system of Christian Palaces, Ruins and Prisons. Giovanni Battista Piranesi and Italian symbols and the common roots of Italian and Russian art. Eighteenth-Century Architectural Fantasies. Exhibition catalogue. By Arkady Ippolitov, Militsa Korshunova and Vasily Uspensky; The State Hermitage Museum. St. Petersburg: The State Hermit- “Around this Place the Memories are Alive”. Alexander age Publishers, 2011. – 400 pp. Ills. Menshikov`s Palace: 1711–2011. (To Mark the 300th Anniversary The catalogue demonstrates Piranesi’s early work, viz. rarest first of Menshikov Palace and the 30th Jubilee of the “Russian Culture prints of the engraved architectural fantasies series from Count of the First Third of the 18th Century” Exhibition in Menshikov Heinrich von Brühl’s album. Piranesi’s biography by Jacques-Guil- Palace). Exhibition catalogue. The State Hermitage Museum. laume Legrand based on the personal communication of Piranesi’s St. Petersburg: The State Hermitage Publishers, 2011. – 256 pp. Ills. son, Francesco, is published for the first time. Catalogue of the exhibition devoted to 300 years of Alexander Menshikov`s Palace and thirty years of the Russian Culture of the Exhibition catalogue. The State Hermitage Museum. First Third of the 18th Century exhibition of the State Hermitage From Birch Bark to Paper. The Book in Old Rus’. St. Petersburg: The State Hermitage Publishers, 2011. – 120 pp. Ills. in it. The catalogue shows paintings, drawings and works of applied art, as well as documents and photos reflecting different aspects Catalogue of birch barks from the Novgorod State Museum-Reserve shown at the exhibition devoted of court life, from the collections of the State Hermitage, the Muse- to medieval writing and book culture: birch barks, styluses, cerae, and manuscript and printed books ums of the Moscow Kremlin, the Russian Museum and other muse- of the 10th – 17th centuries. ums of Moscow and St. Petersburg.

Architecture in Islamic Arts. Treasures of the Aga Khan Museum. Exhibition catalogue. The State Hermitage Museum. St. Peters- Pool in a Harem and Other Works by Jean-Léon Gérôme in the Hermitage. Exhibition catalogue. burg: The State Hermitage Publishers, 2011. – 248 pp. Ills. By Аlexander Babin; The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 92 pp. Ills. The catalogue of the temporary exhibition of Islamic architecture, demonstrates its forms and evolution from the beginning of Islam Catalogue of a temporary exhibition on the occasion of the completion of the restoration of Pool in a Ha- to the 19th century. The catalogue shows architectural elements and rem by Jean-Léon Gérôme stolen from the Hermitage in 2001 and returned in 2007. Besides the Pool depictions of buildings in miniatures, as well as works of applied in a Harem, the catalogue contains other works by Gérôme preserved in the Hermitage collection, viz. art influenced by Islamic architecture, from all the regions of the three paintings, an engraving after a work by him, and two sculptures. The process of restoration is de- Islamic world, from Spain to India. scribed in the article by Tatiana Alyoshina and Maria Shulepova.

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Herculaneum Antiquities. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: Print, Italian Baroque Paintings and Sculptures from the Collection of the Hermitage Museum. Exhibition 2011. – 144 pp. Ills. catalogue. St. Petersburg: Slavia, 2011. – 96 p. Ills. Catalogue of the exhibition of ancient frescoes, bronze statues and other finds from Herculaneum, The catalogue of the exhibition, held at the Hermitage • Vyborg Exhibition Centre (30 September 2011 – the city destroyed as a result of an eruption of Vesuvius in 79 A.D. 25 March 2012) includes created between 1600 and 1750 and Italian paintings, from the Hermitage collection, many of these exhibited for the first time.

Sculptor Boris Vorobyov. Porcelain, Graphic Works. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State The Russian Descendants of the French Empress: the Dukes of Hermitage Publishers, 2011. – 248 pp. Ills. Leuchtenberg in St. Petersburg. Exhibition catalogue. St. Petersburg: Catalogue of the exhibition in the Christmas gift series, devoted to the ARS, 2011. – 136 p. Ills. sculptor Boris Vorobyov of Leningrad (now St. Petersburg). The cata- Catalogue of the exhibition held at the state rooms of Rumyantsev’s logue contains works of porcelain (animalistic sculpture and a series Mansion (6 October 2011 – 1 February 2012), devoted to the history of literary characters) after Vorobyov’s models made at the Leningrad of the Russian branch of the Leuchtenberg-Beauharnais family and their (Imperial) Porcelain Factory between in the 1930s – 1970s. collection, now in the Hermitage.

The World of Russian Nobility. Life and Amusements. Historicism Epoch. Exhibition catalogue. The Hermitage in Photographs–2011. Exhibition catalogue. The State Hermitage Museum. The State Hermitage Museum and the St. Petersburg Culture Palace of Education Workers (Yusupov St. Petersburg: The State Hermitage Publishers, 2011. – 192 pp. Ills. Palace). St. Petersburg: Chisty List, 2011. – 192 p. Ills. Pictures of the life of the museum in 2011. The catalogue of the exhibition at the Yusupov Palace (11 October 2011 – 31 January 2012) includes paintings, works of applied art and costumes from the Hermitage collection, connected with the life of the Russian nobility. catalogues of the hermitage exhibitions on loan

Artistic Weapons from the State Hermitage Collection. Exhibition catalogue. St. Petersburg: Slavia, Images of Italy. Seventeenth- to Nineteenth-Century Western 2010, – 272 pp. Ills. European Painting from the State Hermitage Collection. Exhibi- tion catalogue. St. Petersburg: Slavia, 2011. – 132 pp. Ills. The catalogue of the exhibition held at the Kazan Kremlin State Historical and Architectural Reserve, the Hermitage • Kazan Centre (10 February – 6 November 2011 г.), includes specimens of the art of the The catalogue of the exhibition held at the Art Gallery Museum weapon of different countries and epochs. of the Region of Kaliningrad (18 November 2011 – 12 Febru- ary 2012) ­includes paintings and drawings by Italian artists and those of other Western European schools influenced by Italian art.

East and West: The Art of the Islamic World. Exhibition catalogue. St. Petersburg: Slavia, 2011. – 96 pp. Ills. Spanish Art from the State Hermitage Collection. Exhibition catalogue. St. Petersburg: Slavia, Catalogue of the exhibition, held at the Hermitage • Vyborg Exhi- 2011. – 240 p. Ills. bition Centre (28 February – 16 September 2011) devoted to the The catalogue of the exhibition held at the Kazan Kremlin State Historical and Architectural Reserve. Hermitage collection of the art of the Muslim world. The Hermitage • Kazan Centre (24 November 2011 – 27 May 2012), devoted to the Hermitage col- lection of Spanish art from the 12th to the early 20th centuries, includes paintings, drawings, works of ­applied art and weapons.

The Master and His Creation. Western European Painting, Sculpture and Graphic Art from the State The Light of the Renaissance. Paintings and Sculptures by Italian Hermitage Collection. Exhibition catalogue. St. Petersburg: Slavia, 2011. – 112 p. Ills. Artists from the State Hermitage Collection. Exhibition catalogue. The catalogue of the exhibition, held at the Vladimir Sukachev Museum of Arts of the Region of Irkutsk St. Petersburg: Slavia, 2010. – 32 pp. Ills. (23 August – 30 October 2011) includes paintings and sculptures of the 16th – 18th centuries, typical The catalogue of the exhibition held at the Republican Museum of Arts of various Western European schools, as well as engravings by renowned Western European artists. of the Mari-El Republic (22 November 2011 – 15 January 2012) is con- cerned with the schools of Italian Renaissance.

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L’Ermitage. La naissance du musée imperial. Les Romanov. Tsars collectionneurs. Paris: Pinaco- Rubens, Van Dyck and Jordaens. Flemish Painters from the Hermitage. – Amsterdam: thèque de Paris, 2011. – 35 pp. Ills. Hermitage • Amsterdam, 2011. – 256 pp. Ills. Catalogue of the exhibition, The Hermitage: The Birth of the Imperial Museum. The Romanovs, Tsar- The catalogue of the Rubens, Van Dyck and Jordaens. Flemish Painters from the Hermitage exhibition, Collectors at the Pinacotèque de Paris from 21 January to 15 September 2011, devoted to the history at the Hermitage • Amsterdam Centre, from 17 September 2011 to 16 March 2012, includes paintings of the Hermitage collection. and drawings by the renowned Flemish artists.

Omaggio a Lorenzo Lotto. L dipinti dell’Ermitage alle Gallerie Glans en glorie. Kunst van de Russisch orthdoxe kerk. Amsterdam: dell’Accademia. By Roberta Battaglia and Matteo Ceriana; Venice: ­Hermitage • Amsrerdam, 2011 – 248 pp. Ills. Marsilio, 2011. – 184 pp. Ills. The catalogue of the Splendour and Glory. The Art of the Russian Orthodox Catalogue of the exhibition, Homage to Lorenzo Lotto: Paintings from the Church exhibition at the Hermitage • Amsterdam centre from 19 March Hermitage in the Galleries of the Academy (24 November 2011 – 20 Janu- to 16 September 2011 includes objects of church art, icons, fresco frag- ary 2012) devoted to two paintings by Lotto, Portrait of a Married Couple ments, liturgical vessels, vestments, etc. and Madonna delle Grazie, from the Hermitage collection.

Ermitage. Tesoros de la Arqueología rusa. Alicante: MARQ, 2011. – 272 pp. Ills. Catalogue of the Archaeological Treasures of the Hermitage exhibition at the Archaeological Museum El Ermitage en el Prado. By Svyatoslav Savvateyev; The Museo Nacional del Prado, Museo Estatal of Alicante, Spain, from 15 April – 15 November 2011, devoted to the history of the Hermitage archaeo- del Ermitage, Acción cultural espaňola. Madrid, 2011. – 336 pp. Ills. logical collection and the Hermitage archaeological expeditions. The catalogue of the Hermitage in the Prado exhibition (7 November 2011 – 25 March 2012) includes masterpieces of painting, drawing, sculpture and applied arts, and archaeological finds from the collec- tion of the State Hermitage.

Luokaamme uusi maailma! Agitaatioposliini ja nuori neuvostoliitto. Tampere: Vapriikki, 2011. – 176 pp. Ills. L’Ermitage a Padova. Un ommaggio a Rembrandt. Milano: Catalogue of the exhibition, “We will Build a New World.” Early Soviet Skira editore, 2011. – 96 pp. Ills. Porcelain from the State Hermitage Collection at the Museum of Tampere, The catalogue of the exhibition, Homage to Rembrandt. The Hermitage Finland, from 27 May to 30 October 2011, devoted to post-Revolutionary in Padua, held at the City Museum in Padua from 25 November 2011 porcelain and graphic arts. to 15 February 2012, includes the renowned paintings by Rembrandt, Portrait of an Old Woman (1654) and Portrait of an Old Jew (1654), from the Hermitage collection.

Glass Admired by the Russian Tsars. History of European and Russian Glass from the Collection of the State Hermitage Museum. Tokyo: Art Impression Inc, 2011. – 256 pp. Ills. Catalogue of the exhibition, Glass Admired by the Russian Tsars. History of European and Russian Glass from the Collection of the State Hermitage Museum shown in several Japanese cities, from 9 June Reports of the state hermitage Museum to 6 November 2011, devoted to the history of Western European and Russian glass-making in the 16th – 20th centuries. Reports of the State Hermitage Museum. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – [Vol.] 69. – 240 p. Ills. Lydia Liakhova. Ars longa, vita brevis. Eighteenth-Century Meissen Annual publication devoted to recent results of research, keeping, restoration and exhibiting of works Porcelain in the Modern Museum. Fondazione Prada – Ca’ Corner della of art. Special sections are devoted to the most important acquisitions of the recent years, newly opened Regina. Germano Celant. Milan, 2011. – 226–235 pp. Ills. or renovated exhibitions and studies on the history of the Hermitage; the materials in the Memoria sec- tion deal with the biographies of outstanding Hermitage personalities. Published in Russian and English. This is an article devoted to the exhibition held within the Biennale-2011 programme from 4 June to 27 November at Ca’ Corner della Regina, Ven- ice which deals with the 1730s – 1760s productions of the Meissen Porce- lain Factory presented as an installation. Transactions of the State Hermitage Museum

Transactions of the State Hermitage Museum LV. St. Petersburg. Egyptological Readings 2009–2010. Papers of the Conference. The State Hermitage Museum. St. Petersburg: Dmitri Prigov: Dmitri Prigov. Venice: Eventi collaterali, 2011. – 381 pp. Ills. The State Hermitage Publishers, 2011. – 330 p. Ills. Catalogue of the exhibition held within the Biennale-2011 programme from 4 June to 27 November Papers from the St. Petersburg Egyptological Conference of 2009–2010, on the most important prob- at Ca’ Foscari University, Venice, from 4 June to 15 October. The core of the catalogue are works given lems of Egyptology, including political history, history of religion and ideology, epigraphics and palaeog- to the State Hermitage as a gift by the Dmitry Prigov Foundation. raphy, and individual groups of monuments. The period covered is from Pre-Dynastic to Greco-Roman. 104 105 Publications Publications

Transactions of the State Hermitage Museum LVI. In Memory of Vladimir Levinson- the curator series (02.03.1893 – 27.06.1972). Proceedings of the Conferences. 2006–2007. The State Hermitage ­Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 218 pp. Ills., 16 colour plates. Pomarnatsky, Andrei. Biographic Prose. Family Chronicles. Essays. The State Hermitage Museum. Materials of Vladimir Levinson-Lessing memorial conferences devoted to Rembrandt (2006) and the St. Petersburg: The State Hermitage Publishers, 2011. – 440 p. Ills. history of the Hermitage collections (2007). Besides, the volume includes papers given at the Rubens Another publication in the Curator series, devoted to the literary heritage of the Hermitage curator and and Classical Tradition conference held at the Hermitage in 2007. researcher, Andrei Pomarnatsky, who worked at the museum in the post-war years. It includes memoirs, excerpts from the war-time diaries, family stories, and philosophic essays.

Transactions of the State Hermitage Museum LVII. Balkan Studies. Meet- ing the 22nd International Congress of Byzantine Studies. Sofia, Bulgaria, pedagogical and educational editions 22–27 August, 2011. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 394 p. Ills., 8 colour plates. the hermitage collection series Publication prepared by the Oriental Department of the State Hermitage for the 22nd International Congress of Byzantine Studies (Sofia, Bulgar- The State ia, 22–27 August, 2011). The volume consists of two parts, one devoted to Ukhanova, Irina. Toys in the Collection of the State Hermitage. Hermitage Museum. St. Petersburg: The State Hermitage Publishers, the publication of atrefacts reflecting historical and cultural significance 2011. – 200 pp. Ills. of the both as part of the Byzantine Empire and after the Ottoman invasion, part two, From Cultural Heritage, containing materials connect- The book is devoted to the collection of toys and table games of the 19th – 20th ed with the outstanding scholars, Alisa Bank, Dmitry Ainalov, Fedor Mo- centuries, preserved in the collection of the State Hermitage. The collection rozov, Vasily Georgiyevsky, Ivan Spassky and Vladimir Levinson-Lessing. includes dolls, tin soldiers, rattles and constructional clock-work toys.

Transactions of the State Hermitage Museum LVIII. Personalities from Peter the Great`s Time – In brevi series 2011. Marking the 30th Anniversary of the Menshikov Palace, a Department of the State Hermitage Museum (1981–2011). Proceedings of the Academic Conference. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 404 p. Ills. Brodskaya, Natalya. Paris in the Hermitage. The State Hermitage Museum. St. Petersburg: The State Materials of the annual conference held at the Menshikov Palace Department of the State Hermitage, Hermitage Publishers, 2011. – 64 pp. Ills. devoted to different aspects of history and culture of Peter the Great`s time. The publication includes ar- The book, concerned with the French painting of the second half of the 19th to early 20th centuries from ticles on Peter the Great, Alexander Menshikov and their contemporaries, as well as articles concerned the collection of the State Hermitage, allows one to see Paris through the eyes of renowned artists. with eighteenth-century cultural monuments from the collections of the Hermitage and other museums. Many of the works of art and archival materials, used as the basis of research, are published for the first time. the and buildings series

monographs Matsenkov, Sergei. Lofts of the Hermitage. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 112 pp. Ills. . The State Hermitage Museum. Printseva, Galina. The Siberian Route of Pavel Piasetsky The book deals with the lofts of the main buildings of the State Hermitage St. Petersburg: The State Hermitage Publishers, 2011. – 274 pp. Ills museum complex. A story of a curious space above the state rooms, its archi- The book is devoted to watercolours by the artist and traveller Pavel Piasetsky, who created a panoramic tecture and history. view of the Trans-Siberian Railway, then under construction. The book contains an 80-min. video film depicting a trip along the Trans-Siberian route and showing Siberia as it was at the end of the 19th century. the hermitage masterpieces series

Zasetskaya, Irina. Treasures from the Khokhlach Barrow. Novocherkassk The Peacock Clock. 2nd ed., revised and corrected. By Juna Zek, Yury Semyonov and Mikhail Guryev; Hoard. The State Hermitage Museum. St. Petersburg: The State Hermitage The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 44 pp. Ills. Publishers, 2011. – 328 pp. Ills. Devoted to one of the most popular exhibits of the Hermitage, the book offers a story of its origin, music First publication of the entire collection of antiquities known as Novocher- and mechanism. kassk Hoard from the Khokhlach Barrow. The monograph presents the history of the study of the burial complex, from its discovery to excavation and study, Collected Articles and detailed descriptions of each find.

The Museum and Problems of “Cultural Tourism”. Materials of the 9th Round Table: 12–13 April 2012. The State Hermitage Museum. St. Peters- The Two Holy Objects Regained. Futuh al-Haramayan. A Sixteenth-Century Manuscript from burg: The State Hermitage Publishers, 2011. – 188 pp. Ills. the ­Collection of the State Hermitage Museum. Ed. by Mikhail Piotrovsky; St. Petersburg: Slavia, Materials of the Round Table devoted to the exchange of experiences between 2011. – 122 pp. Ills. Russian and foreign museums. Facsimile edition of the manuscript with articles by Mikhail Piotrovsky and Adel Adamova.

106 107 Publications Electronic editions and video films

The Art of Jewellery and Material Culture. Abstracts of Papers of the 19th Seminar (18–21 April In 2011, two multimedia thematic albums were published on the 2011). The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 132 pp. website of the State Hermitage. The albums were created within Abstracts of papers given at the 19th Art of Jewellery and Material Culture seminar held at the Hermit- the distant education programme developed by the Hermitage for age since 1996, by experts in various spheres, viz. archaeologists, gemmologists, historians, art schol- several years. The Art of Flanders multimedia edition is devoted ars, anthropologists, specialists in archival science, designers, artists and jewellers. In combination, to one of the most important collections of the Hermitage, that they give an overall picture of the state of the art. of seventeenth-century Flemish art. The course French Art: from the Impressionists to Picasso, based on the work of the leading painters, presents a wide panorama of French art from the mid- The Sixteenth All-Russia Numismatic Conference. Abstracts of papers: 18–23 April 2011.The State nineteenth century to 1914. The editions include over 200 paintings Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 270 pp. Ills. from the Hermitage collection, in high resolution. The programmes Abstracts of 128 papers given at the Sixteenth All-Russia Numismatic Conference at the State Her- are intended for a wide audience interested in the , mitage by numismatists from the leading museums and research institutes of Russia and the West, on including pupils of senior schools and University students. the problems of numismatics, medallurgy, phaleristics and bonistics of Classical Antiquity, Byzantium, Western Europe, Orient and Russia, as well as the history of numismatics. Video film is a format for presenting museum activities to a wide circle of spectators. In 2011, the Hermitage produced eleven films devoted to temporary exhibitions to be presented on the Internet. reports of archaeological expeditions A complete production cycle is the responsibility of the department for the production of electronic editions; it includes work on script, Materials of the South-Crimean Archaeological Expedition: Report of the Archaeological Studies direction, design, shooting, editing and sound recording. of the Medieval Fortress Chembalo (Balaklava) for 2010: Issue VIII. By Svetlana Adaksina, V. Myts and S. Ushakov; The State Hermitage Museum and the Crimean Branch of the Institute for Archaeol- ogy of the Ukrainian National Academy; National Reserve “Khersonesos of Tauride”. St. Petersburg, In 2011, films were made for the exhibitions, Thomas de Thomon. 2011. – 164 p. Ills. Works on Paper in the Hermitage, Russian Painted Lacquers. 18th to 20th Centuries, Mikhail Lomonosov and the Time of Elizabeth I of Russia and From Birch Bark to Paper: The Book in Old Rus’. Films Materials of the Penjikent Expedition: Issue XIII: Report of the Fieldwork of the Expedition for 2010. with curators’ lectures were made for the exhibitions, Herculaneum The State Hermitage and the Akhmadi Danish Institute for History, Archaeology and Ethnography Antiquities and Architecture in Islamic Arts. Treasures of the Aga of the Academy of Sciences of the Republic of Tajikistan. St. Petersburg, 2011. – 145 p. Ills. Khan Museum. A one-and-a half hour film The Siberian Route of Pavel Piasetsky, included into the book under the same title, Materials of the Bukhara Archaeological Expedition: Issue XI: Report of Excavation in Paikend allows one to make a virtual trip to Siberia of the turn of the 20th for 2009–2010. The State Hermitage Museum and the Yakhya Gulyamov Institute for Archaeology century, which the artist depicted in a panorama 850 m long. of the Academy of Sciences of the Republic of Uzbekistan. St. Petersburg, 2011. – 192 pp. Ills. To the discovery and restoration of The Fugitive Slave by Vladimir Beklemishev is devoted the film made specially for the exhibition Methodological Editions of the sculpture. The films dealing with the work of the Laboratory for Scientific Restoration of Mural Painting and Laboratory for The Fifth Pazyryk Barrow in the State Hermitage Exhibition. Methodological edition. By P. Azbelev; Scientific Restoration of Precious Metals were shown at the salon The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 32 p. Ills. exhibition Restoration. Salon of Art Restoration and Conservation of Objects of Cultural Heritage in Ferrara (Italy). The Hermitage in the Years of the Siege. Guided tour route. Methodological edition. By Ludmila Voronikhina. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – All the films are accessible at the Website of the State Hermitage 270 p. Ills. Museum and the Hermitage YouTube resource.

In 2011 a DVD of Mikhail Piotrovsky’s author programme varia My Hermitage was released with support of LLC Amphora. It has several chapters dealing with the Hermitage’s history, Oriental art, Bolshakov, Andrei. Ancient Egipt (sic) in the Hermitage. Recent Discoveries. The State Hermitage masterpieces of the museum and covering the Hermitage collections Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 176 pp. Ills. and activities in all their variety. The book deals with the discoveries made in the recent decades in the study of the Hermitage Egyptian collection. It is intended for a wide circle of readers interested in the culture of .

The Hermitage. Menshikov’s Palace. St. Petersburg: Alpha-Colour, 2011. – 96 pp. Ills. A history of and guidebook to Menshikov’s Palace.

Thomas de Thomon. Treaty on Painting Prefaced by Reflection on the Origin of Arts. The State ­Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2011. – 144 pp. Ills. Simultaneous with the catalogue of the collection, it is the publication of Thomas de Thomon’s treaty containing his view on a number of artists, as well as art generally.

108 109 Conferences Conferences

In the Memory of Vladimir Lukonin International conference: Islam in Russia. Experience of a Dialogue between Civilizations 26 January With St. Petersburg State University Annual conference devoted to ancient and medieval Orient. 20 June The conference was held in connection with the exhibition, Roads of Arabia. Archaeological Treasures In the Memory of Boris Piotrovsky of Saudi Arabia. The main topics of the conference were the history of Islam in the 15 February and the , today’s problems of interconfessional relations, and problems connected with the revival of Moslem traditions and education. Annual meeting devoted to a wide circle of problems of archaeology and ancient history, and new discoveries in various spheres of research carried out in the Hermitage Museum. The Twelfth International Congress on Oriental Carpets 21 June The Problems of Cultural Tourism round table Participants of the congress held in Stockholm paid a visit to the textile collections of the Oriental 7–8 April and Classical Antiquity Departments. Annual seminar, devoted to the exchange of experiences in the sphere of tourism and cultural programmes, of the Hermitage and other museums of Russia and other countries. Bukhara Oasis in Ancient and Medieval Times. Dedicated to 30 Years of the Bukhara Archaeological Expedition The Nineteenth Seminar: The Art of Jewellery and Material Culture 22–24 August, Bukhara 18–21 April The conference was held in connection with 30 years of the excavations in Paikend by the joint expedition Annual seminar devoted to jewellery of different periods, from ancient times to modern artists’ produc- of the State Hermitage and the Institute for Archaeology of the Academy of Sciences of the Republic of tions. Uzbekistan and concerned with problems of history, archaeology, ethnography and writing of Central Asia. Interpretation of the Text in the Culture of the Christian Orient: Translation, Commentary, All-Russia Numismatic Conference Poetic Treatment 18–23 April 14–16 September The Sixteenth All-Russia Numismatic Conference devoted to problems of numismatics, medallurgy, The conference was devoted to problems of text interpretation in different Churches and traditions, phaleristics and bonistics of Classical Antiquity, Byzantium, Western Europe, Orient and Russia, as well with the participation of scholars from Russia, Germany, Bulgaria, Italy, the USA and Norway. as the history of numismatics. The conference was attended by scholars from St. Petersburg, Moscow and other cities of Russia, as well as Lithuania, Belarus, Ukraine, Belgium and Greece. Sphragistics, Numismatics and Heraldry of the Medieval Crimea 12–14 November Seminar of the Mellon Foundation Photography Advisory Board The conference dealt with the results and perspectives of the studies carried out by the Hermitage 19–21 April and Crimean research institutions within the joint research project. The meeting was concerned with the programme of photography keeping, research and restoration at the Hermitage. The Time of Peter the Great Represented by Its Personalities – 2011 22–23 November Museums under the Federal Law No. 94 Annual conference devoted to the time Peter the Great. With the Union of the Museums of Russia Bosporus Phenomenon: Population, Languages, Contacts 18–20 May With the Institute of the History of Material Culture, Institute for Linguistic Studies and the South- The conference was concerned with the problems connected with the application of No. 94 Federal Law Russian Centre for Archaeological Research of 21 July 2005, resulting in situations adverse to museums’ proper fulfillment of their major functions 22–25 November (storage and preservation, exhibiting and availability of art works to the public etc.). Conference on the history and culture of Bosporus. The Third Congress of Peter the Great Cities: Relics of Peter the Great in Russian Mikhail Lomonosov and the Time of Elizabeth I of Russia and European Collections 23–25 November With the Dmitry Likhachev Foundation The conference was organized in connection with the exhibition under the same title, with the participation 8–10 June of scholars from the State Hermitage and other museums and research institutions of St. Petersburg. The aim of the congress devoted to the study of the time of Peter the Great and its heritage is cultural integration of Peter the Great towns and cities of Russia and cooperation with European cultural Archaeological Session and research institutions. The theme of the Third Congress of Peter the Great Cities is Relics of Peter 29–30 November the Great in Russian and European Collections. Final report for the 2011 excavation period.

Seminar: Methodological, Organizational and Practical Problems of Protection and Existence Vladimir Levinson-Lessing Memorial Conference of Architectural and Archaeological Monuments under Developing City Environment 15–16 December 16–17 June Annual conference on the history and attribution of museum collections. The significance of the theme of the seminar was responsible for attracting many archaeologists from the Russian Academy of Sciences and Universities, as well as members of the Legislative Assembly Heraldry, as an Auxiliary Historical Discipline of St. Petersburg. Traditional monthly seminar on the problems of heraldry. 110 111 Conferences Conferences

International conference: Islam in Russia. International conference: Interpretation of the Text Experience of a dialogue between civilizations in the Culture of the Christian Orient: Translation, Commentary, Poetic Treatment

The conference was held within the programme devoted to the Roads of Arabia. Archaeological Treasures of Saudi Arabia exhibition, organized by the State Hermitage and St. Petersburg State The conference was devoted to text interpretation by different Churches and traditions, both in literature University, with the support of the Ministry for Culture of the Russian Federation. Participants of this and visual arts. The papers given were on the problems of Byzantine history, culture and the tradition event of both scholarly and public significance were renowned Orientalists, historians, politologists, and of the book, including those connected with Slavonic ecclesiastical writings and their ties with other representatives of Islamic clergy from St. Petersburg, Moscow, Tatarstan and . traditions of Eastern Christianity, primarily Byzantine. The main topics of the conference were the history of Islam in the Russian Empire and the Soviet Union, The themes of the conference included the Syrian writing tradition and its influence on other Christian today’s problems of interconfessional relations, and problems connected with the revival of Moslem literatures, studies of Syrian apocrypha and hagiographic works and the connection of Syrian traditions and education. A special meeting was devoted to the history of Russian and Soviet Islamic “Renaissance literature” (11th – 14th centuries) with earlier texts. studies and the training of experts in this area. The papers focused on the problems of the evolution of Arab-Christian, Ethiopian and Georgian It should be noted that the conference had a symbolic significance, being held in a museum with a richest traditions, transformation of literary plots, comparative liturgics, and Manichean writings. collection of Islamic art, and in this way, demonstrating close ties of Islam with European art and Similar conferences are to be held in the Hermitage on a regular basis, with the publication culture. The conference is an organic part of the Hermitage research and exhibition programme, which of the materials in The Christian Orient. includes several permanent and temporary exhibitions devoted to Moslem art and culture, organized in the recent years. Participation in the conference of both Moslem theologians and lay scholars, as well as individuals representing different worldviews and traditions, was conducive to serious discussions, fairly heated at times. Nonetheless, all the speakers stressed the importance of this conference and the necessity of similar meetings in future. Mikhail Lomonosov and the Time of Elizabeth I of Russia

International conference: Bukhara Oasis in Ancient The conference was held in connection with the exhibition under the same title, with the participation of scholars from the State Hermitage and other museums and research institutions of St. Petersburg. and Medieval Times The conference covered a wide range of themes. The major topic of the first day of the conference was studies connected with Lomonosov’s research into electricity, Northern lights and chemistry, as well as his contribution to glass-making and Russian history. Some of the papers were true discoveries Paikend is one of the most interesting and most thoroughly studied archaeological sites of Central in respective domains, such as Lomonosov’s Priority in the Study of the Northern Lights in Russia Asia, which in many respects can be regarded as model for the advanced medieval period. The city and Europe, accompanied by a film created on the basis of the Kola Scientific Centre of the Russian was an important trade centre on the Silk Route, as well as a centre of Moslem education mentioned Academy of Sciences. The participants were able to see the Land of Lomonosov Internet Atlas, with the in many medieval written sources including the Shah-Nama. It has long attracted scholars’ attention. demonstration of its software. The excavation started in the 1930s was interrupted during WWII, but resumed in 1981 by the joint Another aspect of the conference was new studies of archival materials reflecting the various and varied expedition of the State Hermitage and the Institute for Archaeology of the Academy of Sciences interests of the great scientist and scholar, as well as earlier celebrations of his jubilees. of the Republic of Uzbekistan. For many years, the head of it was Grigory Semyonov, renowned expert Several sessions were devoted to Russian and Western European Baroque art, some of the papers in Central Asian archaeology and head of the Oriental Department of the State Hermitage. To his presenting new facts, previously unknown, about eighteenth-century monuments, fairly well-known, memory the conference was dedicated. as it were. During the many years of its existence, the Bukhara expedition carried out large-scale excavations in the The materials of the conference will be published in the 2012 Transactions of the State Hermitage territory of Paikend, discovered and explored a number of monuments of religious and civil architecture. Museum, which will be of interest to the wide circle of readers, due to the scope of the topics covered. The results attracted attention of experts all over the world; numerous finds were added to the collection of the Bukhara National Museum of Art and Architecture. An important event was the opening in 2002 of a branch museum in Paikend, which can now boast many exhibits that have no parallels elsewhere. During the conference, a new permanent exhibition was opened after renovation. At the conference, thirty papers were given, devoted to history, archaeology, ethnography and writing of Central Asia.

112 113 Dissertations Dissertations

irina bagdasorova Yelena starkova reminiscences of classical antiquity in russian imperial porcelain pottery complexes of the final stage of the late tripolye culture of the second half of the 18th century (based on the materials from the podolian uplands in the middle Dniester region) For the degree of Candidate of Art History For the degree of Candidate of Sciences (History) The dissertation is concerned with the influence of Classical Antiquity on the productions of the Imperial Porcelain Factory in St. Petersburg in the second half of the 18th century, taking into account The dissertation is concerned with the study of settlements in the Podolian Uplands and the Upper the major ways of the penetration of Classical Antiquity reminiscences into Russian cultural space. Dniester region and the establishment of their place within the later stage of the Triploye and Kukuten The role of classical heritage in the development of Russian porcelain during the period in question was culture, on the basis of their pottery complexes, more specifically, a typological study of the ceramic determining, which manifested itself both directly, in copying ancient forms and borrowing motifs and materials of the Podolian Uplands and the Upper Dniester region. elements of ornamentation, and indirectly, as a result of the imitation of Western European Renaissance For the first time, an overall study of the Tripolye pottery complexes of the Podolian Uplands and the and Neoclassical works, as well as via contemporary replicas or original productions by Russian artists. Upper Dniester region, belonging to the final stage of the Late Tripolye culture, has been carried out. On the basis of the collection of the State Hermitage and those of other museums, features typical A complex approach to pottery study, based on the typology of vessel shapes, moulding techniques, of Russian porcelain have been established and their evolution in the context of that of the Classicism chemical and petrographic analyses of paints, stylistic study of ornamentation, and separation from of the period of Catherine the Great, traced. Classical Antiquity reminiscences are evident in all the the corpus of imported items and imitations, can be used for determining the production of individual trends of St. Petersburg porcelain at the time, be it decorative sculpture and vases, painted miniatures, settlements and local groups, resulting in more precise location of individual finds in the Triploye and or ornamental décor. Kukuten chronology.

Svetlana pankova Asan torgoyev tashtyk engravings (analysis of subjects and styles and historical belt decorations of the semirechye of the 5th – early 13th centuries and cultural Interpretation) (problems of chronology)

For the degree of Candidate of Sciences (History) For the degree of Candidate of Sciences (History)

The dissertation is the first compendium and a complex study of Tashtyk engravings, with a focus The dissertation is devoted to the problems of chronology of belt decorations from the medieval on their artistic aspects and subjects, discussed within the context of a wide circle of analogies. sites of Semirechye, mostly in the south-western part of it. The study concentrates on one category The engravings are carved depictions on wooden and birch-bark objects, rocks and barrow slabs created of atrefacts, viz. decorations of coloured metals belonging to belt and horse-harness sets. The study by the population of the Minusinsk Basin during the later period of the Tashtyk culture (5th to early 7th relies on a complex approach, plus comparative and typological, and combinatory methods, with the use centuries). The style of the engravings reflects the formation of the Tashtyk culture of the Middle Yenisey of stratigraphic data, which has allowed to subdivide the materials available into separate chronological area, while the subjects, when interpreted correctly, give an idea of certain aspects of their worldview groups arranged as a chronological succession. The dating of the synchronic groups of materials was and, probably, historical events that took place in the Minusinsk Basin. made by analogy with the datable ones. The changes in belt trimmings resulted from the appearance The analysis of artistic features of the engravings has been carried out on the basis of a large corpus of various Turkic tribes and their domination in the region. Although the majority of finds were created of varied materials, systematized according to their style and possible prototypes. For the first time, all in the cities of Semirechye, they are practically identical with the decorations used by the nomads of the the objects come across in the engravings, such as weapons, elements of clothes, vehicles, etc., have been Sayano-Altai and the Irtysh regions, while in the ornamentations of the early 8th – late 10th centuries, analyzed vis-à-vis the materials of the Tashtyk burials and those of similar sites belonging to different shows the influence of the art typical of the settled inhabitants of agricultural states, primarily of China regions and cultures. and Sogd. The dissertation is the first to describe a style of the belt trimmings formed in Semirechye during the Kara-Khanid period as an element of the culture of the Kara-Khanid Khanate.

114 115 archaeological expeditions Archaeological Expeditions

Integrated Antiquity expedition berezan (lower bug) EXPEDITION

Head of expedition: Sergei Solovyov Head of expedition: Dmitry Chistov

In 2011 the Expedition continued working under the research programme “Acra: Ancient City and Its In July–August 2011 systematic exploration works continued on the ancient settlement on Berezan Environs” (Zavetnoye Village, Autonomous , Ukraine) and entered a new joint ar- ­Island. In 2011 the site was extended to the north and west by ca. 350 sq.m, which made it possible chaeological project with the University of Tubingen to perform excavations in Heracleia ad Latmos to connect Site O with Site P-1-в studied by the Ukrainian archaeologists S. Mazarati and V. Nazarov in (Kapikiri, Milas Province, Turkey). the 1980s – 1990s. The key objective during the 2011 field season was to continue excavations (initiated Investigation in Acra and the surrounding area pursued two objectives: 1. to clarify the layout of the city in 2008) on the complex of public facilities dating from the late 6th – early 5th centuries B.C., possibly and its fortification structures through underwater survey in the sea-flooded area; and 2. to complete a late archaic temenos of the Berezan settlement. Exploratory works were completed on the so-called excavations on the monumental religious structure (Demeter’s temenos) in Zavetnoye-5 settlement lo- Complex 2; the surrounding area on the north, west and south was unearthed. Complex 2 proved almost cated near the ancient city. The underwater survey was performed jointly with the Russian Federation identical to the neighbouring Complex 1 in that it was a nearly square anta structure (12.4 × 10.2 m) di- Emergency Ministry (Supervisor: D. Yefremov) and the Ukrainian vided into two unequally sized rooms. Between the antae, foundations of wooden pillars (columns) were Department for Subaquatic Heritage (Supervisor: V. Vakhaneyev). located. The discovery of the late archaic public buildings is of utmost importance for understanding the The key results included the discovery of a part of the south-western history and layout of ancient Boristhenes. defence wall and a previously unknown defence wall in the north- During the 2011 excavation, Complex 2 was found to overlay a thick layer of burnt material dating back western sector of the site; an archaeological map of the area was to the last quarter of the 6th century B.C. The residual structures from the previous period (latter half compiled with account of the present coastline. Fieldwork in Zavet- of the 6th century B.C.) were partially investigated. noye-5 was carried out in collaboration with the Donetsk National University (Supervisor: L. Shepko). A comprehensive exploration of over 100 sq.m of Demeter’s temenos (eastern part) was conduct- ed; the eastern outer wall of the structure with four common dining rooms for shrine visitors was unearthed; details of the dining room interior were studied. The recovered material included numerous pottery items such as fragments of high-quality black lacquer Attic ceramics, fragmented terracotta figurines of Demeter, bronze and bone artefacts dating back to the last quarter of the 4th – early 3rd bukhara expedition centuries B.C. Head of expedition: A. Omelchenko Explorations in Heracleia ad Latmos in ancient Caria were con- ducted jointly with the University of Tubingen (Supervisor: Richard Excavations continued in Paikend (60 km south of Bukhara) jointly with the Archaeology Posamentir) with the aim to explore the historical precursors of the Institute, Uzbekistan Academy of Sciences, and focused on three sites: the Citadel, Shah- Fragment of a bas-reliefed vessel ancient town (Eneolithic rock paintings – Anneliese Peschlow; Bronze Age settlements – Clemens Li- ristan I and the so-called Southern Suburb. chter) and verify the layouts and structural features of the residual buildings (defence system, residential Exploratory works in the Citadel were conducted on three areas. In the south-western part and public buildings – Richard Posamentir) of Heracleia proper, founded in the late 4th century B.C. of the Citadel adjacent to the fortress wall, further excavations were performed on the by Mausolus of Halicarnassus, a Persian satrap and ruler of Caria. The Heracleian expedition collected structure built on a corridor layout (possibly a third- or fourth-century military barrack). the first-ever extensive collection of Classical and Hellenistic pottery and studied previously recovered In the north, earlier facilities pertaining to the temple of fire (located further south) were materials held in the Didyma archaeological depository. found under the intramural passage uncovered in the 1980s. The subfloor structures of the mosque confirmed the dating of the mosque to the mid- or late 10th century. A treasury of fifteen seventh-century Bukharkhudat drachms was retrieved. Six rooms dating to earlier periods were explored in the south-west corner of Shahristan I. The woven wood technique was used in the interior of the residential unit, composed \architectural and archaeological expedition of three small rooms. The rooms in the adjacent unit, in their turn, initially had formed a single large hall (5 × 5 m). Rich ceramic material dating from the early medieval period Head of expedition: Oleg Ioannisian was recovered. Four rooms linked with passages were unearthed in the south-east of Paikend’s Southern Fieldwork continued on the remains of the Church of the Virgin of the Tithes (Desyatinnaya) in Kiev. Bukharkhudat drachm. Suburb which may have been part of an early eleventh-century local mosque. A mihrab Pit No. 10 (gross area 100 sq.m) was started in the eastern part of the church on the site partly 7th century. Silver decorated with carved gypsum-and-clay panel carrying geometrical and foliate patterns adorned the studied by the Imperial Archaeological Commission in 1908. An in-depth investigation of the site western wall of the largest ornate room. and reinforcement of the residual tenth-century structures were undertaken. The only surviving parts New exhibits were transferred to the Paikend Museum in commemoration of the 30th anniversary of the of the foundations were the imprints of decomposed wooden substructures. One unexpected find was Bukhara Archaeological Expedition, including a fragment of a sixth-century mural from the Paikend a stretch of the foundation measuring 1.1 × 0.65 m, preserved in situ. The fragment, made of red Citadel, early medieval panels of carved clay, eleventh-century mihrab panels and numerous artistic quartzite slabs fixed together with lime-cement mortar, protrudes to the north of the foundation band and household objects made of metal restored in situ by State Hermitage experts. On 22–23 August an along the axis of the south cupola bearings. The location and shape of the protrusion offer new data for international conference was held in Bukhara and Paikend; the conference was attended by researchers reconstructing the interior of the Church of the Virgin of the Tithes. Exploratory works yielded frag- from Russia, Uzbekistan, USA, France, Germany and the Netherlands. ments of murals, decorative stone details and ceramic floor tiles (monochrome octagonal, triangular and previously unknown large thick glazed tiles with free designs as well as polychrome tiles with geometric patterns).

116 117 Archaeological Expeditions Archaeological Expeditions upper dvina expedition golden horde expedition

Head of expedition: Boris Korotkevich Head of expedition: Mark Kramarovsky

Excavations continued on the Anashkino, Borokhnovo and Mikhailovskoye sites. In Anashkino (Kuny- Exploratory works continued on three pits. The stretch of the defence wall in the north-eastern sec- insky District, Pskov Region), a wide shoulder was removed between two consecutive pits, which helped tor of the medieval Solkhat (Pit XXXV) was found to contain remains of a fortress wall interrupted to obtain a better stratigraphic picture of the cultural layer on the plateau and the slope. Permanent by what may have been a secret exit. Remains of a fortress tower measuring 5 × 5 m were detected control of the previously studied section of the shoulder walls provided a clearer understanding of the at the flank of the gate. The surviving traces of the tower included some elements hewn in the continen- changing archaeological material over time. As a result of the investigation, eight distinct cultural/ tal ground, backfill lime rubble as well as crush rock filling and lime floor inside the tower. Additional chronological horizons were identified spanning from the Late Bronze Age to the early medieval period. exploratory works in the area adjacent to the pit are needed to define the situation with the interrupted Early medieval fortifications were explored on the Borokhnovo site (Palkinsky District, Pskov Region). fortress wall. The finds included residual wooden structures, a ground bank and a small moat running along the perim- Excavations on Pit XXXVI helped to define the situation in the area between the tomb (dating from eter of the wooden and earthen structure. the 1360s, unearthed by ourselves in the 1980s) and the defence wall. A ca. 100 sq.m graveyard was explored and found to contain Islamic burials surrounded by low stone walls – the first-ever case that this type of burial had been found in Solkhat. Part of the tomb foundation stonework was explored. A 1.5–1.6 m wide trench intended for the defence wall was discovered in one of the sec- ancient russian expedition tors of the pit. A stone defence tower fronting onto the built-up urban area was found in Pit KC/011 (Caravansary). Head of expedition: Sergei Tomsinsky Two layers of scaffolding were unearthed, possibly dating back to the period of the tower reconstruction. Similar scaffolding was visible under parts of the fortress wall in the north-eastern sector of the site. Further excavations were conducted on Site 1, Pit 1 in Vasily III’s 62 coins were retrieved including four silver dirhems and 53 copper puls. Apart from the coins, five coin and Ivan IV’s residence in Aleksandrovskaya Sloboda (Aleksandrov, blanks were recovered indicating that for some time coins used to be minted in the area of the defence Vladimir Region). As a result of the targeted search undertaken wall in the north-eastern sector of the site. during the previous seasons, a basement room of a stone structure forming part of Vasily III’s palace (1508–1523) was found under construction debris dating from the late 16th century – the first- ever find since the beginning of the excavations. The surviving wall masonry with two window apertures was 4.5 m high; the inside lin- MYRMEKEYON EXPEDITION ing made of white stone blocks survived to up to 1 m in height. The well-preserved herringbone brick floor of the basement was Head of expedition: Аlexander Butyagin found at 6 m depth. Works continued on the site of the ancient city of Myr- mekeyon located on the northern shore of the Bay. For several years excavations have been ongoing on part of Ash Pit 2, a large hill made up of ash and clay layers mounded in the central part of the city in the 3rd – 2nd centuries B.C. Investigatory activities were completed on the layers across most of the ash pit. As usual, the lay- TRanskuban expedition ers were found to contain numerous artefacts including branded amphorae fragments, walls of painted vessels, Head of expedition: S. Ostashinsky terracotta, metal objects and coins. Several full dog skel- etons were retrieved. The layer of yellow-brown clay loam Field works (S. Ostashinsky, Ye. Cherlenok) were undertaken on the rock awning on the left bank of the under the Ash Pit may have served as a building foun- Meshoko Brook (right tributary of the Belaya River). The site is located 1.2 km south-east of Ka- dation. The layer also yielded multiple finds, fragments mennomostsky village (Maikop District, Adyg Republic). The awning was 35 m wide and 18 m deep, of red-figure vases (askoi, lekanes and craters) among with a 3.9 m ceiling. them. Further investigation was conducted on the stone Small-scale survey excavations had been conducted on the Meshoko awning by the North-Caucasian cover in the western part of the ash pit as well as adobe Expedition of the State Hermitage (supervized by A. Stolyar) in 1963 and yielded some important ma- and stone wall bounding the pit on the south. terial dating to the Late Eneolithic period. The 2011 explorations mainly focused on the stratigraphic A 2.8 m wide street and the foundation of a house wall and planigraphic characteristics of the site. A 20 sq.m pit was started from which ca. 2000 items were on the opposite side (made up partly of stone boat an- retrieved, among them, a copper knife dating to the early period of metallurgy in the Northern Cauca- chors) were unearthed to the east of the Ash Pit. The Ash Pit contained several isochronous ditches. sus. Other major findings were flint objects including a segment, a wedge, an arrowhead and, notably, A large part of the site had been dug up during World War II to construct a German automobile shelter grain bruisers and spindle whorls. The unbroken Eneolithic layer is located at the bottom of the awning (unearthed in the past season), from which thirteen shells, several grenades and a mortar bomb were ex- deposits under the ruined ceiling. This level was found to contain residual clay flooring, pits and pottery cavated. A fragment of a rare bone plate shaped like a griffin wing was found in the backfill. The 1960s – fragments which are to be explored in detail in the future. The site may be tentatively dated to the early 2000s ground heaps were removed from the excavation zone in preparation for the next field season. or mid-4th millennium B.C. Stonework conservation continued in the surrounding area. A detailed study of the clay floor in a small building dating back to the Roman period was carried out on the TC Site located at the foot of the acropolis rock. Judging by the large number of fish bones found, the building had been used for drying and storing fish. Copper knife 4th millennium B.C.

118 119 Archaeological Expeditions Archaeological Expeditions

NYMPHAEUM EXPEDITION NORTH-WEST EXPEDITION

Head of expedition: Оlga Sokolova Head of expedition: Аndrei Mazurkevich

Exploratory works continued on the Bosporan city of Nymphaeum, located 17 km Comprehensive subaquatic and surface exploration of Stone Age monuments was contin- south of Kerch, on the north-eastern fringe of Eltigen (Geroyevskoye) village (Crimean ued. Excavations on Serteya I (Velizhsky District, Smolensk Region) yielded the remains ­Autonomous Republic, Ukraine). Field research was conducted on Site М on the south- of a unique fishing structure dating back to the Middle Neolith – first half of the 3rd mil- ern slope of the Nymphaeum Plateau. lennium B.C. and made up of upstanding pine sticks tied together with ropes; the lower Removal of the overlying layer continued to the south of the propylaea explored ends of the sticks were sharpened. The “wall” used to dam the channel between two lakes. in 1996–2000. A 0.5–0.7 m thick layer was removed on a site measuring ca. 250 sq.m On the western side of the wall, a collection of a dozen plummets and two stones with re- in area. The expedition unearthed the base of the altar, two slabs which may have been sidual string binding was found. The plummets were made of small pebbles covered with used as pedestals for sculptures, a slab which may have underlain the column base, birch bark wicker; some of them still had fragments of fishnet ropes attached to them. and a corner of a rectangular structure partly extending beyond the southern wall Underwater explorations on a 3 km stretch of Sennitsa Lake helped to uncover three Neo- of the pit. The recovered material dates from the late 4th – 3rd centuries B.C. Of spe- lithic campsites. At present, there are ten known multilayer archaeological monuments cial note is an altar wall of marble-like limestone found during the excavations. at the bottom of the Sennitsa. Layers and structures of the Roman period were explored along the western wall Some interesting finds were made on the Dubokray I, where large stones were discovered of Site M. A total of 31 household pits of different sizes and a fragment of wall mason- measuring from 0.5 × 0.7 × 0.6 to 1.6 × 0.8 × 0.7 m and arranged in a circle (14 m in di- ry were unearthed. One of the pits can be dated to the late 5th century B.C.; the other ameter) with four “whiskers”. Pits were started near the largest stones. The culture layer structures to the first centuries A.D. was found to contain fragments of dishes dating back to the mid-3rd millennium B.C. and The expedition stabilized the surviving walls and evacuated part of the ground heap small . A stone axe was retrieved standing vertically near one of the largest stones on located west of Site Г. An information board was installed near the northern slope A find made during underwater excavations the west; this find, together with the overall shape, suggests this to be the first Megalithic of the plateau. structure in the forest zone of Eastern Europe. Multiple objects made of clay, glass, stone, bronze and iron (570 items as per field Exploration works on the underwater part of Zamostye 2 (Sergiev Posad District, Moscow records) were transferred to the Kerch Museum. Region) were continued jointly with the Institute of Material Culture (Russian Academy of Sciences) and the Sergiev Posad State History and Art Museum-Reserve. For many Reconstruction of the ancient altar. Limestone years, this project has been conducted under the supervision of V. and O. Lozovsky. After removing the recent sand depositions on the roof made of light grey sandy sapropel with inclusions of shells and fine landwaste, the remains of two structures composed of subpar- allel pine and willow sticks (4 and 2.5 m long) were found and unearthed. A bone endpiece Penjikent expedition was retrieved under the nearly decayed layer of sticks on the first site, which suggests that the structure had probably been used for fishing. Head of expedition: Pavel Lourie The second site was found to contain six meshes made of plant fibres. On the north, the convex side cuts deep inside the layer. Judging by the remains of numerous stakes found Works continued on Units XXVI and XXVI-C in the eastern part of the ancient Penjikent site (­areas in close proximity, these structures may be interpreted as parts of an ancient fish weir. adjacent to the fortress wall) and on the fifth- to sixth-century Kaynar Palace located underneath. Our research shows inland water reservoirs to have a vast cultural, informative and histori- In Unit XXVI rooms built inside the fortress wall and a rich household on the lower level were ­explored. cal potential. Some narrative wall paintings were found in the square hall. A large household is being explored in Unit XXVI-C where ground floor and first floor rooms were unearthed, together with a small ­piazza which the building fronted. An important part of the Kaynar project was to copy wall paintings in the Tu- lip Room which was found in an extremely poor state of preservation. Three layers of paintings covering most of the western wall were copied in summer; in autumn, copying works were completed on the whole of the northern and the remaining part of the western wall under the grant from the Cultural Heritage Preservation Fund under the auspices of the US Ambassador in Tajikistan. A total of ca. 30 sq.m of paint- ings were processed; one fragment was prepared for exhibition. Additionally, the layout of the ­Kaynar Palace and the sequence of fortress wall alterations were defined. Excavations on Khisorak (early medieval Martshkat) involved two citadel hills, one manor house in the Shahristan as well as gate and funeral structures. A housekeeping facility and a winter stately room with SLAVIC-SARMATIAN EXPEDITION an ornate fireplace were examined in the Shahristan; on Citadel 1, two rooms with ovens and a corridor. One of the rooms with ovens was found to contain fragments of wooden decorations and ceiling/floor Head of expedition: S. Voronyatov panels; the other had stamped décor on the wall plaster. On Citadel 2, explorations started on the castle built on a corridor layout: a long corridor with five passages and one of the vaulted rooms leading into Excavations proceeded on the Sinin VIII Site on the right bank of the Rassukha River (Pogarsky Dis- the corridor were uncovered. Some excellently preserved organic materials were retrieved including trict, Bryansk Region). A total of 48 sq.m was explored. The culture layer is saturated with moulded three Sogdian scrolls on split willow sticks. pottery fragments and animal bones, although few glazed tableware fragments were retrieved. The most important individual finds include pieces of three spindle whorls with wide canals, a plummet fragment, an iron knife, a small iron buckle and a blue glass bead with three white eyes. No large structures were discovered in the surveyed area; however, a chain of similar-sized pillar pits was detected on the mainland surface, some of them containing small pottery fragments. An amount of samples sufficient for radiocarbon analysis was obtained from one of the pits.

120 121 Archaeological Expeditions Archaeological Expeditions

STABIAN EXPEDITION tien-shan expedition

Head of expedition: Alexander Butyagin Head of expedition: Asan Torgoyev

Excavations continued on the Ariadne Villa near Castellammare di Sta- Archaeological investigations in the western part of the bia. The villa had been destroyed by the famous eruption of Vesuvius Krasnorechenskoye Site (located in the Chuyskaya Val- (79 A.D.) with Pompeii and Herculanium. ley 35 km from Bishkek) during the 5-1 field season The walls of the buildings were preserved to a considerable height; continued on four areas: the necropolis, the stratigraph- the frescoes remained nearly intact. In the 18th century during partial ic section on the central quadrangle and two areas in the excavations conducted by the order of the King of Naples many frescoes south extension. had been cut out and removed from the villa together with numerous The most important find was a large painted clay sculp- sculptures and mosaics. ture representing Buddha sitting in the lotus position. Further excavations were performed on the thermae (ancient bathhouse) The statue was preserved in situ in the altar niche of the of the villa, where multiple rooms had been unearthed in the previous Buddhist temple uncovered during the previous field season. This year the team focused on the tepidarium (a warm bathroom) season. The temple forms part of a large building com- with an insignificantly damaged hollow floor for heating the bathroom plex surrounded with walls in the south extension of the with warm air. The floor carried the remains of marble mosaics. In the site. With the retrieval of this statue, the whole complex adjacent frigidarium (a cool bathroom), the culture layer was explored can be identified as the largest early medieval Buddhist Tepidarium in the thermae of to the continental ground level and found to contain water ducts and trenches dating from two construc- monastery in Semirechye. the Ariadne Villa. 1st century A.D. tion periods. It was concluded that the area had been initially used as a garden. The walls and the floor A tenth-century layer containing evidence of pottery had been almost completely destroyed in the 18th century. production was uncovered during the cleanup of what Most efforts were concentrated on the small garden intended as a place of recreation for thermae visi- is suggested to have been a monastery wall. tors. The expedition team unearthed a completely preserved floor mosaic with an ornament of black, Further stratigraphic analysis was undertaken on the white and colour parts, and several stuccoed brick columns with the lower parts preserved in situ. A bro- A fragment of the clay statue central quadrangle, where the lowest horizon was dated to the turn of the 8th century at the earliest. ken ceramic flower pot was retrieved from the area in the middle. The frescoes on the garden walls were of Buddha The works on the necropolis mainly focused on the catacomb burials with the bodies oriented to the west. uncovered and stabilized by the State Hermitage restoration team. Apart from the field works on the Krasnorechenskoye Site, on the invitation of their Kazakh colleagues Exploratory works on the thermae are scheduled for completion in the next field season; research find- the exhibition also took part in the excavations on the Kultobe Site in , Southern Kazakh- Columns in the garden of ings will be prepared for publication. stan Region (supervized by Ye. Smagulov). The research collaboration explored the cross-shaped build- the Ariadne Villa. 1st century A.D. ing and the adjacent structure with a courtyard surrounded with corridors. This complex clearly forms the nucleus of the ancient town and dates back to the period before the 4th – 5th centuries.

central asian expedition

Head of expedition: Nikolai Nikolayev

Works continued on the Xiongnu gravesite of Orgoyton, Republic, primarily on its northern segment. The exploration targeted the “princely” mound, the largest on the gravesite, comparable in size with Mound 24 on the Xiongnu gravesite of Noin-Ula, Mongolia. The northern wall is 16.25 m wide; the southern wall 13.5 m. The total length of the mound from north to south is ca. 28 m. During the field season, the walls surrounding the burial superstructure were unearthed and the dromos filling was removed. The partition walls inside the grave were defined and cleaned up. It was discovered that the fence of the burial superstructure had measured 0.9 m in height and had been built from horizontally laid stone slabs of unequal size. Remains of stone stelae were found in two areas of the eastern and western walls. Given that another stela had been recovered in 2010 on the southern side of the fence, one may suggest that Mound 6 of the Orgoyton gravesite may have been surrounded with stelae. The animal bone fragments found inside the fence suggest that the mound, like most Xiongnu princely burials, may have been robbed.

122 123 Archaeological Expeditions Archaeological Expeditions

SOUTH-EAST CRIMEAN EXPEDITION south siberian expedition

Head of expedition: Vasily Gukin Head of expedition: Konstantin Chugunov

In July–October 2011 exploratory works continued on the port Archaeological works continued on the Chinge-Tey I funerary complex located near Chkalovka village area of the medieval town of Sudak. (Piy-Khemsky District, Tyva Republic). In 2011 excavations were performed in the north-eastern part The outer limits of two surface stone houses initially con- of the mound, specifically, on the area between the cromlech and the façade masonry of the surface struc- structed on earlier levelled-up layers and used for a lengthy ture. The team obtained some important data on ancient building period of time were defined in Pit VIII. Inside, the houses techniques and provided documentary support of the suggestion were equipped with sufas heated by tandyr ovens. The houses that mound construction had proceeded in several phases. A deer had undergone numerous alterations in over 250 years before stone was found under the façade masonry; an additional stretch being completely abandoned in the first quarter of the 16th of the moat was explored. A ritual treasury containing bronze century. Underlying the house foundations since the 13th cen- items (horse gear and a massive chisel decorated with the head tury are earlier stone structures, one of which spans across the of a bird of prey) was found between the slabs of the cromlech. whole of the pit measuring over 10 m in length; the foundation A medieval grave between the moat and the cromlech was ex- walls of the structure extend beyond the eastern and western A knife in a decorated leather plored and found to contain an iron bridle bit, a knife and a curved awl made of horn. Two entrance edges of the excavated area. Along with a variety of glazed sheath. Chinge-Tey I. Grave 4 graves without inventory were identified during stonework dismantlement which, judging by some ele- and unglazed pottery ware ranging from Hellenistic to late ments of the burial rite, may date back to the Scythian period. Another stone box burial of a warrior was medieval, numerous metal, ceramic, bone, glass and stone objects were recovered. discovered under a layer of lacustrine clay. As the space inside the grave was free from soil, the retrieved The numismatic materials include 54 culturally and chronologically diverse coins retrieved from the lay- organic materials were in a good state of preservation. The fragments of sword belts and ceremonial ers and structures inside the pit. The finds suggest that the layers may date from the 10th – late 15th belts contained in the grave were lavishly decorated with carved and painted ornaments. All finds were centuries at the earliest. transferred to the State Hermitage for restoration and investigation works.

SOUTH CRIMEAN EXPEDITION south kuban expedition

Head of expedition: Svetlana Adaksina Head of expedition: T. Ryabkova

The South Crimean Expedition and the Crimean Office of the Archae- Exploration works continued on Division 1 (Kostromskoy Kurgan/Mound) in the western and ology Institute (Ukrainian Academy of Sciences) continued explora- eastern parts of the earthwork to the west and east of the trench explored during the previous season. tory works on the Cembalo Fortress in Balaclava (14th – 15th cen- The eastern trench included part of the trench previously made by N. Veselovsky. The total area of the turies). The 2011 field season followed up the activities performed pit exceeded 900 sq.m. The situation in the western part of the earthwork not sectioned by Veselovsky’s in 2008–2010; works were pursued along the fortress’s east defence trench was completely identical to that explored in the previous year: an artificial pad sloping slightly line, between the Barnabo Grillo Tower and the Portal Tower. to the west, north and south was unearthed at the 2.9 m depth of R0. Bounding the pad on the north-west The newly uncovered site is located inside the east curtain, beneath were three sacrificial complexes with horse and cow skulls and limb bones. Pottery fragments and an the road leading towards the Barnabo Grillo Tower. The buildings iron object (arrowhead?) were recovered from the surface of the pad. At 10 cm depth, the dense material on this slope were arranged in terraces. The pit measures about of the pad was found to contain a two-bladed bronze arrowhead with its tip facing upwards. An artifi- 150 sq.m in area. The explored built-up residential zone was extend- cial pad was also unearthed in the eastern trench where it had been seriously damaged by Veselovsky’s ed to the west and north-west compared with the 2010 field season. trench. A layer containing organic inclusions and looking like a corner of a rectangular structure was The most remarkable finds in- detected at 1.5–1.6 m depth, with fragments of badly damaged wooden blocks discernible underneath. clude a whole pithos made of Upon the removal of the layer, an artificial pad was unearthed at 2.3–2.4 m depth with coffin-like red clay which had been used structures measuring 1.3 × 0.8 and 1.3 × 0.6 m. An accumulation of iron and bronze mail scales for keeping wine; a small ce- in an extremely poor state of preservation was retrieved from the southern part of the pad at the depth ramic albarello vessel, some Albarello vessel. 0 1 2 см of 2.73 m outside Veselovsky’s trench. The pad surface carried imprints of wooden blocks forming parts foreign glazed pottery and 14th – 15th centuries of a timber frame supported by small pillars. a cast bronze cross. Some in- Our results support the suggestion that the funeral ground was surrounded by a log frame. Confirma- Arrowhead. Kostromskoy Kurgan. teresting stratified material 7th century B.C. tory evidence of the supporting pillars on the inside of the frame was obtained; three such pillars were was obtained which provides discovered. However, this finding invalidates the claim that had been found outside the frame, valuable information on housing construction principles and the where the “coffins” were located. The position of the frame corner shows that the funeral ground inside infrastructural development of the medieval Cembalo Fortress. the 3.2 × 3.2 m frame could not have been located directly above the catacomb (Veselovsky holds that a pit was discovered beneath the tabernacle under padded soil matching the quadrangle base of the tab- ernacle in size). No evidence of horse carcasses laid outside the funeral ground was obtained.

124 125 Major construction and Restoration of the Buildings Major Construction and Restoration of the Buildings

The interim RESULTS OF the Second Phase of The Restoration unique finds, it was decided to take the fragments of the painting down from the ceiling to be followed of the general Staff Building East Wing by their restoration and further museumification. At first the painting was reinforced, after which the old nails were filed by hand, then special metal sheets were belayed round the edges of the pickup in or- der to slowly detach it from the beams. The operation was successfully performed: the gryphons and the Before carrying out the major works project on an area of 7,410 sq.m. in the northern part of the build- floral design are currently under restoration in the restoration workshop. These discoveries are of great ing, the specialists needed to conduct additional surveying. This involved a detailed examination of the interest not only from the artistic, but also from the historical point of view. Untouched by the restorer, walls and floor structures of the building, as well as that of the foundations, the roof timber system and they allow the viewer to imagine what the original version of the decoration of the General Staff building the engineering systems; the soil was also investigated. Among the completed projects were the test was like. It is planned that the restored part of the building will accommodate around 100 exhibition clearing of the surface of the walls and plafonds, digging pits and doing the probing, the history and halls with a total area of 7,000 sq.m., a cafe, a restaurant, museum gift shops, three atriums, adminis- archival research and the expert examination of the period parquet floors. trative quarters, engineering and utility services rooms and storage facilities. The underpinning of the foundations and walls should be considered a unique piece of work. There was a need for creating a new support for the old building. The design of the skylights represents technically innovative work as well, since every structure is custom-made and produced on-site from insitu rein- The resToration of the Rooms AND THE major Repairs forced concrete. Most of the skylights are double-decked, each being shaped as a tetrahedral pyramid. Phases 1 and 2 of the restoration works differ by a dramatic increase in the restoration work scope. of THE IMPERIAL Garage Utility Services The elaborate façades characterized by the abundance and great variety of decorative elements from In 2011 to mark the 100th anniversary of the Imperial Garage very different materials require a specific kind of restoration work, such as the restoration of stone, foundation the restoration and repair works of the utility services moulding, plaster and gilding. The interior decoration also requires a great amount of work including were conducted. The Winter Palace Garage was part of Russia’s the restoration of painting, mouldings, gilding, parquet floors, marble fireplaces, gilt wooden doors and largest automobile company, which provided services for the Im- artificial marble. perial family. During one hundred years of its operation it was The former state and private rooms of the Ministry of Foreign Affairs display the decoration, which used for the purpose specified. The Imperial Garage of the Win- dates back to the third quarter of the 19th century, after the design of Carlo Rossi, for the suite of rooms ter Palace is one of the first structures of this kind, as well as of Karl Nesselrode. Nearly every room of this suite is painted in the mixed media painting a genuine exhibit telling the story of early twentieth-century ga- technique. The ornamental painting was done on plaster, while the large multi-figured compositions were rages. The restoration and repair works were completed with the created on thin linen cloths (calico) by outstanding artists in the Giovanni and Petro Scotti studios. After aim of the museumification of the earthenware tile floor sections their production the contours of the calicos were cut out and stuck on the plafonds, without ever being sub- and the walls. The foundations were damp-proofed and the pe- jected to full-scale restoration ever since. Over two centuries the cloth has significantly worn out, sagged rimeter blind area was installed; the façades were painted their down as a result of numerous temperatures and humidity differences, and soaked up a great amount historical colour; the floor structure was restored and the reno- of soot and mud. A decision was taken to remove vation of the skylight brought it back to its original form, with the linen cloths from the plafonds, to subject the glazing done according to its historical model. The windows them to treatment from both sides and subse- and two new paneled gates made of coniferous kinds of trees, quently to put them back in their historic place. with oak tree paint coating, were recreated with the maximum Gilders are expected to perform a large amount degree of closeness to the original architectural concept. Addi- of work. The cleanup work in nearly every room tionally, two new vertical-lift gates of modern design, equipped revealed combined gilding, partly on gulfarbu with an electric motor and mechanical drives were installed. In the course of the works the power supply, (a special kind of lacquer) and partly on polyment ventilation, heating and sewage systems were installed. (a special clay base). Gold glitters on polyment While the utility network was being replaced in the western part of the Garage pit of the Winter Palace, and becomes matt when applied to lacquer, thus the archaeologists discovered in the ditch the previously unknown remains of an eighteenth-century build- creating a striking decorative contrast, which re- ing masonry. Due to archaeological studies by specialists, the discovered fragments were identified as the gretfully failed to produce the same effect over estate buildings, which once belonged to Attorney-General P. Yaguzhinsky. The restoration works were the years. Before starting the meticulous work conducted by the BaltStroyServis Company under the supervision of the Department for Restoration and of reconstruction and restoration, the gilders did Maintenance and the Department of the Chief Power Engineer of the State Hermitage Museum. the cleaning. This offered a unique opportunity to see the original gold decoration of the state rooms. The historic moulding décor also showed the restoration of the winter palace Eastern Façade signs of stratification – specifically four or five coats of paint from different periods of time were The eastern façade of the Winter Palace was originally designed as one of the four main fronts. In 1793 found– which had to be removed. a lateral building by the design of Giacomo Quarenghi was added to the central part of the façade. In the course of the cleanup work conducted in the The passageways connecting the building with the Small Hermitage are located on the first floor level two rooms of the third floor of the General Staff of the south-eastern and north-eastern risalits. Building, the previously unknown ceiling painting The façade is lavishly decorated with stucco and moulded decorative elements in the Baroque style. was discovered. In both rooms it survived only in The façade walls and the of the passages are faced with smooth and rusticated plaster. From the those places where partitions were built at a later east the passage arch is separated from the Chyorny passage by a double-leaf wooden paneled gate. time, which explains why no more than 20 per- Before the beginning of the restoration works the plaster, the elements of the décor, the gate and the cent of its original area could be preserved. In the window crosses, the stone flights of steps and the basements were dirty, being damaged in some places, first room the representation of green gryphons with several coats of paint and various elements missing. The restoration works were conducted by the and in the other room a fragment of ornamental Kraski Goroda contractor. In the course of the restoration works the destructive plaster coat was broken design were found. Unfortunately, this area was off, with the new protective coating recreated. The limestone architectural elements were cleaned and too insignificant in size to make the recreation restored, so was the granite basement. The window crosses were restored, the eaves and rain-water pipes оf the rooms possible. In order to preserve the were replaced. The doors of the ground floor were restored. 126 127 Major Construction and Restoration of the Buildings Major Construction and Restoration of the Buildings

The Restoration OF COPPER hammered Sculptures on the winter palace Parapet

From June to August 2011 under the technical supervision of the Department for Restoration and Main- tenance of the State Hermitage Museum and the representatives of the Rosokhrankultura (Federal Ser- vice for monitoring compliance with the cultural heritage protection law), the specialists of the Rest-Art Company restored ten copper hammered sculptures on the parapet of the southern façade of the Winter Palace. The concrete weight was removed from the sculptures’ hollows, the shells and parts of the armature were cleaned. The lower parts of the corrosion-damaged armature were disas- sembled. The brick base was examined and conserved; holes for additional pipes were drilled to reinforce the new parts of the armature. The losses were made up and the worn copper sheets of the mud holes were replaced. The deformation was eliminat- ed; the joints were riveted and soldered. The soiled layers were cleaned off the surface, the loose coats of patina and the copper oxides removed. A three-layer coat of paint was applied to the surface of the sculptures in order to provide additional protec- tion of copper sheaths, to cover the stains and to unify the colour scale. The systematic restoration of all the Winter Palace balustrade sculpture by the State Hermitage Museum restorers has been conducted since 1976. The restoration process started with clear- ing the black colour away, followed by the replacement and re- inforcement of the armature parts eaten away by rust. Then the corrosion-resistant coating was applied to the armature surface. The loose joints, the breaks and holes were soldered; the patches were put in at certain places. The cleaned copper surface was left in the open air for noble patina to build up, which, as the experts of the day believed, was expected to protect the copper against the weather. Contemporary specialists came to the conclusion that a layer of patina was not enough to provide weather protection of sculptures made of thin copper sheaths and exposed to the aggressive environment of a large industrial city. Hence a supplementary protection system was required. Therefore a decision was taken not to fill the hollows of the sculptures, and also to make the lower parts of the armature sounder by means of changing and reinforcing the fixing construction in order to increase its resistance to wind pressure. Having been carried out since 2004, the conservation and restoration of the Winter Palace roofing sculptures reaches a higher level every year.

Scientific and technical Conference on the Fire protection of Cultural objects

On 8–9 November 2011 the State Hermitage Museum was the venue for the scientific and technical conference on the fire protection of cultural objects. Among the participants were the National Library of Russia, the State Tretyakov Gallery, the State Russian Museum, the Peterhof State Museum Reserve, the Moscow Kremlin Museums Complex and the Pushkin Museum of Fine Arts. The conference participants discussed technical aspects of the automatic fire-fighting systems used for the protection of depositories, depots, exhibition halls and other museum rooms, archives and libraries. The issues under discussion, for the first time, were the practical use of ZМ™ Novec™ products designed for the restoration and conservation of works of art, and of the ЗМ solutions in museums’ restoration workshops. The conference programme also included the testing of the fire-fighting gas Novec™1230 designed to ensure the safety of objects of cultural value.

128 Structure of Visits to the State Hermitage in 2011 Educational Events

Total number of visitors 2,879,686 The number of guided tours to the Hermitage Including: organized in 2011 was 33,342

* Including: Free admissions 984,347 Russian nationals 839,381 General tours round the museum 15,054 Foreign visitors 918,273 Tours to the Treasure Gallery-1 5,831 Internet ticket holders 22,208 Tours to the Treasure Gallery-2 4,110 Over 1,000,000 people visited the Hermitage Tours to the Winter Palace of Peter I 434 exhibitions outside the museum. Tours to the Imperial Porcelain Factory There were over 3,650,000 hits of the Hermitage Museum 166 website. School thematic tours 3,999 Thematic tours and series of tours for adults 3,746 Classes for school children 674 hours Classes at student clubs 593 hours

Number of lectures delivered 522 Including: at the Hermitage 373 in Vyborg and Kazan 149

* The State Hermitage offers free admission rights to children, school pupils and students (regardless of citizenship), senior citizens of Russia and a number of other categories of Russian nationals entitled to special benefits. 130 131 Educational Events Educational Events

The State Hermitage Lecture Centre Special Programmes

The history of the Hermitage Lecture Centre dates back to the late 1920s when the museum significantly intensified its educational activity. Even during the Great Patriotic War (1941–1945) the museum staff “Art history and the museum ART AND MUSIC. ASSOCIATIONS members never stopped lecturing. Over the years the Lecture Centre has given a large number of stu- for the Museum public” The Year of Italy in Russia dents a window on world culture. Following up these traditions in 2011, the Hermitage Lecture Centre January provided a diverse range of programmes in art history to meet the interests of students of any age group. Themed meetings and evening concerts • Parma – the city of arts. L. Тоrshina. Guiseppe Verdi. Soloists A three-year programme designed by the University of World Art History comprises 86 lectures, which of the State Hermitage Orchestra explore a broad range of areas within the history of painting, sculpture and architecture from the earliest The Hermitage Assemblies February times to the present day: January • Geniuses of Baroque Year 1. The Culture and Art of Antiquity. The Art of the Medieval East. • and the Hermitage during Catherine’s time. • Bernini – the style creator. L. Тоrshina. Italian Baroque music. Year 2. The Art of Byzantium. The Western European Art of the 11th – 17th Centuries. L. Тоrshina Soloists of the State Hermitage Orchestra Year 3. The World Art of the 17th – 20th Centuries. The course is regularly subject to an adjustment. Thus 2011 saw a new series of lectures introduced into February the course, in particular, those discussing the art of Korea. A five-lecture series about the Silk Road • “In the Still of the Museum Library”. Traditional meeting included such lectures as “The Silk Road as a World View”, “Silk: a Journey to the West”, “The Hel- at the Hermitage Central Research Library lenes and the Iranians: at the Edge of Ecumene”, “The Sogdians in Sogdiana”, “The Sogdians outside March Sogdiana”. • “Reciting in the Hermitage Halls”. Poetry images Every year the new series of themed in-depth lectures, including the ones examining controversial and in ancient sculpture and vase painting. L. Davydova timely study topics, is introduced into the course. An updated ten-lecture series entitled “The Masters April of the Italian Renaissance” was tied in with the Year of Italy in Russia. • Russian architects – the builders of the Hermitage palaces. The lectures entitled “Cupolas Soaring up to the Sky” conducted by Yelena Malozyomova generated L. Тоrshina great interest. The lectures examining the architecture of Central Asia, quite a rarely discussed theme October currently, may be attended only in our museum. At the numerous requests of the listeners, the eleven- • “My Winter Hovel…” The Hermitage during Catherine’s time. lecture course “The Glorious Pages of ” developed by I. Bykova was repeated. L. Тоrshina. Poetry and music during Catherine’s time The lectures of the “In Memoriam” section were dedicated to the significant dates in the history of world culture and art. Among those were “Giorgio Vasari. On the Occasion of the 500th Anniversary of Birth”, November “Andrian Zakharov. On the Occasion of the 250th Anniversary of Birth”, “Aristide Maillol. On the Occa- • The Hermitage architectural phenomenon: a palace inside sion of the 150th Anniversary of Birth”, “Renato Guttuso. On the Occasion of the Centenary of Birth”, the theatre. L. Тоrshina, S. Nilov. Poetry and music during “Lomonosov and the Time of Elizabeth I. A Lecture Tied in with the 2011 Anniversary Exhibition”, Peter’s time “Theodore Rousseau and the Barbizon Movement. On the Occasion of the 200th Anniversary of Birth”, December “Gustav Klimt. On the Occasion of the 150th Anniversary of Birth”, “Jackson Pollock. On the Occasion • “The Hermitage as Part and Continuation of the Imperial of the Centenary of Birth”. Residence”: Alexander II. Ye. Asanova It is a long-standing tradition to deliver themed lectures linked to temporary exhibitions. A lecture on November Carlo Crivelli delivered by Olga Makho and repeated twice at the requests of the public, deserves special • The Greater Hermitage Assembly: on the threshold mention. of the 250th anniversary of the State Hermitage Museum Within the framework of the lectures exchange project carried out between the State Hermitage and foundation. “The Hermitage before the Hermitage. Peter the the Lecture Centre of the Moscow Kremlin Museums over the last five years, N. Brodskaya delivered Great, the First Russian Collector”. The Hermitage Theatre. lectures on French Art in Moscow in autumn 2011. Our Moscow colleagues M. Rakitina and Yu. Uva- Literary and musical theatrical performance rova conducted a series of lectures in the Hermitage: “The Palace of Grand Prince Ivan III. The Faceted On 6 November 2011 a cultural and educational programme Chamber. The Golden Tsarina’s Chamber”, “The Terem Palace of Tsar Mikhail Fyodorovich Romanov. entitled “The Hermitage before the Hermitage. Peter the Great, The Poteshny Palace”, “The Great Kremlin Palace, the Residence of the Russian Tsars”, “ Coronation the First Russian Collector” was presented at the Hermitage Ceremonies in the Great Kremlin Palace”. Theatre. Specially designed for the general public under the title “The Greater Hermitage Assembly”, it opened a series of programmes, which precedes the 2014 Hermitage anniversary celebration. The aim of such “pre-festive” meetings with the public is to reconstruct in an expressive and spectacular way – through acting, facts, images and music – the important stages and dramatic events illustrating the Hermitage history. The name “The Greater Hermitage Assembly” is reminiscent of the museum founder Empress Catherine II and her “hermitages”: grand and small hermitage receptions. The programme was shown in the form of a themed theatrical performance involving actors, “Rossika” chamber choir and the State Hermitage Orchestra quartet of soloists. The Greater Hermitage Assembly: on the threshold of the 250th anniversary of the State Hermitage Museum foundation. “The Hermitage before the Hermitage. Peter the Great, the First Russian Collector” 132 133 Educational Events Educational Events

March Round the Costume April The Youth Education centre • “Florentine Dreams”. Frescos by Domenico Ghirlandaio. January • Jan Toorop: Play of lines. Doctor Mariete Jitta (The Hague) А. Kamchatova. Tchaikovsky. Recollection of Florence. Soloists • The Art Nouveau costume. Ye. Trubkina, Т. Slezina and • The Golden Age of Dutch painting: cultural heritage of the State Hermitage Orchestra Т. Vasilyeva (St. Petersburg Academy of Dramatic Art) in the making. Professor Greisenhaut (Amsterdam) the Educational programme Linked TO THE exhibition Antony Gormley. Still Standing. A Contemporary April • Meeting with the costume historian R. Kirsanova, Professor November • “Love that Moves the Sun and Other Stars”. А. Kamchatova. of the Institute of Art Studies • The unsolved mysteries of Jeronim Bosch. А. Kamchatova Intervention in the Classical Collection Secular music of the Italian Renaissance. Soloists of the State February December “A Gravitation Field” of Antony Gormley in the space of Classical Hermitage Orchestra Antiquity art. Saturday classes held at the exhibition were given • Paris – St. Petersburg. French fashion in Russia in the early • Fashion and imagination. The costume and its meaning 20th century. Dialogue on “high” art and fashion. Ye. Trubkina, in Rembrandt’s paintings. Doctor Marieke de Winkel (Holland). by the staff members of the State Hermitage Education Department. The Year of Spain in Russia P. Trusova Concert of old music and the show of a dress modelled after the October costume worn by the character of the painting The Introduction • Costume in the cinema. Artists of the Lenfilm Studio. Т. Slezina Standing in Silence • The Passion of Christ. El Espolio by El Greco”. А. Kamchatova. of a Bride by Bartholomeus van der Helst. Ye. Trubkina Spanish sacred music of the 16th century. Soloists of the State (St. Petersburg Academy of Dramatic Art) Meetings with Roman sculpture curator L. Davydova, a staff Hermitage Orchestra • Japanese costume. Traditions and the modern age. member of the Department of Classical Antiquity 14 September. Meeting with the exhibition curator А. Тrofimova November А. Bogolyubov, Ye. Trubkina, N. Lavrova Journeys with the Hermitage Masterpieces. Towards Marking the 250th Anniversary 23 September. Meeting with the British sculptor Antony Gormley • “The Soul of Spain”. Female characters in Spanish painting. November 26–27 November. Photography display under the title Interaction of the State Hermitage Museum А. Kamchatova. Spanish music of the 17th – 20th centuries. • : an artist and “fashion designer”. L. Тоrshina. A project developed by the students of the “Photographic Soloists of the State Hermitage Orchestra A dress show after a painting by Watteau. St. Petersburg On the threshold of the Hermitage anniversary a set of meetings Art” group headed by I. Lebedev was organized as part of the • “Grandees and Grandes ”. The Spanish court dress. Academy of Dramatic Art between the museum staff members and the public was organized educational programme linked to the Antony Gormley exhibition. Ye. Trubkina. Old secular music of Spain. Soloists of the State December in 2011. In the same way as people, works of art have their own Over a period of two days the Roman Courtyard of the New Hermitage Orchestra • Nadezhda Lamanova, the first Russian fashion designer. destiny, which is at times full of adversities, adventures and strokes Hermitage was the venue for their photographic works display On the occasion of the 150th anniversary of birth. Ye. Trubkina of good fortune. Before taking refuge in the museum many of them alongside the sculptures by Antony Gormley. had gone a long way, having been possessed by famous people and December having witnessed significant historical events. The students who • “The Light and Rhythms of Spain”. Pablo Picasso. L. Тоrshina. THE HERMITAGE IN THE ASSOCIATION OF MUSEUMS. attended the meetings had a wonderful opportunity to make an Art Semester in the Hermitage. Spanish music of the turn of the 20th century. Soloists imaginary journey to the destinations associated with the creation Modern AND CLASSIC art in St. petersburg of the State Hermitage Orchestra TOWARDS THE HERMITAGE ANNIVERSARY January and abode of the most famous works of art. They could gain 8–20 August • “Sadness and Smile in the Spanish Way”. Joan Miro. • Between the Hermitage and the Louvre. The Campana a better knowledge of the epoch, of the artistic environment they Designed at the initiative and with the active support of L. Тоrshina. Spanish music of the 20th century. Soloists collection. L. Davydova, А. Kamchatova were created in, of their creators’ and former owners’ destinies, the Hermitage Canadian Friends Club, a specialization course of the State Hermitage Orchestra as well learn about the story of their arrival at the Hermitage. for the students of Canadian arts schools offered a wide range February of inspirational activities including art history studies in the • The Venetian school of painting at the Hermitage and in the October Hermitage rooms, classes in the Youth Centre workshop and Painting and Music: Associations. National Gallery in London. А. Kamchatova • “The Most Magnificent in Europe”. “The Pilgrimage” of the at the museum exhibitions; excursions devoted to St. Petersburg The Images of Spain : from Mantua to St. Petersburg. L. Davydova • Rubens at the Hermitage and at the Royal Museum of Fine Arts architecture, visits to museums, to contemporary artists’ studios, November Dedicated to the Year of Spain in Russia, a series of evening in Antwerp. А. Kamchatova as well as drawing classes and meetings with Russian students. musical performances was prepared by the Sector of Special • John Wootton. Hounds and a Magpie from the Stately Home March Programmes of the Education Department in collaboration Houghton Hall in England. I. Bykova • Jean-Baptiste-Simeon Chardin: the Hermitage, the Louvre, with the Theatre and Education Department. This cultural event the National Museum of Sweden. L. Тоrshina, А. Glagola • “The Conestabile Madonna, the Gem of Perugia”. In Raphael’s Art Semester in the Hermitage. Copying art works in the Hermitage rooms provided yet another opportunity to pay tribute to the greatest homeland: Urbino, Perugia. А. Kamchatova • Matisse. The Hermitage – the Matisse Museum of Nice. painters of the Spanish school, from El Greco and Velázquez December to Goya, Picasso and Miro. Their works provide fertile ground L. Тоrshina • The Virgin under an Apple-Tree. In the footsteps of Lucas for musical associations. A large number of rarely performed April Cranach: Wittenberg, Wartburg, and Weimar. А. Kamchatova musical works could be heard. The sacred songs of the 16th • Tsarist and Imperial gifts. The Hermitage, the Moscow Kremlin • Breakfast with Crab by Willem Heda. Journey to seventeenth- century performed by “Rossika” chamber choir (Artistic Director Museums. Ye. Trubkina, Yu. Uvarova (Moscow, the Moscow century Haarlem. V. Snegovskaya Valentina Kopylova-Panchenko), which marked the height Kremlin Museums) of the Spanish school of composers, gave a special “depth” • Masterpieces of Semiprecious Stones. Peter Carl Fabergé and meetings In the ninth Line to the perception of the famous altarpiece El Espolio by El Greco. Russian Craftsmen-Lapidaries. The Hermitage, the Armoury. The project was organized jointly with the Faculty of Arts The secular music performed by the soloists of the State Hermitage Ye. Trubkina, Yu. Uvarova (Moscow, the Moscow Kremlin Orchestra allowed to visualize the plasticity of the royal family of St. Petersburg State University, the Department of Organ, Museums) formal appearances and the bizarre grace of Goya’s majas. Harpsichord and Carillon The drumming rhythms of Manuel de Falla matched the Cubistic Dutch Drawing Rooms May paintings by Picasso, whilst the music by the twentieth-century • Doll’s houses by the masters of the Netherlands. Ye. Trubkina January composers revealed the same nature that gave life to the works (Hermitage). Old and modern music by Belgian composers. by Joan Miro, where sadness and smile went side by side in a truly • From Gothic to . An epilogue to the exhibition. Y.-V.Haasen and E. Porizko (St. Petersburg University) Spanish manner. А. Larionov February • “Stepping into a Picture…”. The “Stepping into a Picture”, an effect created by the seventeenth-century Dutch painters. А. Kamchatova 134 135 Educational Events Educational Events

Chronology of Events Series of Lectures: The Architecture of Spain The Hermitage – the British Museum: an Outward Glance at the Youth Educational Centre 10–30 April 24 November Svetlana Pavlova, a staff member of the Education Department, Talk by Yelena Ananyeva, a staff member of the Department of delivered a series of lectures as part of the cultural and educational Western European Applied Arts, about the British Museum archive. Winter Evening in the Winter Palace programme entitled Spain. Interaction 8 February Meeting with the Artist Kirill Arnshtam 26–27 November The programme activities, which opened a new semester, were held 14 April This project was developed by the students of the “Photographic in the halls of the Hermitage Museum after its closing time. They Meeting with the artist Kirill Arnshtam and the screening of Nikolai Art” group. Over a period of two days their photography works were included a performance by the soloists of the State Hermitage Golovikhin’s documentary film “Kirill Alexandrovich Arnshtam, exhibited alongside the sculptures by Antony Gormley in the Roman Orchestra and a meeting with M. Denisova, Head of the Hermitage the Last Artist of the First Wave of Emigration” were organized within Courtyard. Laboratory for Scientific Restoration of Textiles. the framework of the Youth Centre “VIP Guest” programme. Mutatis Mutandis. Design and Redesign Your Sculpture! One-Act French Play Street Photography. Master Class of John Battaglia (USA) 1–4 December 19 February 24 April Master class in the Youth Centre given by the Finnish artist The photographs by John Battaglia, a student of the Parsons New Evening with the students of the “Artist and Poet” and Alexander Reichstein as part of the Actual Art programme. School for Design (New York) and a participant of the Interpretation “Netherlandish Club” groups (led by V. Snegovskaya). programme organized by the Hermitage Youth Centre, were Educational Programme Linked to the Exhibition Henry Moore English Clocks at the Hermitage discussed during the master class (headed by I. Lebedev). at the Hermitage: Sculpture and Drawings (5–14 May) 16 December 5 May During his meeting with the “English Club” students M. Guryev, Spain! Meeting with Anita Feldman, Chief Curator of the Henry Moore Head of the Laboratory for Scientific Restoration of Timepieces 18 February Foundation. and Musical Mechanisms, wound up the famous Peacock clock Meeting with L. Kagane, Spanish painting curator. 6 May and gave a talk about other timepieces by English watchmakers on display at the Hermitage Museum. Japanese Tea Ceremony Meeting with Richard Calvocoressi, Director of the Henry Moore Foundation. 5 March Design and redesign your sculpture. Interactive installation The New Year in the Art Nouveau Style 11 and 13 May Demonstration class by the Oriental Studies group of the Student by Alexander Reichstein 25 December Lectures by the staff members of the Education Department Club headed by Zh. Vyaznikovtseva. This year the traditional Christmas party of the Hermitage Student discussing “Henry Moore: A Great Sculptor of the 20th Century” Club groups was decorated in the Art Nouveau style. Meeting with S. Savvateyev, Curator of the Prado and “Artists and Wars”. at the Hermitage Exhibition Students’ Final Conference Education Programme Linked to the Exhibition Annie Leibovitz. During the year a series of lectures on modern art was 17 March 14 May A Photographer`s Life. 1990–2005. delivered to the students: Talk about the exhibition which opened the Year of Spain in Russia. Members of 19 study groups run by the Hermitage Student Club 14 July February–May Meeting with the exhibition curator Ye. Lopatkina. Series of lectures on the theme “New Sensations! The Most Notable The World of the Renaissance Palaces delivered various presentations. 15 July Exhibition Projects Featuring the Twentieth- and Twenty-First- 18 March “In Homage to Henry Moore” The screening of the film “Annie Leibovitz. Life through a Lens”. Century Art in the World’s Museums”. The lectures were conducted Demonstration class given by The French Club of the 15th –18th 14 May by the staff members of the State Hermitage Education Department Centuries and The Italian Club run by the Student Club of the The “Photographic Art” group led by I. Lebedev presented a photo­ “Art Semester in the Hermitage” and of the Sector of Modern Art. Hermitage (led by М. Vlasova). graphy show, which took place in the Great Courtyard of the Winter 8–20 August September–December Palace, where a total of twelve students’ works of photographic art Comprehensive educational programme “Modern and Classic Art Series of lectures on the theme “40 Weeks of Female Art”. ARCO-2011 were on one-day display alongside Moore’s sculptures. in St. Petersburg” for Canadian students. 25 March The lectures were conducted by the staff members of the State Hermitage Education Department and of the Sector of Modern Art. Talk about the modern art fair held in Madrid in February 2011. Museum Exhibits in Photographs. The Problems Student Day – 2011 The speaker was Ye. Lopatkina, a staff member of the State of Interpretation 2 October Hermitage Sector of Modern Art. 21 May This year the traditional Student Day marked the participation Within the framework of the “Night of Museums – 2011” of the State Hermitage in the 54th Venice Biennale. Cyberfest–2011 Day of the March Cat – 2011 programme two photography show projects – “Interpretation. 26 March Portrait in the Museum” and “In Homage to Henry Moore” Educational Programme Linked to the Exhibition Antony Special project dedicated to the cats living in the Hermitage by the students of the “Photographic Art” group of the Hermitage Gormley. Still Standing. A Contemporary Intervention Museum. Student Club were on display at the Staraya Derevnya Centre in the Classical Collection for Restoration, Conservation and Storage. September–December The Мagic of Torero: from Goya to Picasso 7 April Modern Interpretations of Beauty in the Museum Cyberfest–2011 Lecture delivered by Jose Ignacio Martinez (Spain) discussing 9–27 June November Spanish art and the art of tauromachy. A photography show project was presented by the students of the “Photo­ Within the framework of the Actual Art programme the Youth graphic Art” group of the Hermitage Student Club and the students of Centre once again became the main venue for the events Meeting with Yury Molodkovets and Alexei Alexeyev Parsons New School for Design (New York) curated by Thomas Werner. of the International Festival of Cybernetic Art. 9 April The photographers Yury Molodkovets and Alexei Alexeyev “Art Semester in the Hermitage” Pool in a Harem. Return demonstrated to the students their works from the “Magic Scarf February–April, June–July 16 November of Hermites” series in the ambrotype technique created specially Annual educational programme “Russian Art in Retrospective” Meeting with the exhibition curator А. Babin, and the painting for the Day of the March Cat – 2011. for American students. restorers Т. Alyoshina and M. Shulepova. 136 137 SPECIAL DEVELOPMENT PROGRAMMES Special Development Programmes

FIRST MEETING OF THE STEERING COMMITTEE FOR PREPARATION Opening ceremony of the Year of Spain in Russia AND STAGING of THE CELEBRATIONS TO MARK THE 250TH ANNIVERSARY and the Year of Russia in Spain. OF THE FOUNDATION OF THE STATE HERMITAGE King Juan Carlos I of Spain, Dmitry Medvedev. 25 February 2011 The Steering Committee for Preparation and Staging of the Celebrations to Mark the 250th Anniver- sary of the Foundation of the State Hermitage met for the first time in the State Hermitage on 21 Sep- tember 2011. The meeting was attended by Dmitry Kozak (Deputy Prime Minister of the Russian Federation and Chair- man of the Steering Committee), Alexander Avdeyev (Minister for Culture of the Russian Federation), Alexandra Levitskaya (Deputy Minister for Economic Development of the Russian Federation), Nikolai Pankov (State Secretary and Deputy Minister for Defence of the Russian Federation), Georgy Pol- tavchenko (Governor of St. Petersburg), Mikhail Piotrovsky (Director of the State Hermitage), Georgy Vilinbakhov (Deputy Director of the State Hermitage), and other members of the Steering Committee. Addressing Dmitry Kozak and Alexander Avdeyev, Mikhail Piotrovsky presented the results of the work to restore the first section of the East Wing of the General Staff Building, the plans to restore the Peter the Great (Small Throne) Room and to create a state-of-the-art exhibition complex in the Small Hermit- age building, as well as the interim results of the restoration of the Hanging Garden. The members of the Steering Committee visited the Staraya Derevnya Restoration and Storage Centre, where they were informed about the work of the Laboratory for Scientific Restoration of Easel Painting and inspected the Open Storage exhibitions and other parts of the complex. The Steering Committee approved the proposed plan of the steps required to prepare and stage the cel- ebrations marking the 250th anniversary of the Hermitage. About twelve billion roubles are to be al- Opening ceremony of located from the Federal Budget for this purpose. the Year of Spain in Russia Under instructions of the Steering Committee, the Hermitage started development of a detailed sched- and the Year of Russia in Spain. ule for implementing these measures. Mikhail Piotrovsky, King Juan The Steering Committee also considered and approved the draft of the State Hermitage. Carlos I of Spain and Queen Sofia. ­According to the draft, the current status of the Hermitage will be confirmed. 25 February 2011 The Statutes of the State Hermitage will be approved by the Government of the Russian Federation acting as the founder of the Hermitage. The museum will remain affiliated to the Ministry of Culture.

The first meeting of the Steering Committee for Preparation and Staging of the Celebrations to Mark the 250th Anniversary of the Foundation of the State Hermitage. Nikita Yavein, Mikhail Piotrovsky, Dmitry Kozak, Georgy Poltavchenko, Alexander Avdeyev and Victor Smirnov. 21 September 2011

OPENING CEREMONY OF The Year of Spain in Russia and the Year of Russia in Spain

On 25 February 2011 in the State Hermitage Museum, President of the Russian Federation Dmitry Medvedev and King Juan Carlos I of Spain opened the Year of Russia in Spain and the Year of Spain in ­Russia. The formal ceremony held in the St. George Hall of the Winter Palace was attended by Queen Sofia of Spain, Russia’s First Lady Svetlana Medvedeva, Governor of St. Petersburg Valentina Mat- vienko, and other officials and representatives of business and culture. Following the ceremony, Dmitry Medvedev and Juan Carlos I, accompanied by Director of the State Hermitage Mikhail Piotrovsky, visited the in the Hermitage exhibition.

138 139 Dr. Mikhail Piotrovsky, Director of the State Hermitage Museum, and Dr. Ali bin

Special Development Programmes Special Development Programmes

Agreement SIGNED between the State Hermitage Museum of the forum, the participating journalists, cameramen, photographers had a chance to view and film and the Saudi Commission for Tourism and Antiquities the museum’s permanent and temporary exhibitions. The commemorative medal For Substantive Contribution to the Dialogue of Cultures was presented of the Kingdom of Saudi Arabia to TV channels Rossiya-24 and Russia Today, as well as to Anatoly Lysenko, a key figure in Russian TV broadcasting. On 19 January 2011 the State Hermitage Museum and the Saudi Commission for Tourism and Antiq- uities of the Kingdom of Saudi Arabia signed an agreement to promote cultural cooperation between the Russian Federation and the Kingdom of Saudi Arabia and to bring to the Hermitage the archaeo- logical exhibition Roads of Arabia. Archaeological Treasures of Saudi Arabia. The document was signed PARTNERSHIP AGREEMENT BETWEEN THE MINISTRY in the State Hermitage. FOR JUSTICE OF THE RUSSIAN FEDERATION The agreement was signed by Dr. Mikhail Piotrovsky, Director of the State Hermitage Museum, and Dr. Ali bin Ibrahim Al Ghabban, Professor, Vice President of the Saudi Commission for Tourism and An- and the state hermitage Museum tiquities of the Kingdom of Saudi Arabia. On 3 December 2011, which is celebrated as Lawyer’s Day in Russia, a Partnership Agreement regard- ing the organization of the 2nd St. Petersburg International Legal Forum was signed in the Council Hall of the State Hermitage by Alexander Konovalov, Minister for Justice of the Russian Federation, and St. Petersburg International Mikhail Piotrovsky, Director of the State Hermitage. The Legal Forum will be staged on 16–19 May Museum Forum 2012, and its discussions will be held in the East Wing of the General Staff Building of the Hermitage. The topic of the plenary session, scheduled for 17 May 2012, will be the global problems of legal devel- The St. Petersburg International Museum Forum, organized by the opment in the modern world. Round table participants will be discussing the issues of law supremacy; Union of Russian Museums and supported by the Intergovernmen- special features of trade in and protection of items of cultural value; new models of global economic inte- tal Foundation for Educational, Scientific and Cultural Cooperation gration within the frameworks of APEC, BRICS, EurAsEC; and other current issues. Discussion groups, of the CIS States was held on 1 and 2 November 2011. scheduled for 18 May 2012, are to tackle specific questions concerning international and corporate The formal opening of the forum was held on 1 November at the law, as well as tax, customs, and antimonopoly regulation. As these round table sessions will cover over State Hermitage Museum. During the ceremony, the participants forty of the most topical issues in all areas of modern law, organizers hope that the forum will attract were addressed by Dmitry Kozak (Deputy Prime Minister of the the best practicing lawyers, experts, and representatives of state regulatory authorities. The topics to be Russian Federation), Grigory Ivliyev (Deputy Minister for Culture offered for discussion will include legal support of anti-corruption and anti-dumping measures, develop- of the Russian Federation), Mikhail Shvydkoy (Special Representa- ment of Internet-based businesses, legal and taxation aspects of energy saving promotion, environment tive of the President of the Russian Federation for International Cul- conservation and protection, issues of medical, sports, labour, and inheritance law, development of civil tural Cooperation), Georgy Poltavchenko (Governor of St. Peters- legislation, bankruptcy procedures, and many others. Practicing lawyers will be particularly interested burg), and Vadim Tyulpanov (Chairman of the Legislative Assembly in the discussion module related to the organization and regulation of legal practice, the management of St. Petersburg). of law companies, issues of professional ethics in legal services, and advanced legal training. The 2012 Mikhail Piotrovsky, Director of the State Hermitage Museum, forum is expected to be attended by over 1,500 participants. opened the first plenary session with a paper on problems faced The 1st St. Petersburg International Legal Forum, held with great success in 2011, announced itself by present-day museums. as an all-purpose discussion platform that can bring together lawyers from all over the world. The first The forum was attended by about 300 representatives from museums in fifty regions of Russia, as well forum was attended by over 600 participants from thirty five countries, including the President of the as by museum workers from , , Belarus, Kazakhstan, Kyrgyzstan, Lithuania, Poland,­ Russian Federation, fifteen Ministers for Justice from various countries, Secretary General of the Coun- Uzbekistan, and Ukraine. The concluding session of the forum was followed by a formal assembly dedi- cil of Europe, chief officers of supreme courts, corporate lawyers, solicitors, notaries, legal advisers, cated to the 10th anniversary of the Union of Russian Museums. and chief officers of international lawyer associations.

AGREEMENT signed BETWEEN THE STATE HERMITAGE Dialogue of Cultures: sixth InternationaL Forum AND PHILIPS OF Young Journalists working in electronic mass media On 21 February 2011, the State Hermitage and Philips signed a ­Cooperation Agreement extended for a further period up to 2014. Dialogue of Cultures, the Sixth International Forum of Young Journalists Working with Electronic Mass The agreement was signed by Mikhail Piotrovsky, Director of the Media in Europe and Asia, was held in the Stage Hermitage Museum on 21–23 November 2011. The fo- State Hermitage, and Vladimir Gabrielyan, Vice President of Philips rum was organized by the State Hermitage Museum and the Eurasia Media Centre. Lightning Russia, Ukraine, Belarus, Turkey, and Central Asia. The forum was held in the format of a practical conference. It was attended by about 200 participants For the 250th anniversary of the Hermitage, within the next three from twenty countries, including journalists from Latvia, Lithuania, Germany, Kyrgyzstan, Kazakhstan, years Philips will complete projects to replace and upgrade the light- Tajikistan, St. Petersburg, , Tyumen, North Ossetia, Kursk, Kurgan, Volzhsk, , as well ing for the façade of the East Wing (now part of the Hermitage) as and China. According to the already established tradition, the forum was opened by Mikhail of the General Staff Building, for the Chariot of Glory on the Trium- Piotrovsky (Director of the State Hermitage) and Ashot Dzhazoyan (General Secretary of the Interna- phal Arch of the same building, for Peter the Great’s Winter Palace, tional Journalist Unions Confederation). An opening speech was delivered by Vasili Kichedzhi, Deputy and other monuments and landmarks. Governor of St. Petersburg. Renovation of indoor lighting in Peter the Great’s Palace, which The first two days of the forum included master classes, round table sessions, as well as the creative houses Peter the Great memorabilia and the famous Wax Figure of workshops Over the Rooftops of St. Petersburg and a television film festival Our Neighbours. A flash the Emperor by Bartolommeo Carlo Rastrelli, had been completed mob The Hermitage on Your Mobile Phone was staged in the Italian Skylight Halls. On the final day by 8 December 2011, the Friends of the Hermitage Day. The new 140 141 Special Development Programmes Special Development Programmes

lighting for the Chariot of Glory on the Triumphal Arch of the General Staff Building is due to be finished agreement signed to create a new-generation website by the 200th anniversary of the victory in the Patriotic War of 1812, to be celebrated in May next year. for the hermitage. launch of the project The façade of the General Staff Building will receive its new lighting by the 250th anniversary of the Hermitage. On 16 June 2011, the day which marks the centenary of IBM, an Agreement of Intentions to create Mikhail Piotrovsky, Director of the State Hermitage, said that “the unique feature of this new stage a new-generation website was signed between the State Hermitage, the Hermitage Museum Foundation of cooperation between the Hermitage and Philips is its integrated approach. Technological innovation, (USA), and IBM. The ceremony took place in the museum. modern energy-saving technologies, and aesthetic invention characterize each of the projects. The tech- The agreement was signed by Mikhail Piotrovsky, Director of the State Hermitage, Paul Rodzianko, nologically new light shines in a new way, and we want to make use of this in our joint work”. Chairman of the Board of Directors of the Hermitage Museum Foundation (USA), and Kirill Korniliev, Arjan de Jongste, Chief Executive Officer of Philips Russia, Ukraine, Belarus, and Central Asia, noted General Manager of the Subsidiary of IBM East Europe/Asia. that “cooperation between Philips and the State Hermitage is a good tradition that goes back more than In September, the experts representing the Company were invited to develop the strategy for the muse- a hundred years. On this occasion we have signed a long-term agreement for four years that envisages um’s website and held a series of workshops with the representatives of the Foundation, the Directorate, a gradual renovation of lighting systems on several sites”. members of the academic and technical staff of the Hermitage. They discussed the goals and objectives of upgrading the existing web resource, analyzed its visitor demographics and information structure; the prospects of increasing the range of functional options offered by the website were also considered. These meetings between the Company experts and the Hermitage employees have helped to outline the scope of the new project, which aims to create a modern, information-rich website attractive for a wide cooperation between the state hermitage range of readers. The upgrade of the website is set to be fully complete by 2014 when the museum celebrates its 250th and samsung electronics. completion of another stage. anniversary. cooperation prospects

On 23 March 2011, the State Hermitage and Samsung Electronics announced the completion of another phase of cooperation which was started in 1997 and the transition of technical partnership between the a ceremony marking the day of the russian guardS company and the museum to a new level – cooperation in the field of innovative technologies. The En- trance Area of the Hermitage, the Great Courtyard of the Winter Palace, and the ticket boxes of the The Russian Guards Day is celebrated on 2 September. This festi- Tour Bureau have been equipped with multimedia stands bearing Samsung information screens which val was established by order of the President of the Russian Fed- can help museum visitors to learn about the museum’s opening hours and ticket prices; get information eration in 2000 to mark the 300th anniversary of the creation about tours; the departments of the museum; the Hermitage Friends’ Club, and temporary exhibitions. of the Russian Imperial Guards. According to the Julian calen- The exhibition halls in the main museum, temporary exhibitions, as well as the Winter Palace of Peter I dar, it was on this day in 1700 that Emperor Peter the Great and the Menshikov Palace now have Samsung plasma and LED panels with educational programmes. first used the term “Life Guards” to refer to the Preobrazhensky The Samsung information screens, which use new energy-saving LED backlight technology LED BLU and Semenovsky Regiments. The State Hermitage Museum held (Back Light UNIT), save up to 40% of energy compared to conventional information displays. Besides, a joint ceremony dedicated to the Russian Guards Day with the the company and the State Hermitage have started developing widget-based application for next-gener- command of the Western Military District at the St. George Hall ation Samsung SmartTV television sets. The Hermitage widget will be available to users as it is linked at the Winter Palace. with modern Samsung TV sets which can be connected to the Internet. With the new service, a lot Military ceremonies and parades have been traditionally held of ­people will have an easy and convenient access to a wide range of various information about the Her- at the Winter Palace. The Palace was not only the Tsars’ resi- mitage and its collections of masterpieces directly on their TV screens. dence but also served as a military museum, preserving the In 2010, the restoration of floor-based musical clocks made in the studio of Roentgen and Kinzig in Ger- memorabilia connected with Russian military history. The names many in the 1780s were completed within the framework of Linking Times - Linking Technologies, a joint of the state rooms of the Winter Palace bear testimony to this restoration project run by Samsung and the State Hermitage. To date, about ten copies of this clock role: the St. George Hall, the Field Marshals Hall, the Memo- are extant in the world. The unique mechanism is a result of joint work of four leading late eighteenth- rial Room of Peter the Great, the Armorial Hall, Sentry Room, century experts in the field of applied art: the cabinet maker , the clock maker Peter the Military Gallery of 1812. Kinzing, the organ master Johann Weill, and the bronze Francois Remo’n. After the completion The State Hermitage Museum has been upholding the traditions of the restoration, the Hermitage had the first operating copy of this type of clock in Russia, which was of honouring Russian military history. It is not only a great col- included in the museum’s permanent exposition. “The new technologies of our time help to revive the lection which illustrates the history of world culture but also finest technologies of the past. Samsung and the Hermitage have established the link between different one of the largest museums of military history. Its collections times and remind everyone about the continuity of human civilization”, said Mikhail Piotrovsky, Direc- contain a large number of weapons, dress uniforms, paintings tor of the State Hermitage. “Modern technology can make works of art accessible to everyone. It is due and engravings depicting battles, and military portraits. This to careful attention to the cultural heritage that we become spiritually richer, and the use of innovative enables the State Hermitage to conduct large-scale exhibi- technology enables more and more people to enjoy the masterpieces of past centuries”, says Lim Suk Il, tions, which have always been the first of their kind in Russia. head of the Samsung Electronics office in St. Petersburg. In 1940, the Heroic Past of the Russian People became the first such exhibition in Soviet history; a 1962 exhibition was dedi- cated to the 150th anniversary of the Patriotic War of 1812; in 1967, there was an exhibition dedicated to the 300th anni- versary of the Russian flag which was organized jointly with the Central Maritime Museum; in 2000, several St. Petersburg museums collaborated to stage an exhibition dedicated to the Russian Imperial Guards; the year 2009 saw a large-scale ex- hibition organized by a joint effort from museums in Sweden, 142 143 Special Development Programmes Special Development Programmes

Moscow and St. Petersburg; it was entitled The Perfect Victory and was dedicated to the 300th an- fifteenth anniversary of the international hermitage friends’ club niversary of the Battle of Poltava. On 2 September 2011, historic banners and standards of the guards’ regiments from the State Hermit- The Archives of the State Hermitage for the year 1916 contain a curious document, entitled “A Project age collections were displayed in the St. George Hall. The Military District Headquarters Orchestra and for the Charter of the Society of Friends of the Imperial Hermitage in St. Petersburg”. The aim of the a Company of the Honour Guards of the Western Military District also participated in the ceremony. Society was to contribute to the addition of various items to the treasuries of the Imperial Hermitage As part of the celebrations for the Day of the Russian Guards, Jan Nyberg, the Consul General of Sweden and to promote the collections of works of art held at the museum. To address its goals, the Society was in St. Petersburg, presented the Deputy Director for Research Work of the State Hermitage Museum, entitled to accept all kinds of donations in moveable and immoveable property as well as cash. The So- Georgy Vilinbakhov, with the Royal Order of the Polar Star on behalf of His Majesty King Carl XVI Gus- ciety was to be composed of founding members, honorary members, full members, employee members, taf of Sweden for his contribution to science. and would have a seal with its title and a special token of membership. It is not known for certain whether this initiative was taken any further in the early years of the previ- ous century, but the idea for a society of Friends of the Museum was put into practice eighty years later. In the mid-1990s, a new category of visitors was introduced at the State Hermitage, called Friends of the Museum. By that time, the overseas Hermitage Friends’ Societies have been active for some years A master class at the hermitage • kazan exhibition centre held in the Netherlands and the USA. Their main task was to promote awareness of the Hermitage collections as part of the joint programme of the state hermitage and fundraising for the museum’s development programmes. and coca-cola company, preserving our cultural heritage together At the same time, the need was felt to create a similar Society of Friends in Russia itself, which would work directly with the Hermitage. On 22 November 1996, Mikhail Piotrovsky, Director of the State Hermitage, announced at a press conference the creation of the Hermitage Friends’ Club. On 13 October 2011, a press conference was held in the Hermitage • Kazan Exhibition Centre to mark At present, the Hermitage Friends’ Club brings together individual and corporate members from Rus- the implementation of the first regional stage of the Hermitage and Coca-Cola’s joint programme en- sia and other countries. The Club also coordinates the work of Friends of the Hermitage groups in the titled Preserving Our Cultural Heritage Together. This programme included professional training trips Netherlands, USA, Canada and the UK. abroad for the Hermitage restoration specialists, who later shared their new experience with regional The Dutch Friends of the Hermitage Society was founded as early as 1994 as a result of the coopera- museums. tion between the State Hermitage and the Nieuwe Kerk Exhibition Centre. From the start, the Tatiana Shlykova, a restorer at the Laboratory for Scientific Restoration of Applied Art Objects, of the Dutch Friends was “not to help the Hermitage, but to share its burden of responsibility for the took a training course in Restoration of Glass in London as part of the International Academic Pro- preservation of the great heritage of the Dutch masters for future generations”. This is why the joint jects programme, and was introduced to the work of the restoration laboratories at the Ashmolean International Friends Museum (Oxford). After successfully completing her training, Tatiana Shlykova held a master class of the Hermitage Day. 8 December in the ­Hermitage • Kazan Exhibition Centre on the restoration and conservation of glass and slipware for the museum specialists from the Republic of Tatarstan. Among the topical problems addressed at the master class were the questions of dealing with broken glass and glazed ceramics, their cleaning, gluing, repair methods and the selection of restoration materi- als. Shlykova devoted a great deal of attention to the storage, exhibition and preventative conservation of archaeological and “new” glass and slipware. At the conclusion of the master class, a restoration policy was drafted for a specially selected artefact from the museum collections of the Republic of Ta- tarstan, for which Coca-Cola provided an additional grant. The object to be restored was a faience cup decorated with images of masked figures found during the excavations at Bilär, from the collection of the Archaeological Museum of Kazan (Volga Region) State University.

fabergÉ memorial museum project: a new stage in the cooperation between the state hermitage and jti company

To mark the 250th anniversary of the Hermitage, a new museum of the art of the 19th to 21st centuries is due to open in the newly restored East Wing of the General Staff Building. The new exhibitions are set to include a memorial museum dedicated to Carl Fabergé and his contemporaries. The display at the new museum will highlight the importance of Fabergé’s work for the development of European jewellery art and demonstrate its later evolution and the achievements of contemporary jewellers and stone-carvers. The specially designed showcases will contain the most important works of Fabergé’s predecessors, the best masterpieces of the Fabergé Firm and their contemporaries, graphic designs for jewellery objects from the Hermitage collection. From time to time, the display is set to be transformed in part or in full by the addition of pieces lent by other museums or collection owners from Russia and abroad. Other plans for the museum include temporary exhibitions of contemporary jewellery, a dedicated library on jewellery, stone-carving, the techniques and technologies of the art, as well as costumes and fashion. This project is implemented by the Hermitage with the help of art patrons, including JTI. 144 145 Special Development Programmes Special Development Programmes

work of the Hermitage and Amsterdam tended to focus on restoration projects. The most ambitious fruit day of the march cat at the hermitage of their cooperation was the creation of the Hermitage • Amsterdam Exhibition Centre (2004/2009), one of the key cultural and exhibition centres in the Netherlands. As Mikhail Piotrovsky, Director of the State Hermitage, put it, “cats have become a vital part of our life The American Friends of the Hermitage Foundation was founded in New York in 1995. It stages the at the Hermitage and one of our important Hermitage legends”. Our friends the cats trace their history annual lectures by Mikhail Piotrovsky, Director of the State Hermitage, holds charitable auctions, or- back to the early 18th century, when Peter the Great brought a cat from Holland to live in the Winter ganizes trips to Russia for the American Friends of the Hermitage, and raises funds for the museum’s Palace. His daughter Empress Elizabeth issued an “Order to Dispatch Cats to the Court”, ordering development projects. Its many completed projects include the acquisition of museum equipment, “to find in Kazan the best and largest tomcats, most suited to the catching of mice”. Catherine the Great, the restoration of rooms and exhibits, the organization of exhibitions in Russia and the US, and donation the founder of the Hermitage, gave the cats the status of official gallery guardians. of unique works of art. This year, the traditional Day of the March Cat was held on 26 March. Members of the public who visited The Hermitage Foundation of Canada was created in 1997. It has been active by many years launching the museum on that day had a chance to meet the heroes of the day, i.e. the Hermitage cats, in the Great programmes which introduced Russian audiences to Canadian art and promoted Russian culture and the Courtyard, and to paint their own cat following Dmitry Shagin and his event entitled “My Hermitage State Hermitage collections in Canada, and made a significant contribution to the security programmes Cat”. In the museum rooms, visitors could play an interactive game which introduced them to the col- and preservation of collections of the Hermitage. The “Windows of the Hermitage” Project made it pos- lections of the Hermitage and go on the “Quest for the Hermitage Cat”. In the attic of the Winter Pal- sible to install protective film covers on the windows in all of the museum’s exhibition rooms, while the ace, there was an exhibition of paintings by professional artists inspired by these elegant animals, and Computerization of the Hermitage Collection Programme marked the beginning of the creation of a full a photo project by Yu. Molodkotets and A. Alexeyev called “The Magic Scarf of the Hermits”. The pho- digital catalogue of the museum’s collections. tographs were made in the complicated technique of ambrotype, which makes it possible to create an The youngest of the overseas societies for Friends of the Hermitage, the UK Friends of the Hermitage, extraordinary texture and depth of the shot and catch a glimpse of the fleeting world of imagination. was founded in 2003. The Society lends active support to one of the most innovative projects launched Ahead of the Day of the March Cat, the State Hermitage staged a number of arts competitions for the by the Hermitage, the Hermitage 20/21 Programme. This large-scale campaign aims to attract works young pupils of arts schools and studios of St. Petersburg and the Leningrad Region. In 2011, the chil- of contemporary art to be displayed in the newly-restored General Staff Building. The UK Friends of the dren were invited to make their own pictorial “Hermitage fairy-tale about cats”. The winners of the Hermitage became the Official Coordinators of the project outside Russia. competition were announced on the day. The programme was supported by the Worldwide Club of St. Petersburgers, Hermit Park Company, Nevskaya Palitra Decorative Paint Plant, the St. Petersburg Museum of Cats, Transelectro Company, the State Hermitage Orchestra, and Fazer Food Services Ltd. day of maecenas at the hermitage

On 13 April 2011, the Day of the Art Patron and Benefactor was celebrated for the sixth time in the Her- mitage Theatre on the day of birth of Gaius Cilnius Maecenas, the Roman aristocrat, friend of artists, eighTH INTERNATIONAL FESTIVAL “MUSICAL HERMITAGE” poets and musicians. A famous painting by Tiepolo, Maecenas Presenting the Liberal Arts to Emperor Augustus, has already become a symbol of this celebration. Between 19 and 27 February 2011, the Hermitage Theatre, the Academic , and the Small Hall The ceremony was opened by Mikhail Piotrovsky, Director of the State Hermitage. Alexander Platunov, of the Philharmonic Society became the venues for the Eighth International Festival “Musical Hermit- Vice Chairman of the Committee for Culture of the Government of St. Petersburg, read the address age”. It was organized by the State Hermitage and the Hermitage Academy of Music with support from to the audience from Valentina Matvienko, Governor of St. Petersburg. the St. Petersburg Government Committee for Culture. Goodwill projects were introduced by Arkady Sosnov, Chief Editor of the Russian Maecenas almanac. The concert programmes involved musicians from nine countries performing in different genres and Among them was the restoration of the statue of Samson for the Grand Cascade in Peterhof and the trends – from classical music to jazz and contemporary experimental music. The festival was opened by Chinese Palace in Oranienbaum; the establishment of a new National Museum of Lacework in Vologda, a recital by Rosanne Philippens, a young Dutch violinist, winner of the prestigious Amsterdam Grachten- the revival of the homestead of Prince Andrei Gagarin, the founder of the Polytechnic University, in the festival accompanied by the State Hermitage Orchestra conducted by Oleg Snetkov. village of Kholomky in the Pskov Region. The Hermitage Theatre saw the performances of the Stolen Trio band, the Norwegian ensemble Helge Traditionally, the festival in the Hermitage was attended by children in need of help, in particular those Lien Trio, and Ties Mellema, a young Dutch saxophone player and winner of the Amsterdam Grachten- from the Children’s Village-SOS (town of Pushkin) and Orphanage No. 46. The Peacock Clock was festival, playing together with a young pianist Pascal Meyer. The concerts in the Academic Capella wound specially for them in the Pavilion Hall of the Small Hermitage. included performances by the prominent musicians Igor Butman and Andrei Kondakov, one of the The concert programme accompanying the ceremony was performed by soloists from the Academy world’s best jazz double-bass players Gomez, and the percussionist Jonathan Blake. The Small of Young Singers of the (Artistic Director Larisa Gergieva), winners of interna- Hall of the Philharmonic Society was the venue for the solo concert of the extraordinary Polish guitarist tional contests Olga Pudova and Andrei Bondarenko, as well as Diana Bystrova, a student of the Marcin Dylla. comprehensive school under the St. Petersburg Conservatoire, and pupils of the ballet studio The festival was concluded with the traditional Belcanto Concert presenting the young opera singers, at Orphanage No. 46. winners of the International Spoleto Festival, Nicoleta Vitelaru (soprano) and Roberto Cresca (tenor), In the Hermitage Foyer, a special showcase installed specifically for the time of the celebration con- who were accompanied by the State Hermitage Orchestra conducted by the Swedish conductor Mats tained a gift from the Hermitage Museum Foundation (USA) to the State Hermitage: a letter from Liljefors. Catherine the Great to Prince Grigory Potemkin with the date and personal signature of the Empress. The festival was supported by the Consulates General and Institutes for Culture of the Netherlands, The Maecenas Day-2011 was attended by guests from Moscow, Vologda, Finland, Sweden, and the USA. Sweden, Italy, Norway, and Poland.

FifTH INTERNATIONAL FESTIVAL “DEDICATION TO MAESTRO”

The international festival “Dedication to Maestro” is a tribute to the memory of great composers, artis- tic and cultural figures, and musicians. The festival’s trademarks are its venue and its range of genres. In 2011, the festival included concerts of classical and jazz music and a gala performance by ballet artists. Works composed in different periods, countries and styles were performed. The concert was 146 147 Special Development Programmes Special Development Programmes

tenTH INTERNATIONAL FESTIVAL “GRAND WALTZ”

The year 2011 marks the tenth anniversary of the Grand Waltz Festival. As in previous years, it was held in the State Hermitage and the State Museum-Reserves of Peterhof, Pavlovsk and Tsarskoye Selo. The festival programme included evenings of symphonic and chamber, instrumental and vocal music, as well as a ballet soiree. The performances included those by the soloists of the Viennese Opera Michael Heim and Marchella Cherno, the Swiss conductor Reto Parolari, the Russian conductors Alexander Kantorov, Alexei Kara- banov, Dmitry Khokhlov, Igor Ponomarenko and Svyatoslav Luther, the virtuoso pianist Pyotr Laul. ­People’s Artist of the USSR Yelena Obraztsova and her favourite students presented a premiere con- cert An Evening with Prima . Soloists of the Mariinsky and Mikhailovsky Ballet Companies gave a gala performance on the stage of the Hermitage Theatre. The festival featured performances by the best orchestras of St. Petersburg: the State Symphony Orches- tra Classica, the St. Petersburg State Symphony Orchestra, the Admiralty Orchestra of the Leningrad Naval Base and the Andreyev State Academic Russian Orchestra. The festival was supported by the Bank of Moscow OJSC. This is the fifth joint festival of the Bank of Moscow and the State Hermitage which revives the traditions of arts patronage and gives an oppor- tunity to introduce our contemporaries to the world’s rich spiritual heritage.

eleveNTH INTERNATIONAL FESTIVAL “MUSIC OF THE GREAT HERMITAGE”

The Eleventh International Festival “Music of the Great Her- mitage” was organized by the State Hermitage, the Hermitage Academy of Music with the support of the St. Petersburg Govern- ment Committee for Culture. On 7 July, the festival was launched by the traditional jazz concert in the Great Courtyard of the Winter Palace. Andrei Kondakov, who has already become a regular fixture of the fes- Fifth International Festival “Dedication to Maestro”. tival’s jazz programmes, this year staged a musical event called Vasily Gerello and Maria Maksakova. 12 March 2011 “The Jazz Guitar Show”, with the participation of prominent musicians Paul Bollenback (USA) and Sylvian Luc (France). The latter, who is probably the most sought-after virtuoso gui- tarist in France today, gave his first performance for a Russian ­attended by masters who had already made a contribution to the world’s cultural history. Vasily Gerello audience. and Maria Maksakova, prominent soloists of the Mariinsky Opera, performed arias and duets from Mo- On 8 July, within the framework of the Year of Spain in Rus- zart’s operas in the Great Italian Skylight Hall of the New Hermitage. “The Dedication to Ulanova” was sia and Year of Russia in Spain, the festival introduced a event with the participation of brilliant dancers such as Yulia Makhalina, Irma Nioradze, So- one of the most interesting of modern flamenco bands, Al- phia Gumerova, Anastasia Kolegova, Irina Golub, Yevgeny Ivanchenko, Anton Korsakov and Igor Kolb. masäla, who also performed in the open air. The group was The German jazz duo Favo performed a special programme attuned to the chamber space of the Hermit- Eleventh International Festival established by the soloist Paloma Povedano, the former participant of the legendary group Ojos de age Theatre. The famous Russian early music ensemble Musica Antiqua Russica performed at the festi- “Music of the Great Hermitage”. Brujo, the unrivalled masters of “the Catalan Rumba”, a new style combining traditional Spanish val for the first time. A monograph solo concert was performed by the prominent St. Petersburg pianist Jazz Guitar Show. Andrei Kondakov music with modern technologies, elements of rumba, reggae and even hip-hop. Inheriting the rich Vladimir Mischuk to mark the 200th anniversary of Franz . and Paul Bollenback (USA). experience of the Barcelonan stage of the turn of the 21st century, Almasäla is still searching for The festival was concluded with the traditional gala concert held in the Armorial Hall of the Winter 7 July 2011 new styles, mixing Andalusian music with Latin American rhythms, electronic music, Oriental and Palace. One of the world’s most brilliant trumpeters, the virtuoso Sergei Nakariakov, heralded by the African­ tunes. media as “the of the trumpet”, gave a performance to the accompaniment of the State Hermit- On the same day, devotees of choral singing were able to listen to a remarkable choral group from age Orchestra conducted by its founder, Saulius Sondeckis. the USA, winners of the Grammy Award, San Francisco Boys Choir. The festival is traditionally sponsored by Promsvyazbank. The General Partner of the festival was United Breweries Heineken, LLC, and its Official Partners were Philips Company and Onego Shipping Company.

148 149 International Advisory Board of the State Hermitage Museum

Seventeenth Current Members of the State Hermitage Museum International Advisory Board: Annual Meeting

The Seventeenth Meeting of Irène Bizot Ancien Administrateur général, Réunion des Musées Nationaux, the State Hermitage Museum Paris International Advisory Board Mounir Bouchenaki Director-General, ICCROM, Rome was held in St. Petersburg on 26–27 August, 2011. Michael Brand Director, J. Paul Getty Museum Traditionally, the discussions deal with most pressing issues Michael Conforti Director, Sterling and Francine Art Institute, of the museum’s development. Williamstown Working sessions were held Gabriele Finaldi Director Adjunto de Conservación e Investigación in the Conference Hall of the Museo Nacional del Prado, Madrid State Hermitage Museum. As usually, themes for discus- Director, Städel Museum, Frankfurt am Main sion were developed by the Président directeur général, Louvre, Paris Director of the State Hermit- Henri Loyrette age Museum Prof. Mikhail Neil MacGregor, Chairman Director, The British Museum, London Piotrovsky. This year the ques- tion introduced for the consid- Henk van Os Former Director, Rijksmuseum, Amsterdam eration of the International Annamaria Petrioli Tofani Former Director, Uffizi, Florence Advisory Board concerned the 250th anniversary of the State Alfred Pacquement Directeur du musée national d’art moderne Hermitage Museum in 2014 – Centre Georges Pompidou, Paris its organization, objectives and ideas. A round table discus- Mikhail Piotrovsky Director, State Hermitage Museum, St. Petersburg sion was also devoted to the Stuart Gibson Secretary to the International Advisory Board anniversary celebrations, in the Former Director, Hermitage UNESCO Project Hermitage Museum and in the world. Svetlana Philippova Secretary to the International Advisory Board Members of the Advisory Head, Hermitage Friends Office Board had a tour of the new temporary exhibitions as well as of the East Wing of the Gen- Retired members eral Staff Building, where the first phase of reconstruction Reinhold Baumstark Director, Bayerische Staatsgemäldesammlungen, Munich has already completed. On 27 August the Members J. Carter Brown Director Emeritus, , Washington, DC of the International Advi- Wim Crouwel Former Director, Museum Boymans van Beuningen, Amsterdam sory Board visited Staraya Ladoga with its historic sites: -Dieter Dube Former Director, Staatliche Museen zu Berlin Preussischer Archaeological Museum, Kulturbesitz, Berlin Fortress, ­Dormition Convent and St. Nicolas Monastery. Horst Gödicke Representative of the Director-General of UNESCO, Paris Alan Hancock Director, PROCEED, UNESCO, Paris

Anne d’Harnoncourt Director, Philadelphia Museum of Art, Philadelphia

Michel Laclotte Directeur honoré du Musée du Louvre, Paris

Ronald de Leeuw Director, Rijksmuseum, Amsterdam

Edmund Pillsbury Former Director, Kimbell Museum, Fort Worth

Françoise Rivière Assistant Director-General for Culture, UNESCO, Paris

Paolo Viti Direttore Activita Culturale, Palazzo Grassi, Venice

150 Guests of the Hermitage

25 February The official ceremony marking the opening of “2011: The Year of Spain in Russia and Russia in Spain” and the launch of the exhibition The Prado in the Hermitage in the presence of His Majesty King Juan Carlos of Spain, Her Majesty Queen Sofia of Spain, the President of the Russian Federation Dmitry Medvedev and his spouse Svetlana Medvedeva

20 March Visit of Mr. Robert Gates, US Secretary of Defence

7 April Visit of His Royal Highness Prince Philippe of Belgium and his spouse, Princess Mathilde

16 May Visit of His Royal Highness Sultan bin Salman Abdulaziz Al-Saud, Prince of the Kingdom of Saudi Arabia and Head of the Saudi Commission for Tourism and Antiquities

1 June Visit of Mr. Tsakhiagiin Elbegdorj, President of Mongolia

11 June Visit of Her Royal Highness Princess Chulabhorn Mahidol of the Kingdom of Thailand

17 June Visit of Mr. Mahinda Rajapaksa, President of the Republic of Sri Lanka

17 June Visit of Mr. Hu Jintao, Paramount Leader of the PRC, and his spouse

Visit of His Royal Highness Prince Philippe of Belgium and his spouse, His Royal Highness Prince Sultan bin Salman Abdulaziz Al-Saud 18 June Princess Mathilde. Princess Mathilde Visit of Mrs. Elena Salgado, Deputy Prime Minister, Minister of Economy of Spain

26 June Visit of Mrs. Patricia Espinosa, Minister of Foreign Affairs of the United Mexican States

12 September Visit of Her Majesty Queen Margrethe II of Denmark, and His Royal Highness Prince Consort Henrik

15 October Visit of Mr. Choummaly Sayasone, President of the Lao People’s Democratic Republic

18 October Visit of Mr. Karim Massimov, Prime Minister of the Republic of Kazakhstan

18 October Visit of Mr. Mikhail Myasnikovich, Prime Minister of Belarus

21 October Visit of Mr. Mark Rutte, Prime Minister of the Netherlands

23 November Visit of Mrs. Sheikh Hasina, Prime Minister of the People’s Republic of Bangladesh

22 December Visit of Her Majesty Queen Visit of Mr. Valdis Zatlers, President of the Republic of Latvia, and his spouse Margrethe II of Denmark 152 153 Guests of the Hermitage

SIXTH international charitable gala reception

24 June 2011 saw the Sixth International Charitable Gala Recep- tion at the State Hermitage. The funds raised are traditionally used to finance the restoration of the East Wing of the General Staff Building and the creation of the Museum of Nineteenth-, Twen­ tieth-, and Twenty-First-Century Art. This is one of the key projects to be completed to mark the 250th anniversary of the Hermitage. This year’s reception was started by opening cocktails served in the newly restored rooms of the General Staff Building. The guests saw the large scale of the newly-created museum spaces: a grand stair- Visit of Mr. Choummaly Sayasone, President of Laos case and rooms constructed in the fourth and fifth courtyards of the building originally designed by Carlo Rossi. The festive and cere- monial atmosphere of the theatrical opening was enhanced by the performance by the Admiralty Orchestra of the Leningrad Maritime Military Base. In a surprise twist, the Red Railcar installation pre- sented by the Hermitage by the prominent contemporary artists Ilya and Emilia Kabakov, was demonstrated to the guests in the presence of the artists. Palace Square, which brings together the memory of civilian and military history represented by the General Staff and the Winter Palace, has suggested the name for the 2011 reception: “”. Throughout the evening, a number of aspects of the recep- tion reminded the guests of the age in which Tolstoy’s great novel was written. From the General Staff Building, the guests moved Hu Jintao, Paramount Leader of the People’s Republic of China to the Winter Palace, where they were able to admire the sculptures by one of the twentieth-century’s greatest artists, Henry Moore, Visit of Mr. Mikhail Myasnikovich, Prime Minister of the Republic Visit of Mrs. Sheikh Hasina, Prime Minister of the People’s located in the Great Courtyard, against the green of the garden. of Belarus Republic of Bangladesh The Gallery of the Winter Palace as well as the recently restored Ambassadors’ (Jordan) Staircase dazzled the guests with their newly-installed lighting systems. In the Winter Palace, they were able to see a number of temporary exhibitions. Painting and Sculpture in Rome in the Second Half of the 18th Century in- troduced them to the works by the artists , Anton Raphael Mengs, Hubert Robert, sculptors Antonio Canova, Jean- Antoine. Houdon, and many other European masters who worked in the Eternal City in the age of the rise of Neoclassicism. Juxta- posed to this classical display comprised of works from the collec- tions of the State Hermitage, the Russian Museum, the palace mu- seums of Gatchina and Pavlovsk, were the works by one of the most talented photographers of today, Annie Leibovitz. Around 100 pho- tographs from different years were specially selected for the Her- mitage and arranged in the palace rooms, turning the exhibition into a unique spatial installation. Forty extraordinary works by Al- exander Benois related to cinematography were specially brought to the Hermitage for the evening and displayed in the Piquet Hall. The show of sketches for costumes used in the film Napoleon by Abel Gance (1927) was followed by the screening of the film itself. To follow with the theme of the War of 1812, for the first time after the Revolution a ball was opened in the Armorial Hall of the Winter Palace with the Polonnaise from Tchaikovsky’s opera Eugene On- egin. The ball was attended by the guests as well as the dancers from the famous Mariinsky Ballet company.

154 155 Prince Dmitry Romanov with his spouse and Georgy Vilinbakhov Mikhail Piotrovsky and Ilya Kabakov

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Friends’ Events. 2011 Final season event 2010/2011 in the Hermitage Friends’ Club. Music concert at the Menshikov Palace

21 February Ceremony of signing the Cooperation Agreement for the years 2011–2014 between the State Hermi­ tage Museum and Phillips Company. The cooperation between the two organizations will include both long-term programmes (such as the Lighting of the General Staff Building Façade project, 2011–2014), as well as additional annual projects. Thus, in 2011, the lighting system of the Winter Palace of Peter I was modernized; in 2012, the lighting of the Pavilion Hall and the is to be replaced, and the Eastern Gallery of the Winter Palace is scheduled for renovation for the year 2013.

3 March Meeting dedicated to the opening of the major exhibition of the year – The Prado in the Hermitage, which celebrated the Year of Spain in Russia and Russia in Spain. Traditionally, the Friends of the Hermi­ tage were among the first to see this grand exhibition which featured the masterpieces of the 15th – 19th centuries by the most famous European masters from the collection of Museo Nacional del Prado. The Friends were welcomed by the Hermitage Director Prof. Mikhail Piotrovsky and invited to the ­guided tours of the exhibition led by the curators of the Hermitage Education Department.

23 March Joint event of the State Hermitage Museum and Samsung Electronics Company presenting the results of restoration of the floor-based musical clock made in Germany in the studio of Roentgen and Kinzig 10 July in the 1780s. The project was implemented as a part of the restoration programme Linking Times – Final season event 2010/2011 in the Hermitage Friends’ Club. Meeting entitled Party at the Menshikov ­Linking Technologies. In addition to that, Samsung Electronics Company and the State Hermitage Palace opened a large programme of celebrations marking the 300th anniversary of the Menshikov ­Museum began to develop a widget-based application for next-generation Samsung SmartTV television ­Palace. After the tour of the Palace, the Friends enjoyed a musical concert in the Grand Hall. The eve- sets, which allows for an easy and convenient access to the information about the State Hermitage ning ended with open-air cocktails in the courtyard of the Menshikov Palace. ­Museum and the masterpieces from its collections directly on the TV screen. 6 October 18–19 April Opening of the new, anniversary, season in the Hermitage Friends’ Club. The Friends’ meeting opened The State Hermitage Museum, the Foundation Hermitage Friends with the words of welcome by Dr. Vladimir Matveyev, Deputy Director of the State Hermitage Museum. in the Netherlands and Wilhelmina E. Jansen Fonds presented the The guests were then invited to the Italian rooms to see the painting St. Cecilia by Carlo Dolci and to hear ­results of the next joint project – production of nineteen new frames the presentation of Dr. Natalya Katonova, the Director of the State Hermitage Museum Orchestra, on for the paintings by Dutch masters from the collection of the State St. Cecilia who is the patron saint of music and musicians, and on the musical works dedicated to her. Hermitage Museum. The new frames were made according to the tra- The Friends then enjoyed the Ode to St. Cecilia by Henry performed by the State Hermitage Mu- ditional Dutch technologies of the 17th century in the unique frame- seum Orchestra and the Concert Choir of the St. Petersburg University of Arts and Culture. making studio, situated in the town of Spankeren (the Netherlands). The studio owner and frame-maker Mr. Gregor Simoons personally 9 November mounted the paintings into the new frames. Mr. Kees ter Horst and Presentation of the projects implemented in 2011 with the support of Japan Tobacco International (JTI). Mr. Nico Cobelens, who provided significant financial support to this In 2014, the Hermitage will celebrate 250 years, and the largest project to be represented to the public project, arrived to St. Petersburg to take part in the presentation. in the jubilee year will be the opening of a museum of nineteenth- to twenty-first-century art in the re- The nineteen seventeenth-century Dutch paintings from the collec- stored East Wing of the General Staff Building. One of the new exhibitions planned for the General tion of the State Hermitage Museum, mounted into the replicas of Staff Building is a museum dedicated to the memory of Carl Fabergé. In 2011, with the support of the the traditional frames, were shown to the public later that year at the JTI Company the Hermitage conservators carried out restoration of several objects produced by the Carl exhibition New Frames for the Dutch Masters, which opened as part Fabergé Firm, to be exhibited in the future museum: dish of rock crystal decorated with enamels and of the traditional Hermitage Days celebrations in December 2011. , silver oil lamp of 1894, and a from the beginning of the 20th century.

16 June 8 December Signing of the Memorandum of Understanding between the State Hermitage Museum, the Hermitage International Hermitage Friends’ Day became the central event in the celebrations of the 15th anniver- Museum Foundation (USA) and IBM Company on developing the new version of the museum website. sary of the Hermitage Friends’ Club. Prof. Mikhail Piotrovsky welcomed the Friends to the St. George The agreement was signed by Director of the State Hermitage Museum Prof. Mikhail Piotrovsky, the Hall of the Winter Palace, thanked them for their many years of loyalty and dedication to the museum, Chairman of the HMF (USA) Paul Rodzianko and General Manager of the IBM subdivision in ­Eastern and made an introduction on future plans and joint projects. On the occasion of the anniversary celebra- Europe and Asia Kirill Kornilyev. The site upgrade is to be completed by 2014, when the museum tion, a special programme was organized for the guests of the evening who came from all over the world. ­celebrates its 250th anniversary. The Friends enjoyed an evening walk around the temporary exhibitions which were opened especially for the occasion, a musical programme in museum rooms, cocktails and special souvenirs.

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FOUNDATION HERMITAGE FRIENDS IN THE NETHERLANDS Hermitage Museum Foundation (USA), Inc.

The Dutch Friends had a good year in 2011. Despite the economic crisis, the number of Friends stayed The Hermitage Museum Foundation (USA), Inc. (HMF) is a corporation which contributes to the preser­ more or less on the level of 2010: 5,500 members. The number of the Peter Circle and vation and promotion of the museum’s collection. The HMF raises funds for restoration and conserva- (­Catherine) Circle Friends also could be kept on the same level. tion projects as well as securing the donation of art and artifacts for the museum. The annual Hermitage The Friends received this year two printed newsletters; with these newsletters information is being given Dinner held in supports the “Art from America” effort to secure post-War American art on the exhibitions in Amsterdam as well the Hermitage in St. Petersburg. In 2011, two special Friends’ for the museum’s collections. In addition, the HMF hosts educational outreach programmes; supports Days were organized for the Dutch Friends, both on the day before the public opening of the new exhibi- exhibitions both in the U.S. and Russia; curatorial exchanges, and organizes an annual White Nights tion. Both Friends’ Days were organized exclusively for the Friends and consisted of an introduction into tour to the museum. the new exhibition, and the Board informing the Friends on the projects they had supported in Amster- The HMF’s activities in 2011 continued to strengthen its commitment to the Hermitage Museum and dam as well as in St. Petersburg. The first Friends’ Day was organized in conjunction with the Splendour to Russian-American relations. and Glory (Glans en glorie) exhibition, and the second one was held in September for the opening of Ru- In February, the Museum of Modern Art welcomed HMF guests to a screening of Desert of Forbidden bens, Van Dyck and Jordaens, Flemish Painters from the Hermitage. Art. Directors Amanda Pope and Tchavdar Grigoriev gave an introduction to their film and facilitated In 2011 the Dutch Friends supported various projects: For the Splendour and Glory exhibition, software a discussion afterwards at a reception for the HMF group at the “Russian Samovar”. was developed in order to inform the visitors via computer in the exhibition on the Splendour and ­Glory In early March, guests of the HMF enjoyed an intimate gathering at the Gagosian Gallery, to hear a talk exhibition. Another project which was supported by the Dutch Friends was the improvement of the by Alexandra Shatskikh, a leading authority on Kazimir Malevich, and to view the exhibition Malevich acoustics of the Kerkzaal where normally concerts and public events take place during the opening hours and the America Legacy. Leeza Chebotarev of Gagosian supplemented the talk with a comprehensive of the museum. Also, the Friends’ computer administration system was improved. overview of the contemporary works on display. For St. Petersburg, the Dutch Friends supported the next joint project implemented in cooperation In April the HMF held a screening of the recently released documentary film Kommunalka, by Francoise with the State Hermitage Museum and the Wilhelmina E. Jansen Fonds: creating nineteen frames for Huguier, at the Tribeca Grand Hotel. Paola Messana, author of Soviet Communal Living: An Oral History the paintings by Dutch masters from the collection of the State Hermitage Museum. The new frames of the Kommunalka, gave a magnificent introduction. were made according to the traditional seventeenth-century Dutch methods in the unique frame-making Also in April, the Voice of America filmed a presentation by John Greenawalt and Stephen Vanilio of the studio, which is situated in Spankeren in the Netherlands. The owner of this studio and frame-maker Book Arts Conservancy as to how they design and hand craft the exceptional HMF Awards. Mr. Gregor Simoons personally put the paintings into the new frames. Mr. Kees ter Horst and Mr. Nico In May, the HMF offered a talk by the late Anne C. Odom, curator emerita of the Hillwood Estate Cobelens, who provided significant financial support to this project, arrived to St. Petersburg to take Museum and Garden, Washington D.C., on the occasion of her new publication, Russian Silver in Ame­ part in its presentation. rica: Surviving the Melting Pot. Ms. Odom discussed the history of Russian silver from the 17th century The exhibition New Frames for the Dutch Masters was presented to the public as part of the Hermitage to 1917. The evening lecture was generously hosted by Bonham’s auction house. Days–2011 celebrations. The exhibition featured nineteen seventeenth-century Dutch paintings from On 20 May, the HMF hosted a celebratory reception at the Russian Consulate to thank Ilya & Emilia the collection of the State Hermitage Museum in the new frames that skillfully reproduce seventeenth- Kabakov for their gift of the installation, The Red Wagon, to the Hermitage Museum. century samples. In June, the HMF offered a packed White Nights programme in St. Petersburg and environs. The ex- In the year 2011, the Friends also established a special fund in order to make exchange and educational citing Hermitage Gala allowed our guests to experience the newly renovated rooms of the General trips possible for the staff members of the Hermitage in St. Petersburg and the Amsterdam personnel. Staff Building where they were treated to a viewing of Ilya & Emilia Kabakov’s installation, The Red The Board meetings were held on 31 January, 22 March, 28 June, 14 September, and 29 November. Wagon in situ – a gift from the artists to the Hermitage Museum’s contemporary collection. Following Furthermore, the Board of the Dutch Friends with a large delegation attended the International Friends a viewing of an exhibition of large works by Henry Moore in the Great Courtyard, dinner took place Day in the Hermitage, St. Petersburg. During their visit they, of course, visited the Hermitage itself, the at the base of the newly restored and illuminated Jordan Staircase, followed by a “Cotillion” in the General Staff Building and the new Open Storage facility. A meeting was organized with all the other Armorial Hall. international Hermitage Friends’ organizations in order to update them on what was going on in St. Pe- In September, the renowned translator Antonina W. Bouis and author Solomon Volkov gave a talk tersburg as well as the plans for 2014. on Volkov’s latest book Romanov Riches followed by a reception at a private home. A new coordinator of the Dutch Friends organization was hired: Jacqueline Lantain succeeded Martijn In October, the Friends of the HMF organized a viewing and guided tour of “Mechanical Wonders; van der Velden, who left the organization. The Sandoz Collection” at A La Vieille Russie. The Hermitage Dinner, co-hosted by Sotheby’s, was held in November. The Dinner, the Foundation’s significant fundraising effort, recognized and celebrated the lifetime artistic achievements of (the late) Cy Twombly, Sergei Bugayev Afrika and Ilya & Emilia Kabakov. Over 160 guests attended. The HMF wrapped up the year with a well-attended lecture, and Fabergé: Rivals in St. Peters- burg, given by HMF Advisory Board member, Dr. Geza von Habsburg which took place at Sotheby’s in conjunction with the Important Jewels exhibition. In early December, Mr. & Mrs. Rodzianko attended the International Friends’ meeting in St. Petersburg. The HMF held its semi-annual full board meetings on 20 May and 4 November at the offices of Baker Address: & McKenzie. The HMF newsletter was released in February and in September. Foundation Hermitage Friends in the Netherlands In response to a request from Dr. Piotrovsky for the HMF to support the new IBM website project, P.O. Box 11675, the Board voted unanimously to fund Phase I. The Chairman signed a Memorandum of Understanding 1001 GR Amsterdam to that effect with the Hermitage and IBM during the St. Petersburg Economic Forum. This state-of- The Netherlands the-art website project is to be completed in time for the 250th anniversary of the Hermitage in 2014. Tel.: (31) 20 530 87 55 Recent gifts to the Foundation for the Hermitage include a letter by Catherine the Great which was made Fax: (31) 20 530 87 58 possible by a donation from Nicolas Iljine. The HMF also facilitated a gift from Sergei Skatershchikov, E-mail: [email protected] founder of Skate’s Art Market Research, of eight limited edition plates, The Printer’s Mistake, by Ilya www.hermitage.nl & Emilia Kabakov.

160 161 Hermitage Friends Organizations Hermitage Friends Organizations

With the help of generous HMF patrons, Dr. George Sosnovsky and Dr. Christine Sosnovsky, the HMF Hermitage Foundation (UK) were able to finance the restoration of a magnificent seventeenth-century tapestry (312 × 386 cm) depicting The Healing of the Paralytic after Raphael’s cartoons. The restoration was completed and the tapestry returned on permanent display in October. The exhibition of Henry Moore, Blitz and Blockade, was shown at the Hermitage in May 2011 with the The HMF took on another restoration project this year. The museum chose a nineteenth-century child’s help of the Hermitage Foundation UK. It combined a range of Moore’s great shelter drawings depicting toy, The Musical Monkeys automaton. The work was done under the supervision of Irina Ukhanova, life in the London Underground (Metro) during the Blitz, from September 1940 to April 1941. Three curator of the History of Russian Culture Department. great bronzes on the theme of “mother and child” stood in the Hermitage Courtyard to welcome visitors. In June we contributed to the showing of Dmitri (Dmitry) Prigov at the Ca’ Foscari during the Venice Biennale – a first for the Hermitage that we were proud to support. Address: And in the autumn, a third show, Antony Gormley’s Still Standing exceeded all expectations of popu­ larity. The show, in the Greek and Roman Galleries of the Hermitage, comprised famous Greek and Ro- Hermitage Museum Foundation (USA) man marbles taken off their plinths to meet the public at eye level in the Dionysus Hall, and seventeen cubistic figures by Gormley, rendered in rusted iron in a wide variety of poses in the adjoining room. 505 Park Avenue, 20th Floor All this was possible on account of the outstanding success of the annual Hermitage Banquet at Sotheby’s­ New York London in March 2011 which made more than ever before for the Hermitage 20/21 Project. NY 10022 USA The Gormley project included a new lighting for the Dionysus Hall which will outlive the exhibition. Tel (1 212) 826 3074 It was generously funded by the A.G. Leventis Foundation through the UK Friends. Fax (1 212) 888 4018 For the second year we showed at Art Antiques London in June. This time we showed replicas of pages from www.hermitagemuseumfoundation.org an album of Fabergé design drawings for jewellery – bought by the Hermitage in 2004 and in ­urgent need of restoration. We also advertised the plan to create a Fabergé Museum in the General Staff ­Building when it is opened in 2014. The “Visiting Curators” scheme had a specially rewarding year due to sponsorship from Sotheby’s and our trustee Elena Heinz. In February we had Olga Deshpande, curator of Indian and Southeast Asian art. In the autumn there were several curators of jewels (from the Western European Applied Arts Department, Department of Classical Antiquity and from the Treasure Gallery). We were also pleased to welcome Tatiana Bolshakova, head of the Climate Control Laboratory, working on a new technology The State Hermitage Museum Foundation of Canada Inc. for application in the General Staff Building, Lydia Lyakhova, curator of Western European porcelain, and Julia Plotnikova, curator of Russian costume. and The Canadian Friends of the Hermitage

With the success of the Young Artists Programme in 2010 we have once again in 2011 sponsored six third- and fourth-year University students to attend Master Art Classes at the Youth Education Centre in the Hermitage Museum in St. Petersburg. The students are the top of their schools. The feedback for the students and their letters of appreciation and photos are evidence of the success of the 2011 programme. We would like to thank Prof. Mikhail Piotrovsky for allowing us to hold the school and to Dr. Sophia Kudriavtseva for organizing the classes and logistics. We hope to do this again in 2012! In October a group of Canadian Friends of the Hermitage from the Greater Victoria Art Gallery visited the Hermitage. They enjoyed Monday in the museum. It was a great success! We would like to thank the International Hermitage Friends Club for organizing the Monday arrangements along with Robin Young in Canada. The Monday in the museum has become a hit with the Canadian Friends. Throughout much of 2011 Robert Kaszanitz, President of the Foundation worked with the family of the late Galina Ozols of Toronto in the gift of a large landscape painting by the artist Bogdanov-Belsky to the Hermitage Museum. The painting has been in Canada since the end of WWII. The Toronto has presented an array of lectures on the themes: Food and Agriculture, Treasures of the Hermitage, The Tsars Cabinet and Empire & Odyssey.

Address: Address: Address:

The State Hermitage Museum Foundation Canadian Friends of the Hermitage Hermitage Foundation (UK) of Canada Inc. 1500 Bank Street, Suite 302 Pushkin House 900 Greenbank Road, Suite 616 Ottawa, ON K1H 1B8, Canada 5a Bloomsbury Sq. Ottawa, ON K2J 4P6, Canada Tel.: 1 (613) 236-1116 London WC1A 2TA Tel.: 1 (613) 489-0794 Toll Free: 1-(866) 380-6945 Tel.: +44 20 7404 7780 Fax: 1 (613) 489-0835 Fax: 1 (613) 236-6570 Fax: +44 20 3116 0151 Email: [email protected] Email: [email protected] www.hermitagefriends.org

162 163 Hermitage Friends’ Club Hermitage Friends’ Club

The State Hermitage Museum is inviting you to participate in its special The museum Internet shop (www.shop.hermitagemuseum.org) offers a 10% discount international programme – The Hermitage Friends’ Club. to the Hermitage Friends; Members of the Hermitage Friends’ Club are welcome to enter the Hermitage The State Hermitage Museum was the first museum in Russia to organize a Friends’ Museum from the Komendantsky Entrance of the Winter Palace, where they can use society back in November 1996. Since that time, to be a Friend of the Hermitage the cloakroom and have a rest in the Friends Room. has become a good tradition. Many international and Russian companies, charitable organizations, foundations and individuals have already become Some of the privileges granted by the Hermitage to Corporate Members of the Members of the Hermitage Friends’ Club. international Hermitage Friends’ Club in proportion to the level of their charitable contribution: We invite you and/or your company to join the international Hermitage Friends’ Club and thus contribute to the preservation of the priceless treasures formed The Corporate Members are added to the “List of Sponsors and Patrons of the State throughout 250 years of the Hermitage’s history, guaranteeing that they Hermitage Museum”, which is published in the Hermitage’s Annual Report and are available to future generations. on the official website of the State Hermitage Museum (www.hermitagemuseum.org). An Honorary Diploma is awarded to the Corporate Member to certify its support The main development programmes of the Hermitage are: in the development of the Hermitage.

Restoration and renovation of the museum buildings, halls and premises; For organizations making especially significant contributions, the Director Restoration of exhibits; of the Hermitage grants additional benefits. Improvement of visitor services; Academic research and education programmes; Purchase of new exhibits.

The donation may be made in the form of money or goods, services, materials, or special discounts for “in-kind” donations.

Different levels of Individual and Corporate Membership are offered depending on the sum of your donation for one of the development programmes.

The State Hermitage Museum gratefully receives donations from its , All memberships are renewable annually. and grants special privileges to the Hermitage Friends.

For further information on the Hermitage Friends’ Club, All Hermitage Friends receive Personal Membership Cards of the Hermitage please, contact: Friends’ Club.

Personal Membership Card entitles its holder (according to the Membership Level Friends’ Office chosen) to participate in the special programme of visiting temporary exhibitions Komendantsky Entrance to the Winter Palace of the State Hermitage Museum as well as the permanent displays and the (from Palace Square) Hermitage branches and centres in Russia and abroad (St. Petersburg, Vyborg, Tel.: (007 812) 710 90 05 Fax: (007 812) 571 95 28 Kazan, Amsterdam). Email: [email protected]

The holders of the Personal Membership Cards receive invitations to participate Postal address: in special events arranged exclusively for the Hermitage Friends’ Club Members. The State Hermitage Museum 34 Dvortsovaya Emb. The Internet cafe offers a 30% discount to the Hermitage Friends; 190000 St. Petersburg Russia Shops and kiosks offer a 20% discount to the Hermitage Friends;

164 165 Financial Statements of the State Hermitage Museum Financial Statements of the State Hermitage Museum

The State Hermitage Museum Expenditures by Sources of Income income in 2011 (in thousands of roubles) (in thousands of roubles) 1. Receipts from the Federal Budget 1,810,465,4 70.3% (including proceeds from renting out property and equipment belonging to the Hermitage – 13,058,2) Other Revenue Other receipts including: 763,638,2 29.7% 2. Proceeds from exhibitions 608,429,5 23.6% Including 3. Recompense for participation in exhibitions 58,365,2 2.3% Revenue Total Business Donations Total 4. Donations and other revenue 45,301,8 1.8% from the Federal undertakings and expenditure 5. Grants 550,0 0.02% Budget other revenue 6. Earnings from cultural, educational and theatrical programmes 25,321,4 1.0% 7. Fees for reproducing pictures from the Hermitage collection 7,802,2 0.3% Payroll 290,158,5 479,176,8 467,039,8 12,137,0 769,335,3 8. Earnings from selling catalogues Payroll social security 88,311,4 160,155,8 156,004,5 4,151,3 248,467,2 and souvenirs 5,597,2 0.2% Total payroll 378,469,9 639,332,6 623,044,3 16,288,3 1,017,802,5 9. Other income 12,270,9 0.5% Total receipts 2,574,103,6 100.0% Purchase of materials 55,737,7 3,623,6 3,304,8 318,8 59,361,3 which amounts to USD thousand (at 29.51 roubles per dollar exchange rate) 87,228,2 Building services 65,484,1 4,023,5 825,0 3,198,5 69,507,6 2 3 4 5 6 7 8 9 1 Transportation and communications 11,251,2 12,054,3 8,686,9 3,367,4 23,305,5 Repair of equipmant 47,166,5 674,0 674,0 0,0 47,840,5 Repair of buildings 53,967,8 0,0 0,0 0,0 53,967,8 Police brigades 17,293,9 52,3 0,0 52,3 17,346,2 Acquisition of art works 26,054,0 13,799,6 13,290,6 509,0 39,853,6 Other current expenses 210,856,7 59,276,2 49,696,7 9,579,5 270,132,9 Total current expenses 487,811,9 93,503,5 76,478,0 17,025,5 581,315,4 (excluding payroll)

TOTAL CURRENT EXPENDITURES 866,281,8 732,836,1 699,522,3 33,313,8 1,599,117,9

Capital building activities 575,100,0 0,0 0,0 0,0 575,100,0 Capital repair 199,207,2 0,0 0,0 0,0 199,207,2 expenditures in 2011 Equipment purchases 165,949,8 4,760,2 200,1 4,560,1 170,710,0 (in thousands of roubles) 1. Payroll 1,017,802,5 40.0% TOTAL CAPITAL EXPENDITURES 940,257,0 4,760,2 200,1 4,560,1 945,017,2 2. Purchase of equipment and materials 230,071,3 9.1% 3. Building services, transportation TOTAL EXPENDITURES and communication 92,813,1 3.6% OF THE HERMITAGE 1,806,538,8 737,596,2 699,722,3 37,873,9 2,544,135,0 4. Building and equipment repairs 101,808,3 4.0% which amounts to USD thousand 61,217,9 24,994,8 23,711,4 1,283,4 86,212,6 Expenses for police brigades 17,346,2 0.7% (at 29.51 roubles per dollar exchange rate) 5. 6. Acquisition of art works 39,853,6 1.6%

7. Other current expenses 270,132,9 10.6% 1 2 3 4 5 6 7 8 8. Capital repair and construction 774,307,2 30.4% Total expenditures: current and capital expenses 2,544,135,0 100.0% which amounts to USD thousand (at 29.51 roubles per dollar exchange rate) 86,212,6

166 167 Principal Patrons and Sponsors of the State Hermitage Museum in 2011 Principal Patrons and Sponsors of the State Hermitage Museum in 2011

Ms. Jayne Wrightsman (USA) Art-Color Ltd. (St. Petersburg) Consulate General of India (St. Petersburg) Hermitage Friends Organizations Abroad Beta-Кom (St. Petersburg) Komintel Ltd. (St. Petersburg) Foundation Hermitage Friends in the Netherlands Mr. Vladimir Potanin (Russia) “Ilim Group” (St. Petersburg) “OMС – SPb Catering” Ltd. (St. Petersburg) Open Joint Stock Company Promsvyazbank (St. Petersburg) The L.G. Sokolov Memorial Hospital No. 122 (St. Petersburg) Hermitage Museum Foundation (USA) Mr. George Sosnovsky (USA) Novotel St. Petersburg Centre Hotel Ladoga Industrial Group (St. Petersburg) A La Vieille Russie CafeMax St. Petersburg CSJC (St. Petersburg) Eli Broad Mr. Leonard Blavatnik (UK) Bronze Horseman Ltd. (St. Petersburg) Eli Broad Art Foundation Information Sponsors of the State Hermitage The International Festival “Diaghilev. P.S.” (St. Petersburg) Museum Torkom Demirjian Mr. Yevgeni Satanovsky (Russia) E-shop OZON.ru (Moscow) News Outdoor Russia (St. Petersburg) Fabergé Ltd. National Reserve Bank (Moscow) LLC “Northern Capital Gateway” (St. Petersburg) Firebird Management, LLC Ilya & Emilia Kabakov (USA) LLC “Samsung Electronics Rus Company” (Moscow) Joint-Stock Company “Aero-Advertising” (St. Petersburg) Gagosian Gallery Renaissance Construction Ltd. (St. Petersburg) PLADIS (St. Petersburg) Leviant Foundation Ms. Nadezhda Burova (Russia) Vitrinen- und Glasbau REIER (Germany) Sign City (St. Petersburg) Leon Levy Foundation Mr. Andrei Prigov (Russia) The PRO ARTE Foundation (St. Petersburg) “Vertical” (St. Petersburg) Arthur and Holly Magill Foundation Ms. Anna Lou Leibovitz (USA) Parquet-Hall Ltd. (Moscow) “Tochka Opory” (St. Petersburg) Brad E. Place Ms. Nina Léonie Lobanov-Rostovski (UK) The Imperial Porcelain Factory (St. Petersburg) “Russian Jeweller” Ltd. (St. Petersburg) Prince Street Capital Management, LLC Mr. Alessandro Mandruzzato (Italy) Grand Hotel Europe in St. Petersburg Metropress Ltd. (St. Petersburg) May & Samuel Rudin Family Foundation Mr. Grigory Jastrebeneckij (Russia) Slavia Publishing House (St. Petersburg) SeveroWest Media Ltd. (St. Petersburg) Paul & Chauncie Rodzianko Mr. Bruno Liberatore (Italy) “Pro Animale für Tiere in Not e.V.” (Germany) Radio Hermitage (St. Petersburg) Peter L. Schaffer Ms. Mason Anne Cary (USA) Prettycat Group Ltd. (St. Petersburg) “Amfora” Co.Ltd. (St. Petersburg) Siguler Guff & Co, LLC Mr. Marc Levasseur (France) “SOLVO” Ltd. Co. (St. Petersburg) “Yellow Pages” Ltd. (St. Petersburg) Sotheby’s Mr. Boris Zaborov (France) “Capitalpolis” Insurance Company Paulig Ltd. (Moscow) ZYR Mr. Yevgeni Sorokin (Russia) ARDOS Co. (Moscow) Mr. Alexander Kosarev (Russia) Hlebny Dom/Fazer, Russia (St. Petersburg) The State Hermitage Museum Foundation of Canada, Inc. Official Supplier of Information Services Canadian Friends of the Hermitage CSJC “Energo Corporation” (St. Petersburg) to the State Hermitage Museum Vladimir V. Potanin Charitable Foundation (Moscow) DELIA Ltd. (St. Petersburg) NIKOLAEV e:Consulting (St. Petersburg) Robert & Elizabeth Kaszanits Smolensk Diamonds Group GLENDO-RUS Co. (St. Petersburg) Coca-Cola Export Corporation (Moscow) Kraski Goroda (St. Petersburg) Friends of the Hermitage (UK) Official Courier of the State Hermitage Museum Coca-Cola HBC Eurasia Ltd. (St. Petersburg) Lemminkäinen i Russia (St. Petersburg) Teresa Sackler “Westpost” Ltd. (St. Petersburg) Korean Air Lines Co., Ltd. (Republic of Korea) The company “Ivanko” (St. Petersburg) Sheikha Hussah Sabah al-Salem al-Sabah Delzell Foundation (USA) The Veterinary clinics network “ELVET” (St. Petersburg) Halcyon Gallery Official Legal Advisor of the State Hermitage INTARSIA GROUP (St. Petersburg) The KHEPRI, Ltd. (St. Petersburg) The Henry Moore Foundation Museum Gazprombank (St. Petersburg) St. Petersburg Mint Baker & McKenzie – CIS, Limited (St. Petersburg) Bank of America Merrill Lynch The Likeon – Museum Concepts and Projects Ltd. (St. Petersburg) CJSC “JTI Marketing & Sales” (Moscow) “ Tour” (St. Petersburg) Official Partner of the State Hermitage Museum Philips Company in Russia (Moscow) Trading House Menachem (St. Petersburg) Renaissance St. Petersburg Baltic Hotel (St. Petersburg) The Andrew W. Mellon Foundation (USA) “Guide-Intour” (St. Petersburg) Aksel Motors Co. (St. Petersburg) Arctur Travel Ltd. (St. Petersburg) Official Partner of the State Hermitage Museum BMW (Germany) “Rusinco” Ltd. (St. Petersburg) LLC “St. Petersburg CY Hotel Leasing” (St. Petersburg) Social-Cultural Foundation “Hennessy” (Moscow) “VODOHOD” (Moscow) “Heineken Breweries” LLC (St. Petersburg) “Astra Marine” Ltd. (St. Petersburg) The A.G. Leventis Foundation (Republic of Cyprus) Fazer Food Services Russia (St. Petersburg) Official Caterer of the State Hermitage Museum The Bank of Moscow The Netherlands Institute in St. Petersburg “Nash Piter” Company (St. Petersburg) 168 169 Staff Members of the State Hermitage Museum Staff Members of the State Hermitage Museum

DIRECTORATE OF THE STATE HERMITAGE MUSEUM CLASSICAL ANTIQUITY A. Bolshakov T. Kosourova I. Yermolayev D. Yolshin SCHOOL CENTRE DEPARTMENT Head of the Ancient East Sector, Head of the Applied Arts Sector, Academic Secretary Academic Secretary, Candidate I. Dubanova Doctor of Sciences (History) Candidate of Sciences of Sciences (History) M. Piotrovsky General Director, Corresponding Member A. Trofimova Yu. Yefimov Head of the Centre (History of Arts) of the Russian Academy of Sciences, Head of the Department, Candidate O. Deshpande Head of the Arms and Armoury Full Member of the Russian Academy of Arts, B. Kravchunas of Sciences (History of Arts) Head of the Far East Sector, M. Lopato Sector RESEARCH LIBRARY Professor of St. Petersburg State University, Candidate of Sciences (History) Head of the Sector of Precious Head of the Art Studio, Candidate Ye. Ananyich V. Danchenko Doctor of Sciences (History) Metals and Stones, Doctor Ye. Makarova of Sciences (History of Arts) Deputy Head of the Department P. Lurie Head of the Military Heraldry Head of the Library of Sciences (History of Arts) N. Krollau G. Vilinbakhov Deputy Director for Research, Head of the Central Asia and Sector, Candidate of Sciences Yu. Semenova Chairman of the Heraldic Council the Caucasus Sector, Candidate (History) O. Zimina Head of the Methodic Sector, Chief Curator at the President of the Russian Federation, of Sciences (History) HISTORY OF RUSSIAN Deputy Head of the Library Candidate of Sciences Professor of the Stieglitz St. Petersburg CULTURE DEPARTMENT (Culturology) A. Kuznetsov Imperial PORCELAIN N. Martynenko State Academy of Art and Industry, Academic Secretary WESTERN EUROPEAN V. Factory MUSEUM Deputy Head of the Library Doctor of Sciences (History) Head of the Department A. Butyagin Fine Arts DEPARTMENT A. Ivanova I. Gogulina EXHIBITION DESIGN N. Guseva S. Adaksina Deputy Director, Chief Curator Head of the Northern S. Androsov Head of the Department Head of the Funds Sector DEPARTMENT Deputy Head of the Department, Black Sea Area Sector Head of the Department, Candidate of Sciences T. Kumzerova R. Klimchenkova B. Kuzyakin M. Antipova Deputy Director for Finance and Planning Doctor of Sciences (History Ye. Khodza (History of Arts) Chief Curator Head of the Catalogue Sector Head of the Department Head of the of Arts), Foreign Member A. Bogdanov Deputy Director for Maintenance, and Ancient Rome Sector, of Ateneo Veneto (Venetian I. Zakharova A. Markushina V. Korolyov Senior Lecturer of St. Petersburg Candidate of Sciences Academy of Sciences), Full Chief Curator, Candidate Head of the International Head of the Sector of Temporary University of State Fire Service, Modern Art Sector (History of Arts) Member of the Academy of Arts of Sciences (History) Exchange Sector Exhibitions Candidate of Technical Sciences in Carrara D. Ozerkov A. Solovyov Head of the Sector, Candidate A. Samsonova A. Plotnikova M. Dedinkin Academic Secretary Head of the Service Sector Head of the Exhibition Equipment V. Matveyev Deputy Director for Exhibitions and Development, ARCHAEOLOGY OF EASTERN of Sciences (Philosophy) Candidate of Sciences (History of Arts) Deputy Head of the Department and Management Sector EUROPE AND SIBERIA N. Tarasova T. Tarayeva DEPARTMENT M. Garlova Head of the Sector of Decorative Head of the Completion M. Novikov Deputy Director for Construction Chief Curator and Applied Arts, Leading MENSHIKOV PALACE A. Alexeyev and Inventory Sector PUBLISHING DEPARTMENT Researcher, Candidate of Sciences V. Meshcheriakov Head of the Department, Ye. Abramova (History) Head of the Department R. Shavrina Ye. Zvyagintseva Doctor of Sciences (History) Academic Secretary Head of the Bibliography Sector OFFICE OF THE DIRECTORATE G. Miroliubova A. Dutov Head of the Department Yu. Piotrovsky R. Grigoryev Head of the Sector of Visual Arts, Deputy Head of the Department G. Yastrebinskaya N. Petrova M. Dandamayeva Academic Secretary, Deputy Head of the Department Head of the Engraving Sector, Candidate of Sciences (History Head of the Library Branches Ye. Ignatyeva Deputy Head of the Department Candidate of Sciences (History) Candidate of Sciences of Arts) Sector A. Mazurkevich Chief Curator (History of Arts) I. Dalekaya Chief Curator S. Nilov M. Khaltunen Secretary to the Director, I. Saverkina Head of the Pre-printing I. Grigoryeva Head of the Winter Palace Candidate of Sciences (Culturology) A. Furasyev Head of the Exhibition Sector, MANUSCRIPTS AND Preparation Sector Head of the Drawing Sector of Peter I Sector Academic Secretary, Academic Secretary, DOCUMENTS DEPARTMENT Ye. Nasyrova V. Kovalenko Secretary to the Deputy Director Candidate of Sciences (History) B. Asvarishch Candidate of Sciences (History) Ye. Yakovleva Head of the Sale Sector for Research Head of the Sector NUMISMATIC DEPARTMENT Ye. Korolkova G. Rodionova Head of the Department of the 19th – 20th Century Painting V. Kalinin Head of the Sector of the South Head of the Education Sector V. Pankov Ye. Gandzha Secretary to the Deputy Director and Sculpture, Candidate Head of the Department Ye. Solomakha of Eurasia, Candidate of Sciences Head of the Printing Sector and Chief Curator of Sciences (History of Arts) Deputy Head of the Department (History of Arts) Ye. Lepekhina General Staff A. Rodina N. Gritsay Deputy Head of the Department M. Matiyash Secretary to the Deputy Director R. Minasian Head of the Editors Sector Head of the Sector A. Dydykin EDUCATION DEPARTMENT for Finance and Planning Head of the Sector of the Forest O. Stepanova of the 13th – 18th Century Head of the Department V. Terebenin and Forest-Steppe Zone Chief Curator L. Yershova Head of the Photography Sector O. Korolkova Secretary to the Deputy Director Painting, Candidate of Sciences S. Yashmolkin of Eastern Europe, Candidate Head of the Department for Maintenance (History of Arts) K. Kravtsov of Sciences (History) Head of the Visitors Sector Academic Secretary, Head N. Vasilevskaya of the Sector of Ancient Coins ELECTRONIC Editions Yu. Marchenko Secretary to the Deputy Director WESTERN EUROPEAN Head of the Hospitality Sector HISTORY AND RESTORATION Preparation SECTOR for Exhibitions and Development Oriental DEPARTMENT Applied Arts DEPARTMENT and Coins from Asia and Africa OF ARCHITECTURAL M. Kozlovskaya L. Dobrovolskaya I. Melnikova V. Bredikhin Manager of the Entrance Zone N. Kozlova T. Rappe MONUMENTS DEPARTMENT Head of the Methodic Sector Head of the Department, Candidate Head of the Sector Head of the Sector Head of the Department V. Lukin of Sciences (History of Arts) of Numismatic Monuments S. Kudriavtseva M. Gavrilova from Europe and America, Head of the Department, Head of the Youth Centre Director’s Advisers Chief Curator O. Kostyuk Candidate of Sciences (History) Chief Architect of the Hermitage, and Student Club, Registrar DEPARTMENT Deputy Head of the Department, Candidate of Architecture Candidate of Sciences A. Nilolayev Candidate of Sciences (History of Arts) N. Grishanova Yu. Kantor Adviser for Special Projects and PR, Academic Secretary, Candidate ARSENAL Head of the Department Doctor of Sciences (History) (History of Arts) of Sciences (History) D. Liubin Architecture O. Kuznetsova N. Ternovaya L. Bulkina Head of the Department, Candidate and Archaeology Sector Head of the Service Sector A. Galkin Adviser for Security A. Pritula Deputy Head of the Department, Chief Curator of Sciences (History of Arts) Head of the Near East and O. Ioannisian L. Torshina Head of the Sector of the Forming Ye. Sirakanian Adviser for Special Programmes, Charity Projects Byzantium Sector, Candidate S. Kokareva M. Zaychenko Head of the Sector, Candidate Head of the Sector of Data Base on the Hermitage and Sponsorship of Sciences (Philology) Academic Secretary Chief Curator of Sciences (History) for Special Programmes Collections 170 171 Staff Members of the State Hermitage Museum Staff Members of the State Hermitage Museum

O. Shcherbakova LABORATORY FOR SCIENTIFIC Laboratory for Scientific A. Babenko Sector of Project Finance Technical DEPARTMENT N. Khobotov SECURITY SERVICE Head of the Sector of Control for Restoration of Tempera Restoration of Furniture Head of the Passport and Visa Deputy Head of the Department (MENSHIKOV PALACE) Ye. Fedorov A. Plotnikova the Preservation of Museum Items Painting Sector V. Gradov Head of the Sector Head of the Department V. Kozlov Ya. Ivanova I. Permiakov Head of the Laboratory Head of the Service Maintenance DEPARTMENT Head of the Sector Head of the Laboratory Office Work Department of the Staraya Derevnya of the Registration of Temporary Friends Safety of Labour First Department for Laboratory for Scientific O. Yushina Centre Accepting and Leasing of the Hermitage Sector and Ecology Department Security of the Museum Laboratory for Scientific Restoration of Chandeliers Head of the Department Complex (First Museum of Museum Exhibits Restoration of Mural S. Philippova A. Pavlova S. P. Khrebtukov N. Diumina Painting Head of the Department Head of the Department Security Department) Yu. Yefimova Head of the Laboratory Head of the Sector Head of the Typing Sector V. Zababurin Head of the Sector A. Bliakher B. Pozhemetsky Head of the Department of the Registration of Museum Head of the Laboratory Ye. Solovyova Maintenance of the General Deputy Head of the Department SECTOR OF SOCIOLOGICAL Exhibits of Precious Metals Laboratory for Scientific Head of the Office Work Sector Staff Building A. Inozemtsev RESEARCH and Stones Restoration of Photos Deputy Head of the Department Laboratory for Scientific N. Yakubenko T. Sayatina LEGAL DEPARTMENT V. Selivanov COMPUTER Sector Restoration of Oriental Head of the Department Head of the Laboratory Head of the Sector, Painting M. Tsyguleva Second Department for DEPARTMENT Doctor of Sciences (Philosophy) A. Grigoryev Ye. Shishkova Head of the Department T. Romanovskaya Security of the Museum of the Organization Head of the Sector Head of the Laboratory, Candidate Deputy Head of the Department Complex (Second Museum of Register and Storage EXPERT EXAMINATION of Sciences (History of Arts) Security Department) of the Staraya Derevnya DEPARTMENT THEATRE AND Education Rights and Reproduction DEPARTMENT Sector Supplying of Technical V. Arkhipov Centre A. Kosolapov Maintenance Laboratory for Scientific of Menshikov Palace Equipment for Buildings Head of the Department T. Zagrebina Head of the Department, N. Orlova A. Mikliayeva Restoration of Graphic and Exhibitions Department Head of the Department Candidate of Technical Sciences Head of the Department Head of the Sector I. Prokofyeva S. Trofimov Works Head of the Department O. Bogdanova Deputy Head of the Department S. Khavrin S. Mitskevich Yu. Gromova T. Sabianina Head of the Department Deputy Head of the Department Head of the Laboratory Deputy Head of the Department Deputy Head of the Department Staraya Derevnya Third Department for Centre for Restoration, CHIEF MECHANIC DEPARTMENT Ye. Riabova Security of the Museum Outer COMMUNICATIONS Conservation and Storage Deputy Head of the Department Laboratory for Scientific SCIENTIFIC AND TECHNICAL R. Baburin Sector of New Acquisitions DEPARTMENT Complex (Third Museum Restoration of Sculpture EXAMINATION Department V. Dobrovolsky Chief Mechanic Security Department) V. Faibisovich and Coloured Stones N. Kolomiyets A. Kosolapov Head of the Centre I. Barabanshchikova Museum SECURITY SERVICE O. Chebotar Head of the Sector, S. Petrova Head of the Department, Head of the Department A. Terentyeva Deputy Chief Mechanic Head of the Department Candidate of Sciences Head of the Laboratory Candidate of Technical Sciences A. Khozhainov Deputy Head of the Centre (Culturology) HOSPITALITY SERVICE Head of the Department N. Burmak CHIEF POWER ENGINEER Deputy Head of the Department Laboratory for Scientific N. Silantyeva O. Boyev LABORATORY FOR PHISICAL DEPARTMENT PLANNING AND BUDGET Deputy Head of the Department SECTOR OF EXHIBITION Restoration of Applied AND CHEMICAL METHODS Head of the Department Art objects DEPARTMENT V. Smirnov Fourth Department for DOCUMENTATION OF EXAMINATION OF MATERIALS T. Danilova O. Ratnitsyna Chief Power Engineer Security of the Museum A. Bantikov V. Chudinova O. Ilmenkova L. Gavrilenko Head of the Sector Deputy Head of the Department Complex (Fourth Museum Head of the Laboratory Head of the Department Head of the Sector Head of the Laboratory of the Administrators O. Targonsky Security Department) Deputy Chief Power Engineer of Entrance and Recreation Zones N. Grigoryeva V. Katkov Operation Department LABORATORY FOR SCIENTIFIC Deputy Head of the Department Ye. Vizner Head of the Department LABORATORY N. Trofimova of the Security Service Treasure GALLERY RESTORATION OF OBJECTS Deputy Chief Power Engineer FOR BIOLOGICAL CONTROL Head of the Information Sector I. Garin MADE OF ORGANIC MATERIALS S. Taranov Ye. Kashina L. Slavoshevskaya Deputy Head of the Department Ye. Mankova BOOK-KEEPING Head of the Department Head of the Department Head of the Laboratory, SECTOR OF TOURISM Head of the Laboratory CAPITAL CONSTRUCTION AND SPECIAL PROGRAMMES Ye. Mironova Candidate of Sciences (Biology) DEPARTMENT Ye. Geyko Chief Book-Keeper GALLERY MONITORS DEPARTMENT Deputy Head of the Department O. Arkhipova Laboratory for Scientific A. Vidineyev Security Service Head of the Sector, Candidate I. Belova I. Belousikova Restoration of Textiles LABORATORY Head of the Department (Imperial PORCELAIN Head of the Department FOR CLIMATE CONTROL of Sciences (History of Arts) Deputy Chief Book-Keeper Factory MUSEUM) SCIENTIFIC RESTORATION M. Denisova O. Kuklina A. Gavrilets Ya. Kostochkin AND CONSERVATION Head of the Laboratory T. Bolshakova PRESS service Deputy Chief Book-Keeper Restoration and Repairs Head of the Service Deputy Head of the Department DEPARTMENT Head of the Laboratory Department L. Korabelnikova Laboratory for Scientific T. Baranova Head of the Service A. Moskaleva Transport Department Restoration of Precious Head of the Department Personnel Department State Purchases Head of the Department SECURITY SERVICE Metals DEPARTMENT G. Salnikov Special Events Sector (STARAYA DEREVNYA CENTRE) Head of the Department Ye. Chekhova I. Malkiel V. Khrushch B. Volkov N. Dubinina O. Boyev Deputy Head of the Department Head of the Laboratory Head of the Department A. Soldatenko Deputy Head of the Department Head of the Department Head of the Service A. Zavadsky Ye. Odintsova Head of the Sector Head of the Garage LABORATORY FOR SCIENTIFIC Laboratory for Scientific Head of the Personnel and Social ELECTRONIC TECHNIQUE, Restoration of Easel Restoration of Timepieces Payments Sector Marketing and Advertising SOCIAL DEVELOPMENT ALARM SYSTEMS AND SECURITY SERVICE Civil Defence Sector DEPARTMENT Communication DEPARTMENT and Emergency Sector Painting and Musical Mechanisms O. Chertova (GENERAL STAFF BUILDING) V. Korobov M. Guryev Head of the Sector of Employment A. Lisitsyna T. Voronova P. German N. Kisilyov A. Maksimychev Head of the Laboratory Head of the Laboratory Relationship Head of the Sector Head of the Department Head of the Department Head of the Service Head of the Civil Defence Staff 172 173 Email Addresses of the State Hermitage Museum

DIRECTORATE Museum Departments

Secretary to the Director Hospitality Sector [email protected] [email protected]

Secretary to the Deputy Director Press Service for Research [email protected] [email protected] Rights and Reproduction Sector Secretary to the Deputy Director, A. Mikliayeva, Head of the Sector Chief Curator [email protected] [email protected] Development Department Alexei Bogdanov, [email protected] Deputy Director for Maintenance, Chief Engineer Education Department L. Yershova, Head of the Department [email protected] [email protected] Mariam Dandamayeva, School Centre Academic Secretary [email protected] [email protected] System administrator [email protected]

Web-master of the State Hermitage Museum [email protected]

Electronic Editions Preparation Sector I. Melnikova, Head of the Sector [email protected]

Computer Sector A. Grigoryev, Head of the Sector [email protected]

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