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THE STATE HERMITAGE ANNUAL REPORT n 2017 CONTENTS

General Editor 4 The Year of the Centenary of the Revolution , General Director of the State , 6 State Hermitage Museum. General Information Full Member of the Russian Academy of Sciences, 14 Awards Full Member of the Russian Academy of Arts, Professor of St Petersburg State University, 20 Composition of the Museum’s Collection Doctor of History 38 Permanent Displays 48 Temporary Exhibitions 96 Restoration and Conservation EDITORIAL BOARD: 104 Publications Mikhail Piotrovsky, 120 Electronic Editions and Multimedia Projects General Director of the State Hermitage Museum 122 Conferences Georgy Vilinbakhov, 129 Dissertations Deputy Director for Research 130 Research Trips Svetlana Adaksina, Deputy Director, Chief Curator 134 Archaeological Expeditions Marina Antipova, 156 Restoration and Reconstruction of Museum Buildings Deputy Director for Finance and Planning 160 Structure of Visits to the State Hermitage in 2017 Alexey Bogdanov, Deputy Director for Maintenance 161 Educational Events Mariam Dandamayeva, 173 Special Events Academic Secretary 180 Agreements Signed Elena Zvyagintseva, 184 International Advisory Board of the State Hermitage Museum Head of the Publishing Department 186 Guests of the Hermitage Larissa Korabelnikova, Deputy Head of the History and Information Service 194 Hermitage Friends’ Organisations Ekaterina Sirakanian, 204 Hermitage Friends’ Club Head of the Development Service 206 Financial Statements of the State Hermitage Museum 208 Principal Patrons and Sponsors of the State Hermitage Museum in 2017 212 Staff Members of the State Hermitage Museum EXECUTIVE GROUP: Alexander Butyagin, Vera Chudinova, Irina Dalekaya, Mariam Dandamayeva, Ekaterina Danilina, Ludmila Ershova, Victor Faybisovich, Larissa Korabelnikova, Elena Kuzminykh, Regina Mamedova, Anna Matyukhina, Svetlana Philippova, Natalia Polevaya, Marina Stepanova, Elena Zvyagintseva

© The State Hermitage Museum, 2018 THE YEAR OF THE CENTENARY OF THE REVOLUTION

The Hermitage had so far staged hardly any exhibitions specially dedicated to the . in Seoul saw the history of French art through Hermitage eyes, while was looking at the Scyth- There had been no need for it. The main exhibit, the White Dining Room where the Provisional Gov- ians. An exhibition in Versailles, which was opened by two Presidents, focused on the French trip ernment was arrested, had always been included in tours, an element of the museum’s general history. of ­. The mantelpiece clock with a rhinoceros had been stopped at the supposed time of the arrest. This year The whole world was our exhibition room. This is the main way to ensure that museum collections we had it wound again and we put up a large exhibition called “History was Made Here”, with which we ­become more accessible. tried to have the walls of the Winter tell the story of the life and death of the ’s family, of the Another way towards accessibility is through mobility and constant renewal of permanent hospital laid out in the state rooms, of the evacuation of the Hermitage, of Kerensky and the storming exhibitions. This year saw the unveiling of renovated rooms at the Museum of the Guard, of brand-new of the , of its French model and of the Russian myth of the storming of the palace created rooms of African art, of innovative rooms at the Cabinet of Artists’ Books, a highly relevant display by the great Eisenstein. The grand exhibition became part of a system of horizontal and vertical events. of the collections from the time of the Great Migrations. A new exhibition of ancient carved gems The vertical series was launched by the exhibition “From the Dinner Service Storerooms”, in which in newly-redecorated rooms brings together a story of masterpieces, including the legendary Gonza- the famous imperial porcelain services were telling the story of the astonishing luxury of the Russian ga , and the story of ’s passion for them. New rooms dedicated to the art court which gave an impetus to the revolution and was wiped out by it. Then came the “Anselm Kiefer, of Mamluk Egypt have been unveiled. To mark this event, our British friends gave us a gift of a splendid for Velimir Khlebnikov” exhibition. All of its paintings were specially created by the outstanding artist Mamluk encrusted vessel. In Staraya Derevnya the public was introduced to sensational open-storage to commemorate the great poet’s prophecy concerning the year of the revolution. Kiefer masterfully collections of Russian costumes and showcases. You need to go to the Hermitage often in order to see channelled the “grim genius of the German nation” to bring to life the natural and moral atmosphere everything that is going on there at the same time. of the autumn of 1917. We have had some occasions for joy, which can be described as recoveries. The great Lute Player Over the entire year the Hermitage held dedicated displays to mark specific events that unfolded by is back after conservation. A Hermitage painting by the Dutch master Louis de Moni, in the Winter Palace and around it. Near the main exhibition there was a display of book graphics from earlier sold off by the government, has been bought back. The Hermitage was also presented with the time of the revolution, followed a little later by an exhibition of politically-themed porcelain. This a statue of Telemachus once intended for it. It has only reached us now thanks to a generous and keen- year saw a greatly successful “Romanovs & Revolution” exhibition at the Hermitage • eyed art patron and member of the Board of Trustees. Centre, whereas the held a Hermitage exhibition dedicated to the memory of the rev- The Hermitage has the reputation of a conservative innovator. Among this year’s innovations are intel- olution entitled “: Warriors of Ancient ”. The Gallery tied its exhibition of Ilya lectual marathons as an alternative to the Night of ; the Days of the Hermitage in locations and Emilia Kabakov’s art to the centenary of the Russian revolution; it has relocated to the Hermitage where we are planning to launch our satellites; VR films and “outsider” exhibitions in Amsterdam for the coming year. and at the Hermitage, a series of other events aimed at special needs people. The Forum Concept This is how the “salvo system” of Hermitage exhibitions works. It could be a residual memory of the on the ground floor of the General Staff Building is up and running (exhibitions and events outside salvos fired in October 1917. the ­museum zone per se). The programmes of the Hermitage satellites are both individual and close- This system, which entails a burst-like, simultaneous staging of exhibitions very different in type, sub- ly tied to the overall cultural offensive programme. The general strategy is becoming apparent even ject matter and audience, also resulted in a grand display of Ancient Egyptian art: “Nefertari and the to the sceptics. Valley of the Queens” from Turin; an exhibition of designer footwear by Manolo Blahnik; “The Hermit- One of our main innovations has been the creation of the Endowment Fund. Its proceeds have been age Encyclopaedia of Textiles” and photographs by the Henkin brothers; a story of the ancient culture scheduled to go towards the purchase of new exhibits. This year they have been sufficient for the pur- of Dilmun, an Arabian “paradise”, and an exhibition commemorating ; the sculp- chase of Kiefer’s Aurora. This is now a memory, not just of the revolution itself, but of our efforts tures of dying enemies from Naples and The Last Judgment by Tiepolo. to commemorate it and remind people of it. This scheme included as its integral part the exhibition of porcelain at the Hermitage • Centre; the exhibition of Dutch paintings at the Hermitage • Amsterdam Centre; the exhibition of Flemish art at the Hermitage • Centre. An exhibition at the Perm Art Gallery was dedicated to the memory of the Stroganovs; one at Astana celebrated the historic art of weapon-making; the National ­Museum Mikhail Piotrovsky Director of the State Hermitage

4 5 STATE HERMITAGE MUSEUM. GENERAL INFORMATION STATE HERMITAGE MUSEUM. GENERAL INFORMATION

FOUNDING OF THE MUSEUM “Staraya Derevnya” Centre for Restoration, Conservation and Storage The foundation date of the museum is considered to be 1764, when Empress Catherine the Great Completion of the first phase – 2003, completion of the second phase – 2012 acquired an impressive collection of paintings from the merchant Johann Ernest Gotzkowsky. Stock Exchange. 1805–1810 The museum celebrates the anniversary of its founding each year on 7 December, Architect, Jean-François Thomas de Thomon St Catherine’s Day.

STATUS OF THE HERMITAGE MUSEUM SPACE In a Decree by the President of the Russian Federation dated 18 December 1991 the State Hermitage Total area 233,345 m2 Museum was included into a list of the most valuable objects of national heritage. Exhibition area 84,000 m2 In a Decree by the President of the Russian Federation dated 12 June 1996 the State Hermitage Exhibition rooms 542 Museum was placed under personal patronage of the President of the Russian Federation. MAIN COLLECTIONS ENTERING THE MUSEUM SINCE ITS FOUNDATION In a Decree (No. 984) dated 29 November 2011 the new Statutes of the State Hermitage Museum, as a federal government funded institution, were approved. According to the Statutes the Government 1764 – Johann Ernest Gotzkowsky collection of the Russian Federation is to act as the museum founder. 1769 – Count Heinrich von Bruhl collection 1772 – Baron collection OFFICIAL NAMES 1779 – Lord Walpole collection The State Hermitage Museum Federal Government Funded Cultural Institution; The State Hermitage 1781 – Count Baudouin collection Museum; The Hermitage 1787 – Cabinet of carved stones of Duke of Orleans 1814 – Collection of Josephine Beauharnais from the Malmaison Palace In honour of the State Hermitage Museum, according to the Official Certificate of the International 1861 – Marquis Gian Pietro Campana collection Astronomic Association and the Institute of Theoretical Astronomy of the Russian Academy 1884 – Alexander Basilewski collection of Sciences dated 11 April 1997, a minor planet registered in the International Catalogue of Minor 1885 – Collection of the Arsenal in (now the town of Pushkin) Planets under No. 4758 was named Hermitage. 1910 – Pyotr Semenov-Tyan-Shansky collection LEGAL ADDRESS After 1918 the Hermitage also received the socialised collections of the Russian aristocratic families Sheremetev, Stroganov, Shuvalov, Yusupov, as well as the famous collections 34 Dvortsovaya Naberezhnaya (Dvortsovaya Embankment), 190000 St Petersburg, of Sergey Shchukin and Ivan Morozov and others. Russian Federation 1835 – Collection of the museum of the (Baron Stieglitz) Central Higher School of Technical Drawing ARCHITECTURAL COMPLEX OF THE MUSEUM 1950 – Collection of banners and banners’ accessories, banners’ graphics, the archives from the Artillery Historic Museum The museum complex consists of the Winter Palace, Small Hermitage, Old Hermitage, 2001 – Collection of the Lomonosov (Imperial) Porcelain Manufactory Museum , New Hermitage and Reserve (Storage) House (30–38 Dvortsovaya Embankment); Eastern Wing and the of the General Staff Building (6–8 ); EXHIBITION CENTRES OF THE STATE HERMITAGE OUTSIDE ST PETERSBURG Menshikov Palace (15 Universitetskaya Embankment); “Staraya Derevnya” Centre for Restoration, Conservation and Storage (37 Zausadebnaya Street); Imperial Porcelain Manufactory Museum, Hermitage • Amsterdam The , Amsterdam (exhibition area about 2,195 m2) located on the premises of the Imperial Porcelain Manufactory Public Company Hermitage • Italy Italy, (151 Prospekt Obukhovskoy Oborony) and Stock Exchange (4 Birzhevaya Square). Hermitage • Kazan , Kazan (exhibition area about 1,381.3 m2) MUSEUM BUILDINGS Hermitage • Vyborg Russia, Vyborg (exhibition area about 420 m2) Winter Palace. 1754–1762 Architect, Francesco Bartolommeo Rastrelli. Reconstructed by after a fire in 1837 HERMITAGE WEBSITE Small Hermitage. 1763–1775 https://www.hermitagemuseum.org Architects, Yury Velten and Jean-Baptiste Vallin de la Mothe “IN FOCUS” PROJECT Old (Large) Hermitage. 1771–1787 http://e-expo.hermitage.ru

Architect, Yury Velten VIRTUAL ACADEMY Hermitage Theatre. 1783–1787 http://www.hermitagemuseum.org/wps/portal/hermitage/learn/virtual-academy Architect, Giacomo Quarenghi STATE HERMITAGE IN SOCIAL NETWORKS New Hermitage. 1842–1851 ВКонтакте/VKontakte – https://vk.com/hermitage_museum Designed by architect Leo von Klenze; constructed under supervision of architects Vasily Stasov Facebook – https://www.facebook.com/state.hermitage and Nikolay Efimov Twitter – https://twitter.com/state_hermitage Instagram – https://www.instagram.com/hermitage_museum Reserve (Storage) House of the Winter Palace. 1726–1742, 1830, 1878 YouTube – https://www.youtube.com/user/thehermitagemuseum Architects, Domenico Trezzini (?), Carlo Giuseppe Trezzini and Nikolay Bekker

Menshikov Palace. 1710–1727 HERMITAGE MAGAZINE Architects, Giovanni Mario Fontana and Georg Schedel HERMITAGE NEWS NEWSPAPER General Staff Building (former Ministry of Foreign Affairs HERMITAGE RADIO and Ministry of Finance Building). 1819–1829 Architect, ORCHESTRA OF THE STATE HERMITAGE 6 7 STATE HERMITAGE MUSEUM. GENERAL INFORMATION

DIRECTORATE OF THE STATE HERMITAGE BOARD OF TRUSTEES MUSEUM OF THE STATE HERMITAGE IN 2016

Mikhail Piotrovsky General Director, President of Interros, Full Member of the Russian Academy of Sciences, Chairman of the Board of Trustees Full Member of the Russian Academy of Arts, Alexander Avdeyev Professor of St Petersburg State University, Ambassador of the Russian Federation to the Vatican Doctor of History Leonid Blavatnik Georgy Vilinbakhov President of Access Industries Deputy Director for Research, Chairman of the Heraldic Council at the President of the Russian Federation, Oleg Deripaska Professor of St Petersburg State University, General Director of OJSC Basic Element Doctor of History Leonid Fridland Svetlana Adaksina President of Mercury Deputy Director, Chief Curator German Gref Marina Antipova President and Chairman of the Board of OJSC Deputy Director for Finance and Planning Alexey Kudrin Alexey Bogdanov Dean of the Faculty of Liberal Arts and Sciences in St Petersburg Deputy Director for Maintenance, State University Senior Lecturer of St Petersburg University of State Fire Service, Pierre de Labouchere Candidate of Technical Sciences Yury Lubimov Mikhail Novikov Deputy Minister of Justice of the Russian Federation Deputy Director for Construction Mikhail Piotrovsky Nikolay Kalach General Director of the State Hermitage Museum Deputy Director for Construction in Charge Anton Siluanov (from 30 March 2017) Finance Minister of the Russian Federation Elena Mironova Mikhail Shvydkoy Chief Book-Keeper Special Representative of the President of the Russian Federation for International Cultural Cooperation COLLEGIATE BODIES David Yakobashvili OF THE STATE HERMITAGE MUSEUM Vice President of the Russian Union of Industrialists and Entrepreneurs ACADEMIC COUNCIL OF THE STATE HERMITAGE RESTORATION COUNCIL CORPORATIVE MEMBERS BOARD OF CURATORS CJSC JTI Marketing & Sales EDITORIAL COUNCIL JSC Gazprombank EDITORIAL BOARD OF COLLECTION CATALOGUES EDITORIAL BOARD OF THE REPORTS OF THE STATE SPECIAL ENDOWMENT FUND MANAGEMENT HERMITAGE MUSEUM EDITORIAL BOARD OF PEDAGOGICAL AND EDUCATIONAL FOR THE DEVELOPMENT OF THE STATE EDITIONS HERMITAGE MUSEUM EXTERNAL POLICY COUNCIL Board of Trustees of the Fund: INTERNET SITE COUNCIL Mikhail Piotrovsky, Vladimir Potanin, Evgeny Satanovsky, EDUCATION AND METHODOLOGY COUNCIL and Ivan Steblin-Kamensky SECURITY COUNCIL Board of Management of the Fund: ENGINEERING SUPPORT SERVICES COUNCIL Larissa Zelkova, Svetlana Adaksina and Marina Tsyguleva ARTS COUNCIL

MUSEUM STRUCTURE AND STAFF COMMITTEE HERMITAGE XXI CENTURY FOUNDATION EXHIBITION COMMITTEE Board of Trustees: PERMANENT DISPLAY COMMITTEE Mikhail Piotrovsky, Chairman of the Board of Trustees EXPERT PURCHASING COMMISSION Nikolay Kropachev, Rector of St Petersburg State University RESEARCH GRANT COMMITTEE Yury Lubimov, Russian Federation Deputy Minister of Justice ARCHAEOLOGICAL COMMITTEE Head of the Board of Management Zorina Myskova 8 STATE HERMITAGE MUSEUM. GENERAL INFORMATION

STATE HERMITAGE RESEARCH DEPARTMENTS

DEPARTMENT OF CLASSICAL ANTIQUITY One of the oldest departments in the Hermitage, it consists of two sectors: Art and Culture of and Ancient Rome, and Art and Culture of the Northern Area. Its collections include approximately 100,000 objects. The Department has 30 staff members.

DEPARTMENT OF THE ARCHAEOLOGY OF EASTERN EUROPE AND SIBERIA 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 Eastern Europe and Sector of the South of Eurasia. Its collections include approximately 750,000 objects. The Department has 37 staff members.

ORIENTAL DEPARTMENT Founded in 1920. The Department’s geographical and chronological coverage is very broad, so it consists of four sectors: Art and Culture of the Ancient East; Byzantium and the Near East; , the and Crimea; the Far East. The Department’s collections number about 150,000 items. The Department has 46 staff members.

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. The Department’s collections boast approximately 400,000 objects. The Department has 66 staff members.

DEPARTMENT OF WESTERN EUROPEAN APPLIED ARTS Formed as an independent department in 2006, it consists of two sectors: one devoted to applied arts and the other to precious metals and stones. Its stock comprises about 150,000 items. The Department has 32 staff members.

DEPARTMENT OF THE HISTORY OF Founded in April 1941, the Department acquired its present-day form after World War II. It has two sectors: Fine Arts Sector and Applied Arts Sector. Its collections include more than 300,000 items. The Department has 50 staff members.

NUMISMATICS DEPARTMENT It is one of the oldest departments in the Hermitage. 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 Africa, the other comprises numismatic pieces from Europe and America. The Department has 26 staff members.

ARSENAL The Department was founded in 1972 on the basis of the collection of arms and armoury kept 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. The Department has 15 staff members.

11 STATE HERMITAGE MUSEUM. GENERAL INFORMATION STATE HERMITAGE MUSEUM. GENERAL INFORMATION

MENSHIKOV PALACE documents in the middle of the 19th century when the first photographic works appeared, but Founded in February 1981 as “Menshikov Palace. Russian Culture in the First Quarter the photo archive was set in the 1920s. At the moment it includes 75,134 negative images and about of the 18th Century” Sector within the Department of the History of Russian Culture. The status 1,000 photographs. The Department has 9 staff members. of department was received in 1996. Most noteworthy are the interiors with their original 18th-century furnishings. The Department has 25 staff members. REGISTRAR DEPARTMENT The Registrar Department catalogues the objects kept in the Hermitage, issuing all the necessary IMPERIAL PORCELAIN MANUFACTORY MUSEUM documents concerning their inventory and keeping. The Department has 37 staff members. Founded in February 2001 on the basis of the historical collection at the Lomonosov Porcelain Manufactory 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 SECTOR OF NEW ACQUISITIONS the Imperial, Porcelain Manufactory. The Department has 9 staff members. The Sector was organised in 2000 with the main aim to ensure the fruitful activity of the Hermitage Expert Purchasing Commission on the completion of the State Hermitage stocks. The Sector has 6 staff members. DEPARTMENT Founded in 2009, the Department organises temporary exhibitions and forms the collections of contemporary art. The Department has 7 staff members. DEPARTMENT OF SCIENTIFIC RESTORATION AND CONSERVATION Restoration activities have been carried out in the Hermitage ever since the when the Picture Gallery of the Hermitage was founded. The Department consists of fourteen restoration laboratories DEPARTMENT OF THE HISTORY AND RESTORATION OF ARCHITECTURAL MONUMENTS for scientific restoration of easel painting, tempera painting, mural painting, Oriental painting, The Department was founded on the basis of the Department of the Chief Architect of the Hermitage graphic works, sculpture and semi-precious stones, applied arts, objects made of organic materials, in 1992. It is responsible for the conservation of the unique architecture of the museum’s buildings, textiles and water-soluble paintings, precious metals, timepieces and musical mechanisms, furniture, as well as the adaptation of the buildings for modern use. It also provides scientific support chandeliers and photographs. The Department has 148 staff members. for restoration activities. The Department has 15 staff members.

DEPARTMENT OF EXAMINATION AND AUTHENTICATION OF WORKS OF ART ARCHITECTURE AND ARCHAEOLOGY SECTOR Founded in 1936, it was the first in Russia and one of the first in the world X-ray analysis laboratories. Established as a separate sector in 2008. It carries out excavations on the State Hermitage complex In 1970 it became a separate laboratory, and in 1997 was amalgamated with the chemistry laboratory territory as well as other archaeological researches of urban architecture. The Sector has 12 staff and transformed into an independent department. Now it is amongst the largest centres engaged members. in the examination of works of art and culture in the country. The Department has 14 staff members.

EDUCATION DEPARTMENT LABORATORY FOR BIOLOGICAL CONTROL The Hermitage has been organising educational activities within the museum since 1925, when first The Laboratory was created around the group of disinfection specialists which was established guided excursions were arranged for the benefit of the public. Their aim is to introduce the Hermitage’s in the 1960s to combat insect pests. In 1990 it was reorganised into a research laboratory. collections as well as art history in general to the museum’s visitors. The Department’s staff members It has 10 staff members. are involved in more than 30,000 guided tours and deliver over 500 lectures a year. The Department has 144 staff members. LABORATORY FOR CLIMATE CONTROL The Laboratory’s major task is to provide safe storage and display of the museum objects SCHOOL CENTRE by monitoring climate conditions of the exhibition and storage areas in the main State Hermitage The School Centre that offers programmes for children of pre­school and school age has been Museum complex and its branches. It has 6 staff members. functioning as a separate department since 1999. It has an Art Studio, various children study groups, Young Archaeologists Club and Young Art Historians Club and a Lecture Centre. The Department has 13 staff members.

RESEARCH LIBRARY One of the oldest and largest museum libraries in Russia specialising 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 over one million volumes on art, history, architecture and culture in most European and many Oriental languages. The Department has 48 staff members.

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 69 funds, among them are 65 private archives and 110 inventories. 41,087 items were catalogued in the Hermitage’s archives between 1767 and 2015. The Hermitage began receiving photographic 12 13 AWARDS AWARDS

Mikhail Piotrovsky presented with the award “For a Strong Contribution Mikhail Piotrovsky presented with the RF National Guard Medal to the Dialogue of Cultures“ “For Cooperation”

Mikhail Piotrovsky presented with the State Award

MIKHAIL PIOTROVSKY PRESENTED WITH A STATE AWARD MIKHAIL PIOTROVSKY PRESENTED WITH THE RF NATIONAL GUARD MEDAL “FOR COOPERATION” On 12 June 2017, on Russia Day, in the , Russian President decorated Mikhail Piotrovsky, General Director of the State Hermitage, President of the Union of Russian Museums, with On 9 December 2017, in the St George Hall of the Winter Palace, Mikhail Piotrovsky, General Director the 2016 State Award for an extraordinary contribution to the preservation of Russian and global cul- of the State Hermitage, was presented with the RF National Guard Medal “For Cooperation”. tural heritage.

MIKHAIL PIOTROVSKY AND GEORGY VILINBAKHOV PRESENTED WITH MERIT AWARDS MIKHAIL PIOTROVSKY WINS IN THE “MOST INFLUENTIAL PERSON “FOR SERVICES TO ST PETERSBURG” ON THE ST PETERSBURG CULTURAL SCENE” CATEGORY On 11 December 2017, during the formal “St Petersburg Influence Ratings” ceremony that was held On 14 November 2017, in the Smolny, the St Petersburg Governor Georgy Poltavchenko presented in the General Staff Building, Mikhail Piotrovsky, General Director of the State Hermitage, was de- Mikhail Piotrovsky, General Director of the State Hermitage, and his Deputy for Research Georgy clared the winner in the “Most Influential Person on the St Petersburg Cultural Scene” category. Vilinbakhov with merit awards “For Services to St Petersburg” in recognition of their efforts in the He was named one of the top 300 most influential people in St Petersburg. sphere of culture and art and their active role in public life.

MIKHAIL PIOTROVSKY PRESENTED WITH AWARD “FOR A STRONG CONTRIBUTION MIKHAIL PIOTROVSKY WINS THE 2017 “TOP 100” AWARD TO THE DIALOGUE OF CULTURES” On 13 December 2017 Mikhail Piotrovsky, General Director of the State Hermitage, won the 2017 “Top 100” award in the “Museum Worker of the Year” category. The “Top 100” award has been set up On 21 November 2017 at the Hermitage Theatre, as part of the 10th International Forum of Young by the Delovoy Peterburg newspaper and is an annual recognition of the most effective senior managers Journalists “A Dialogue of Cultures”, Mikhail Piotrovsky, General Director of the State Hermitage, in St Petersburg and Leningrad Region. was formally presented with the award of merit “For a Strong Contribution to the Dialogue of Cultures“. 14 15 AWARDS AWARDS

Research Fellow at the Oriental Department; Tatiana Baranova, Head of the Department of Scientific Restoration and Conservation; Marina Lopato, Head of the Sector of Precious Metals and Stones at the Department of Western European Applied Arts.

HERMITAGE IN THE TOP FIVE HIGHEST-RATED MUSEUMS

In 2017 the State Hermitage was ranked one of the top five highest rated museums by the Erasmus University, the Netherlands. A team of the Erasmus University Rotterdam School of Management (RSM) headed by Professor Cees Van Riel completed a research project entitled “Why do people love art museums?” The study focused on the reputations of eighteen most famous art museums in ten countries across four continents, with 12,000 people taking part in the poll. The online poll mostly targeted regular museum-goers. Each of the museums had to be ranked by at least 150 respondents from the home country and by at least 50 from another country included in the study. The reputation was THE ART NEWSPAPER RUSSIA AWARD CEREMONY measured using the RepTrak® model developed by the Reputation Institute.

On 2 February 2017, the Central Manège in was the scene for the presentation of the annual The Art Newspaper Russia award. In the “Restoration of the Year” category, the award went to the State Hermitage for the project THE HERMITAGE IS RECOGNISED AS ONE OF THE WORLD’S FIVE BEST MUSEUMS involving the restoration of Rogier van der Weyden’s painting St Luke Drawing the Virgin. The award BY TRIPADVISOR was presented to V. Brovkin, art restorer at the Laboratory for Scientific Restoration of Easel Painting; V. Korobov, Head of the Laboratory for Scientific Restoration of Easel Painting; N. Zykov, curator of the According to the ranking at TripAdvisor, the world’s largest traveller portal, which was the result 15th- to 16th-century Dutch paintings at the Department of Western European Fine Arts. of analysis of millions of reviews left by tourists from different countries, the State Hermitage was named The “Exhibition of the Year” award went to the “Icons of Modern Art: The Shchukin Collection” one of the world’s five best museums in 2017. The Metropolitan Museum (New York) was placed first exhibition, which opened last October at the Louis Vuitton Foundation Museum, , France. Around in the ranking, followed by the National WWII Museum (New Orleans) and the Musée d’Orsay (Paris). 70 of the 130 paintings on display there belong to the State Hermitage Collection. In the fourth place was the Art Institute of Chicago. The Hermitage ranked high in the TripAdvisor The publication on 18th-century English caricature, co-authored by Vasily Uspensky, member ratings of 2014, 2015 and 2016. In 2013 the Hermitage was voted the best museum in the world, Russia of the Department of Western European Fine Arts, was long-listed in the “Book of the Year” category. and Europe by visitors.

STATE HERMITAGE EMPLOYEES PRESENTED WITH BADGES MADE BY JEWELLERS OF THE DIAMONDS COMPANY

As a tribute to tradition, as part of the Hermitage Days, the museum and the Crystal Jewellery House presented three employees with commemorative tokens made by the jewellers of the Smolensk Diamonds Company Group Ltd. The token, which looks like a stylised museum logo made of white gold, is decorated with Russian-cut diamonds. In 2017 the diamond awards were presented to Tatiana Arapova, Leading

Tatiana Baranova presented with the award Tatiana Arapova presented with the award

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WINNERS OF THE COMPETITION FOR THE VLADIMIR POTANIN CHARITABLE PUBLISHING T. Grunina-Shkvarok FOUNDATION AWARDS Restoration of felt hose from the Second Pazyryk Burial Mound, EDITING 4th – 3rd centuries BC. In 2017 50 museum employees were awarded the Vladimir Potanin Foundation grants for implementing L. Spiridonova P. Davydov projects of the greatest importance for the Hermitage. The grant nominations are considered by the Her- Editing of the publications: Rogier van der Weyden. St Luke Restoration of Portrait of a Girl in a Turban by Marco Antonio mitage Research Grant Committee with participation of a representative of the Foundation; they are Drawing the Virgin; From the Dinner-Service Storerooms. Franceschini. then approved by the museum’s Academic Council. Decorating the Russian Imperial Table in the Eighteenth to Early Twentieth Centuries; From the History of Russian Culture N. Lyakina of the 12th – 20th Centuries: Marking the 75th Anniversary Restoration of the banner of the Transfiguration Regiment of the Department of the History of Russian Culture (1941–2016); of the Life Guards (1724). Restoration of Objects of Applied Art in the State Hermitage; S. Makeyev THE OPEN COLLECTION CATEGORY CREATION OF INDIVIDUAL TEMPORARY DISPLAYS INVOLVING The Hermitage Encyclopaedia of Textiles: Restoration; Restoration of four pewter tankards. EXHIBITS FROM THE HERMITAGE S. Matsenkov, Power Plant, Boiler Room, Garage in the Winter Palace. E. Stepanova CREATION OF PERMANENT EXHIBITIONS Yu. Yefimov, M. Zaychenko, V. Obraztsov Restoration of a chieftain’s headdress from the Second Pazyryk Preparation and implementation of the exhibition project “East DESIGN Burial Mound. A. Akseshin, A. Bolshakov, V. Vilinbakhov and West. Rare Antique Arms from the State Hermitage Museum Creation of the permanent exhibition on “The Art of the Peoples Collection” and the accompanying catalogue. National Museum A. Kalandzhi A. Terentyeva of Africa”. of the Republic of , Astana. Design and proofs for the following publications: Two Cranachs. Academic catalaguisation and transfer of specialised restoration Between the and ; Giovanni Boldini. documentation to a digital system. D. Sadofeyev, A. Teplyakova T. Kosourova Painter of the Belle Époque; The Hermitage Encyclopaedia Creation of the permanent exhibition on “The Art of the Islamic Preparation and implementation of the exhibition project “Birds A. Tsvetkov of Textiles: Conservation; The Restoration of Objects of Applied Near East: the Mamluk Sultanate”. of Olympian Gods. European Decorative Arts from the 16th Restoration of Samuel and Saul by N. Moeyaert. Art in the State Hermitage; The Artist and the Book. Issue 4: to 19th Century in the Collection of the State Hermitage Museum” S. Tomsinsky, A. Kornienko, A. Churakova The Master’s Hand. To Mark the Anniversary of Andrey Lanskoy’s and the accompanying catalogue. Hermitage • Vyborg Exhibition Creation of the permanent exhibition on “Culture and Everyday Book of Genesis; brochure Textile Collections of the State THE MUSEUM STUDIES CATEGORY Centre. Life in Kievan Rus and the Moscow Tsardom in the 9th – Hermitage in Russian and English. 17th Centuries”. Yu. Plotnikova DISSERTATIONS DEFENDED Preparation and implementation of the exhibition project CREATION OF MULTIMEDIA PROJECTS K. Malich CREATION OF INDIVIDUAL TEMPORARY DISPLAYS INVOLVING “St Petersburg . 1890s – 1910s. Style and Society EXHIBITS FROM THE HERMITAGE A. Balina, P. Pokrovsky Defence of a Candidate of Art History dissertation on the evolution Fashion” and the accompanying catalogue. Hermitage•Kazan Development of new content for the “Virtual Visit” section of Dutch architecture during the postwar restoration period I. Bagdasarova Exhibition Centre. of the State Hermitage website. (1940s – 1960s). Preparation and implementation of the exhibition project “From the Dinner-Service Storerooms. Decorating the Russian DESIGN E. Kalinovskaya E. Tyutrina Imperial Table in the Eighteenth to Early Twentieth Centuries” Development of “Empire”, a multimedia educational programme. Defence of a Candidate of Art History dissertation on the V. Korolev from the “Christmas Gift” series and the accompanying development and establishment of contemporary trends in Dutch Project development and installation of temporary displays R. Kogan catalogue. painting of the late 19th – early . “From the Dinner-Service Storerooms. Decorating the Russian Development of a multimedia educational programme “The Art M. Denisova Imperial Table in the Eighteenth to Early Twentieth Centuries” of 18th-century Italy at the Hermitage”. COMPLETION OF MONOGRAPHS AND OTHER ACADEMIC Preparation and implementation of the exhibition project and “Mariano Fortuny: The Magician of Venice. Collector. Artist. PUBLICATIONS “The Hermitage Encyclopaedia of Textiles. Conservation” Couturier”. PRESERVATION OF MUSEUM COLLECTIONS and the accompanying catalogue. MONOGRAPHS PUBLICATIONS CATEGORY T. Lekhovich O. Kostyuk Preparation and implementation of the exhibition project COLLECTION CATALOGUES STORAGE ITEMS PROCESSING, TRANSFER AND ACCEPTANCE The Treasure Gallery: Collection of European Artistic Jewellery. “Mariano Fortuny: The Magician of Venice. Collector. Artist. Moscow: Kuchkovo Pole, 2017. Couturier” and the accompanying catalogue. E. Karcheva K. Chernyshev Completion of acceptance of the Department items Western European Sculpture of the 19th – 20th Centuries. THE MUSEUM AND SOCIETY CATEGORY N. Masyulionite State Hermitage Publishers, 2017. from two storage collections. Preparation and implementation of the exhibition project Completion of restoration projects. “ (1712–1775). The Royal Engraver” S. Kudryavtsev, O. Maltseva, E. Platonov DEVELOPMENT AND IMPLEMENTATION OF RESEARCH and the accompanying catalogue. (nominated by the Directorate) S. Bogdanov AND EDUCATION PROGRAMMES Early Printed Cyrillic Books of the 16th – 17th Centuries. Restoration of Madonna and Child by Sassoferrato. D. Ozerkov (nominated by the Directorate), A. Chaladze, State Hermitage Publishers, 2017. N. Vorobyeva M. Shults N. Borisova Development and implementation of academic and educational Preparation and implementation of the exhibition project A. Bukina Restoration of a glass lamp with the name of a Mamluk sultan. programmes “Gods, Heroes, Monsters, Wizards”, “The Fairy-Tales Corpus Vasorum Antiqvorum. Corinthian Vases. “Jan Fabre. Knight of Despair / Warrior of Beauty”. N. Vasilieva of ”, “The Griffins of Ancient Altai”. L’Erma di Bretschneider, 2017. A. Savelieva, M. Menshikova Restoration of original ship utensils and construction elements Preparation and implementation of the exhibition project A. Petrakova from a ship The Archangel from the reign of Peter the “Perfection in Details. The Art of Japan in the Meiji Period. Corpus Vasorum Antiqvorum. Attic Red-Figure and Bilingual Great. From a Private Collection” and the accompanying catalogue. Drinking-Cups, Part II. L’Erma di Bretschneider, 2017.

18 19 COMPOSITION OF THE MUSEUM’S COLLECTION

As of 31 December 2017 a total of 3,171,788 exhibits JJ MOST NOTABLE ACQUISITIONS OF 2017 were accounted for in the State Hermitage

LOUIS DE MONI (1698–1771) Including THE REVELLER Paintings 17,139 Leiden, Holland. 174[3] (?) Graphic works 624,596 Oil on wood Acquired through the Expert Purchasing Commission Sculptures 12,810 The indoor painting by Louis de Moni (1698–1771) featuring a jolly Pieces of applied art 358,760 burgher who has made himself cozy near a window with a glass Numismatic items 1,125,837 of wine in his hand has a well-documented provenance. The old Hermitage inventories and special publication describe the can- Archaeological artefacts 805,130 vas as “The Reveller”, “The Merrymaker”, “The Bacchanalian”, Rare books 347 “The Bon Vivant”, “A Man at Breakfast”. The wax seals on the reverse and the inventory numbers on the obverse side of the board Weapons and armour 14,000 corroborate that the painting originally came from the collection of purchased for Empress Catherine the Documents 59,102 Great in 1764. Historic technological devices 2,609 According to the documents, the de Moni painting was acquired for the Hermitage together with its pair, The Seller of Sea Fish and Printed works 295 Shrimps. Both paintings were included in Hermitage catalogues prior to 1916; they were also mentioned in major reference edi- Other exhibits 148,310 tions of the time. Their traces were lost after 1930, when works of art were yielded by the museum to the Antikvariat organisation to be sold in auctions which the Government held in Western ­Europe. In 2015 The Reveller was sold at an auction in the south 22,949 exhibits (in Inv. Nos) came to the State of France and it was subsequently bought by the Hermitage. The lo- Hermitage collection in 2017 as gifts, through cation of its pair, The Shrimp Seller, remains unknown. The Reveller and The Shrimp Seller by Louis de Moni are typical the Expert Purchasing Commission examples of “modern painting” as defined around the turn of the and from archaeological expeditions. 18th century by the art theorist de Lairess (1640–1711). This term implied the depiction of scenes from the life of the middle class, devoid of vulgarity and coarseness of the antique types. The artist’s skill to make a prosaic subject look elegant was greatly prized in the context of 18th-century styles which tended towards idealised images. Similar anecdotal works of art with careful attention to the IN 2017 THE STORAGE COLLECTIONS (IN INV. NOS) tiniest details were in high demand in 18th-century Europe. WERE AUDITED AGAINST THE INVENTORY According to documentary sources, Louis de Moni, a native of Bre- DOCUMENTATION da, studied painting first under F. van Kessel II and J.-B. Biset. Then he spent four years in the studio of Philip van Dijk’s, one of the most Total 524,202 popular and sought-after artists of his time; it was from him that Moni adopted his elegant manner of painting inspired by such pro- Audit of the safe storage documents and simultaneous stock-taking of museum items 281,131 totypes as Gerard Dou and Frans van Mieris the Elder. Quite soon, the aspiring portrait and genre painter became a member of the Audit of the presence and preservation of exhibits well-known Confrérie Pictura association (existed in The Hague for timely conservation 21,676 until 1849). After van Dijk moved to Cassel (1726), Louis de Moni made himself a home in Leiden, where he secured himself a lead- Audit of the presence and preservation of museum items ing place on the artistic scene. To this day The Reveller retains its when transferred from one curator to another during gilded “uniform” frame which bears testimony to its provenance as preparation of temporary exhibitions 121,209 part of the Hermitage collection. After restoration the painting will Audit of the presence and preservation of museum items take its place on permanent display. when transferred from one curator to another for permanent storage 100,186

20 21 MOST NOTABLE ACQUISITIONS OF 2017 MOST NOTABLE ACQUISITIONS OF 2017

CIRCLE OF JOACHIM PATINIR LUIGI BIENAIMÉ (1795–1878) ST CHRISTOPHER CARRYING THE INFANT TELEMACHUS CHRIST Italy. 1835 Marble The Netherlands. 16th century Oil on canvas; transferred from wood Gift from David Yakobashvili Acquired through the Expert Purchasing Commission The large marble statue of Telemachus, son of Odysseus, was made The technological expert analysis has confirmed the painting’s by the prominent Italian sculptor Luigi Bienaimé, which is con- ­16th-century dating and revealed the presence of a preliminary firmed by the initials LBF on the plinth. As in many of his other drawing, which is usually considered a sign of at least authorial re- works, the master sought to create an image of an ideal hero, draw- production if not authenticity of the painting. The painting may have ing on ancient sculptural works as well as those by the previous generation of sculptors (Thorvaldsen and Canova). Unfortunately, been transferred from wood to canvas by the well-known St Peters- Bienaimé’s work is yet to become the subject of a monograph-length burg and Hermitage restorer A. Sidorov in 1898, which is indirectly study, and his works are scattered around many museums and pri- corroborated by the inscription on the reverse. vate collections. However, he ought to be regarded as one of the In the collectors’ family there was a tradition to refer to this paint- most remarkable sculptors of the Neoclassic Roman school, along- ing as a work of Joachim Patinir. It was possible to find paintings side Pietro Tenerani. in auction catalogues which are attributable to the Netherland- The statue gifted to the Hermitage was mentioned in literature ish painter Herri met de Bles (1510–1550), which are very close contemporary with its creation, which reported that it was com- to the present work in terms of size and interpretation of the sub- missioned by Golitsyn. It looks like this was Prince Mikhail ject. Researchers believe that Herri met de Bles could have been Alexandrovich Golitsyn (1804–1860), who was for many years Joachim Patinir’s nephew so he was considerably influenced by his the Russian diplomatic representative in Florence and who resid- art. These painters are traditionally considered founding fathers of ed in Rome after 1836. It should not therefore be surprising that the Dutch landscape painting. A direct attribution of this unsigned subsequently, the statue of Telemachus ended up in the Golitsyn painting to Herri met de Bles or Joachim Patinir requires very seri- Museum in Moscow. In 1886 the Golitsyn Museum was acquired ous evidence. Thanks to the conclusions reached in the expert study by order of Alexander III, and the best works from its col- by Alexander Kosolapov, Head of the Hermitage Examination and lection were sent to the Hermitage. The list of purchased statues Authentication of Works of Art Department, it is already possible includes the Telemachus by Bienaimé. However, the sculpture never to speak of an affinity in the manner of painting the figures and land- made it to the Hermitage, since the imperial museum already had scape based on the comparison of X-rays with the Landscape with one statue of Telemachus commissioned to the master by Emperor the Flight to Egypt, the trademark work by Herri met de Bles from Nicholas I during his visit to Rome and produced on the basis of the the Hermitage collection. same model (signed by Bienaimé and dated to 1848). This is prob- ably why the present statue of Telemachus was in the keeping of the Moscow palace administration. Its subsequent fate remained un- known until the very recent time, when it was gifted to the State Hermitage. The years that have elapsed have not been very kind on the sculpture: the left hand with part of the quiver was missing MANOLIS BETINAKIS (1946–2015) and there were other damaged areas as well. After restoration the ICON: THE DESCENT FROM THE CROSS statue of Telemachus will take a place of honour among the exhibits Crete, Greece. 2014 in the General Staff Building. Wood (cypress), canvas, primer; gilding, mixed technique, carving Gift from Manolis Betinakis MARC CHAGALL (1887–1985) A unique icon by a Cretan icon-painter created as a gift to the State THE BIBLE Hermitage. Paris: Tériade. 1956. 2 vols. The special nature of the images created by Manolis Betinakis lies Exhibit No. 255 in their profound spirituality, concentration and austerity combined 105 prints in total with a flamboyant, richly colourful palette. The artist was born Paper; etching, drypoint in Heraklion in 1946 in the family of a priest and began to learn Gift from Delzell Foundation Inc. the basics of icon-painting since early youth. For many years he was afflicted with severe illnesses, but even when he was partially The two-volume edition of the Bible illustrated by Marc Chagall paralysed, he continued to create paintings and icons for Cretan includes 105 prints of engravings on metal. This is one of the mas- churches. Betinakis was a brilliant master of the ancient Byzan- ter’s largest graphic series and one of the most important books tine icon-painting technique and a connoisseur of different icono- produced by him. The illustrations were commissioned to Chagall by graphic styles. This means that his works have a classical foundation the famous French art dealer and editor Ambroise Vollard. In 1931 augmented with the individual touches of a contemporary artist. the artist returned from a trip to Palestine, Egypt and Syria and All of his icons stand out because of their external elegance and in- began to make gouache sketches followed by engravings. As many ternal spirituality and have a strong life-affirming message. as 66 images were complete and printed by 1939. After this the 22 23 MOST NOTABLE ACQUISITIONS OF 2017 MOST NOTABLE ACQUISITIONS OF 2017

Abraham Mourning Sarah Joseph the Shepherd David’s Song The Calling of the Prophet Ezekiel

progress of the edition was halted for a long time: Vollard was killed in a car crash, while Chagall was forced to leave France. In the 1950s Chagall revisited the project in cooperation with another publisher, Tériade, and made 39 more prints, finishing the boards which had remained incomplete since the 1930s. The artist’s daughter Ida selected the appropriate quotations from the Old Testament to suit the illus- trations (from the creation of man to the calling of the Prophet Ezekiel); in the edition they are placed in front of the engravings printed on separate sheets. The work on the biblical illustrations played a key part in Chagall’s creative life. It marked the start of regular interpretation of biblical subjects which led to the production of new books and graphic series as well as stained glass panels, , a number of paintings and ultimately to the foundation of the Biblical Message Museum in Nice which grew out of the eponymous series of paintings. For a long time the Bible remained a major lacuna in the Hermitage collection of Chagall’s books. The artist had gifted nine volumes to the museum in the early 1980s (two more were handed over after his death, in 1987), but he had not included the Bible, according to witness reports, since he believed that it would not be exhibited because of its subject matter. It is only now that it has proved possible to fill this gap due to the efforts of the St Petersburg collector Mark Bashmakov, who organised the purchase of an immaculate copy of the book from a Paris gallery, and the sponsorship of the Delzell Foundation (USA). dipper. The encrusted brass trays or the little rose water sprinkler had not hitherto been part of our collection. There are no metal analogues of the beaker cup and the jug lid. After conservation the items from the newly-acquired collection will be added to the permanent display at the Hermitage dedicated to the culture of Islamic Iran and Central Asia. A COLLECTION OF BRONZE (BRASS) ITEMS Khorasan or Transoxiana. 8th – early 13th centuries 19 items in total Acquired through the Expert Purchasing Commission BOWL FEATURING A HUNTING SCENE The collection of bronze items includes eight trays, three jugs, a colander/dipper, a lid with a bird figure, Egypt, Mamluk Sultanate. 14th century a bowl, a beaker cup, a bottle for sprinkling rose water, two incense burners and the lid of a large jug. Brass; silver encrustation, embossing, engraving Most of the objects are decorated with Arabic inscriptions and complex convoluted patterns with preva- Gift from the Hermitage Foundation UK lent geometric motifs combined with vegetative ornaments and occasional stylised images of fish and birds. The decor of most items is covered with a thin silver encrustation which enhances the aesthetic ef- A bronze (brass) bowl with an elongated triangular spout along the fect. This is the first time that such a representative collection of bronze items is acquired by the Hermit- side, richly decorated with engravings and encrustations: the up- age. The majority of the items can be securely dated to the 12th – early 13th century by their shapes and per belt depicts beasts being chased, and the lower a hunting scene. decorative characteristics; they were produced in the workshops of Khorasan, most likely in the eastern On the bottom of the bowl there is a fragmentary image of a riding part of the region. king. There is only one vessel of similar shape in the State Hermit- It is practically beyond doubt that this group of items was interred during Genghis Khan’s Central Asian age Oriental Department, but in terms of the composition of the campaign. The smaller group of items, including some that show signs of repair, can be dated to an ear- metal and the style of the ornaments it probably dates back to a lat- lier time (9th – 12th centuries); it was most probably produced by the craftsmen of Transoxiana, the land er time (possibly ) and belongs to another stylistic tra- in Central Asian Mesopotamia. dition. In terms of decorative details, the bowl belongs to a group Despite the fact that the Hermitage has quite a significant collection of pre-Mongol Islamic bronzes, of ­Syro-Egyptian artefacts of the late 13th – early 14th century, some of the items purchased with this collection are unique, such as the silver-encrusted colander/­ which were usually richly encrusted with inscriptions, heraldic 24 25 MOST NOTABLE ACQUISITIONS OF 2017 MOST NOTABLE ACQUISITIONS OF 2017

they were a great success. From this time members of the higher aristocracy and monarchs of many European states became Moser’s permanent clients. The shot glass with a miniature portrait of Konstantin was probably produced at the Ludwig Moser works in the 1870s. This is suggested by the shape and form of the item, the quality and colour of the glass, the ornamental decor and painting, which is corroborated by similar extant works produced at Moser’s manufactory in the last third of the 19th century. The glass collection of the Department of the History of Russian Culture at the State Hermitage has two similar items: ovoid vases with portraits of Grand Duke Alexander (future Emperor Alexander III) and Grand Duchess Maria with her son Nicholas in her arms. The shot glass with the portrait of Grand Duke Konstantin will take pride of place in the State Hermitage collection, enhancing the section of memorial glass objects made in the second half of the 19th century.

symbols, vegetative­ patterns and beast chase scenes. The early 14th century sees the disappearance of figurative compositions from Mamluk art, so the presence of a hunting scene indicates that the bowl was most likely made in the late 13th century. LIDDED VASE WITH DUCKS AND FROGS LANDSCAPE PATTERN The Oriental Department collection contains a considerable number of items dated to the late 13th – first St Petersburg. The Imperial Porcelain Manufactory and Glass Works. 1890s – 1894 half of the 14th century, with inscriptions, heraldic symbols and vegetative patterns, but there are much From a drawing by Sergey Romanov fewer bronze (brass) items with subject imagery, and those are mainly Christian in theme. The acquisi- Colourless glass, coloured enamels; gilding, blowing, hot-furnace blowing technique, painting tion of a bowl with a royal hunt scene for the Hermitage has enriched its collection of Syro-Egyptian Acquired through the Expert Purchasing Commission bronzes from the time of the Mamluk Sultanate. The vase is made of coloured multilayered carved glass. Its central part and lid are decorated with landscape patterns: on the body, against the background of a setting sun, there are ducks swimming in a calm river and frogs climbing sedge stalks; on the lid are flowers of the field and flying midges. On the lip of the vase and protruding parts of the lid are gilded streaks. On the base is a black enameled stamp reading A III under an imperial crown. The quality of the glass, its colour scheme, the shape of the ob- DECORATIVE SHOT GLASS WITH A PORTRAIT ject, the painting technique make it possible to identify the vase as an object made at the Imperial Por- OF GRAND DUKE KONSTANTIN celain Manufactory and Glass Works in the 1890s. The presence of the stamp indicates that this object Carlsbad, Austria-Hungary. Ludwig Moser & Sons was meant as a gift, to be exhibited or to be included in charitable events. 1870s The Gorky House of Scholars (former palace of Grand Duke Vladimir) has “Golden ruby” glass, colourless glass, milky glass; blowing, enamel retained a vase made of multilayered carved glass with a similar subject, and gold painting which was made, according to archive data, in 1901, from a design by the Acquired through the Expert Purchasing Commission Imperial Porcelain Manufactory and Glass Works in-house draughtsman Sergey Romanov. It was acquired for Grand Duke Vladimir’s palace where A ruby-glass shot glass, cylindrical in shape, with an overlaid milk- it has remained to this day. There is every ground to believe that the vase glass medallion with a miniature portrait of Grand Duke Konstantin purchased by the Hermitage was also made from a design by Romanov Nikolayevich. The medallion is decorated with a stripe of pearls and in 1890–1894. acanthus leaves. On the opposite side of the body and the foot, there The draughtsman Sergey Romanov came from a family of St Petersburg are images of vines in gold against a pounced background. On the lip craftsmen and received his artistic education in the Stieglitz Central School and base are wide gilded streaks. The miniature portrait of the Grand of Technical Drawing. He was hired to be a staff draughtsman in 1890; he Duke executed in the enamel over milky glass technique is the ex- worked with I. Murinov, who headed the company’s art workshop. It was act copy of an 1870s photograph. Similar artefacts with portraits clearly during this period that Romanov produced the drawings for the of Grand Dukes dated to the late 1860s – 1870s can be found in mu- enameled vase with the Ducks and Frogs pattern. In 1900 he was sent to seums and private collections. All of them are made in the same Paris to attend the World’s Fair in Paris, where he closely studied the works technique which uses photographs as a sample to be reproduced. by Emil Gallé, mostly objects made of multilayered glass. But the artist’s Leading Russian and Western European works had the technol- career was not long. In 1907 he contracted tuberculosis and was forced ogy to paint in semi-transparent enamel over milky glass. Minia- to leave work because of poor health. Over seventeen years of working for ture portraits on glass were typically produced in Russia in the first the Imperial Porcelain Manufactory and Glass Works, Romanov’s drawings quarter of the 19th century, but by the late 1840s this kind of art were used to produce a number of objects: vases with enameled painting; was almost entirely defunct. In 1857 a glass works was founded objects made of multilayered glass and polished crystal; Easter eggs; dinner in Carlsbad, Bohemia (now Karlovy Vary, Czech Republic), by the service forms; etc. entrepreneur Ludwig Moser. The wide range of items produced by The vase with the Ducks and Frogs landscape pattern is one of a group the enterprise included coloured-glass objects with portraits painted of unique objects produced at the Imperial Manufactory in 1890–1894; the in milky-glass medallions. In 1873 the products of the glass works Hermitage collection only has a handful of such items; all of these were were for the first time exhibited at the Vienna World’s Fair where made from individual, usually authorial, designs.

26 27 MOST NOTABLE ACQUISITIONS OF 2017 MOST NOTABLE ACQUISITIONS OF 2017

ORNAMENT: KEEPERS OF SERVICE STOREROOMS Temporary exhibitions of the “Christmas Gift” series have become traditional in the Hermitage, a revival of a tradition begun as early as the 18th century, when the best products of the Imperial Porcelain Manu- SCULPTURE: SITTING PEACOCK factory were put on display in the Winter Palace state rooms before Christmas. The peacock sculptures were produced as part of an artistic programme seeking to create an artistic image of a modern formal Inscription in gold over biscuit porcelain: A. Trofimova / Keepers of Service Storerooms / f. Sitting Peacock. 2016 / I.P.F. / modeler G. Bogdevich / moulder V. Bloshkin dinner service, which is timed to coincide with the opening of a large-scale exhibition “From the Dinner- Inscription scratched through the pottery: Keepers of Porcelain Storerooms. / 2016 I.P.F. Service Storerooms. Decorating the Russian Imperial Table in the Eighteenth to Early Twentieth Centu- ries”, which focuses on the art of laying the table and the culture of feasts at the Russian imperial court. Universal professionals were invited to contribute, who were able to use a single set to create radically SCULPTURE: LYING PEACOCK new forms, combining sculptural and pictorial decor and producing original artwork. Inscription in ochre over biscuit porcelain: A. Trofimova / Keepers of Service Storerooms / f. Lying Peacock. 2016 / I.P.F. / modeler S. Plokhov / moulder V. Bloshkin

St Petersburg, JSC Imperial Porcelain Manufactory. 2016 Biscuit porcelain A DESK AND TWO CHAIRS Mould by A.P. Trofimova St Petersburg. Liseret Brothers Factory. 1883 Blue printed stamp (without glazing): Imperial Porcelain / 1744 / St Petersburg Wood, marble, textile (modern); carving, gilding, tinting Gift from the JSC Imperial Porcelain Manufactory Gift from Yury Abramov

The biscuit porcelain set consists of two nearly life-size figures of peacocks, Sitting Peacock and Lying These pieces were probably part of a set produced for the in Tsarskoye Selo, which Peacock. is confirmed by the full equivalence of the structure and decor of the chairs and a similar piece from the In Russian porcelain art large-scale sculptures are rare due to the challenges of the technological pro- Tsarskoye Selo collection which has been preserved as part of the furnishings of the Blue Drawing Room cess. This is why the large figures of peacocks which have survived the complex production process have in the Alexander Palace. become an illustrative example of such works. The unpainted biscuit porcelain set is a reminder of the After the ascension of Alexander III his spouse wished to change the earlier interior design, which fact that the emergence of porcelain sculptures owes a lot to sugar table ornaments common for em- was implemented in 1882 under the supervision of the architect Alexander Vidov. The furniture for the perors’ feasts in the 18th century. In joining the main collection of Russian porcelain at the State Her- drawing room (the Blue/White Drawing Room, depending on the colour of upholstery and curtains) was mitage, this newly-acquired set offers an expressive, museum-worthy sample of a professional industry commissioned at the factory run by the brothers Henri and Anton Liseret (purveyors to the imperial which goes back to the historic origins of porcelain production in St Petersburg. court). The 1880s were an especially successful period for the Liseret Brothers firm. In 1880 the firm’s

28 29 MOST NOTABLE ACQUISITIONS OF 2017 MOST NOTABLE ACQUISITIONS OF 2017

­craftsmen made the furniture for Princess Ekaterina Yurievskaya, the morganatic wife of Alexander II, while in the following year they made the throne setting and throne (in imitation of his father’s throne) for Emperor Alexander III. In 1883 they produced the furniture for Empress Maria Fyodorovna’s Blue Drawing Room in the Alexander Palace. The photograph of this interior was mass-produced in the late 1920s as a postcard in the series called Detskoye Selo. The Alexander Palace Museum. Judging by the photograph, the walls of the drawing room were decorated with landscapes and the furniture did not form a set conceived as a single whole but was rather a combination of different pieces. The postcard features two chairs in the corner of the drawing room: one in the light with a clearly visible outline, and the other behind it, in the shade. These are direct analogues of the newly-acquired chairs. The Hermitage collection contains a large assortment album with prints of pieces of furniture, which was commissioned by the Liseret Factory in France. But hitherto, the museum did not possess a single piece of furniture known to be a product of that enterprise. This is why the gift of a desk and two chairs will be a worthy addition to the collection of furniture at the Department of the History of Russian Culture at the State Hermitage.

JAN FABRE (B. 1958) STUPIDITY IS FOUNDED ON MORTALITY Belgium. 2016 Stuffed swan, polymer, metallic wood borer wing cases, metal Gift from , Jan Fabre’s Fine Arts Studio

The work gifted to the Hermitage was first shown at the exhibition “Knight of Despair / Warrior of Beauty” held at the museum in 2016. Fabre’s artwork was inspired by ’ Concert of Birds (c. 1630–1640) in the Hermitage collection and was on display in the Snyders Room as a complement to the painting. The piece consists of a polymer skeleton covered in beetle wing cases, which symbolises death, clutching a stuffed white swan, which stands for stupidity and unreason. Beetles are a central motif in the art of Jan Fabre; the artist is drawn to the bright colours and the durability of the chitin carapaces. The extravagant manner and the use of motifs which recall the traditions of Flemish paint- ings in Jan Fabre’s work turn an intense dialogue between classical and modern art into a memorable museum experience.

30 31 ACQUISITIONS BY THE STATE HERMITAGE MUSEUM IN 2017

JJ ACQUISITIONS BY THE STATE HERMITAGE MUSEUM IN 2017 ORIENTAL DEPARTMENT Yu.S. Varshavsky Collection of elements of belt fittings and household items Gifts: Pair of ritual musical instruments: trumpets 3 pieces in total for Buddhist rituals with tips shaped like heads Khorasan and Transoxiana. Second half PAINTINGS of mythical creatures (Makara) with gaping of the 7th – early 13th centuries mouths I.I. Gulyayev Nepal. Late 19th – early 20th century Golden ring with an almond-shaped plate Icon The Virgin and Child with Two Select Copper, bronze; soldering, punching, embossing, with owner name The Golden Horde or Iran. 14th century ARSENAL DEPARTMENT Dragoon officer broadsword S.A. Kutergin Saints on a marble plate in a wooden engraving France. 1804–1815 Gold; casting, engraving carved case Gifts: Steel, brass, bronze, leather; beating, casting, Seashell tabletop set: a knife and a sheath Eritrea (?), South Mediterranean. Through the Expert Purchasing stamping, engraving, gilding, embossing support “Golden” casket with detachable lid and tray Memorial Association of the Cossack Regiment By S. Kutergin 19th century (?) Commission: Japan. Mid-19th century of His Majesty’s Life Guards Marble, whole wood; carving, engraving, Metal, gold varnish, coloured varnish; mixed P.V. Suslov Blade by V. tinting PAINTINGS technique Memorial token/medal dedicated St Petersburg. 2012 Order No. 131 for 1st Artillery Life Guard Damask steel with nickel, bronze; lost-wax to the 200th anniversary of the Cossack Life Triptych The Ascension of the Prophet Elijah Casket for scrolls and writing implements Brigade casting, hand carving over wax, artistic beating, DECORATIVE ART and Select Saints Guards’ bravery at Leipzig on 4/17 October 1813 Russia. 10 May 1896 dressing, polishing, oxidation, patination with detachable lid and tray The Balkans. 17th – early 18th century Paris. 2014 Paper, ink S.A. Girdin Japan. Late 19th century Yellow metal; embossing Wood, gesso; gilding, mixed technique Varnish, wood, metal, cord; coloured Order No. 138 for 1st Artillery Life Guard Traditional African artefacts and gold varnish painting Memorial plate dedicated to the 200th anni- V.B. Kutikov Icon The Virgin and Child Axion Estin Brigade 14 pieces in total Mount Athos. No earlier than 1830 Casket for scrolls and writing implements versary of the heroic charge of the Cossack Life Russia. 17 May 1896 tabletop panel: a dagger 19th – 20th centuries Guard Regiment at Leipzig on 17 October 1813 Wood, glass, , plant fibres, feathers, wire, Marble; gilding, mixed technique, wax with detachable lid Paper, ink on a stand saturation France. 2013 By V. Kutikov kaolin clay, animal hair, metal foil, pigments; Japan. Late 19th century Varnish, wood, metal; coloured and gold Porcelain; printing V. Zhumenko Blade by S. Bobkov carving, painting, encrustation, pyrography, Icon Three Holy Hierarchs: SS Nicholas Bryansk, Russia. 2013 weaving varnish painting Photographic portrait of M.N. Repyev, Artillery the Wonderworker, Charalampus and Spyridon N.K. Kiselevskaya Damask steel, white metal, wood, agate, walrus The Balkans. 19th century Lieutenant General, in a frame decorated with L.Yu. Kulakova GRAPHICS Memorial token of the Izmailovsky Life Guard tusk, leather; beating, casting, staining, gilding, Wood, gesso; mixed technique two crossed metal overlaid guns and wooden Regiment presented to N.M. Kiselevsky by the yellow metal notching, carving, engraving Bracelet woven of three straps Utagawa Kunisada (1786–1865) balls imitating cannonballs Icon St John Chrysostom Chuy Valley, Kyrgyzstan Act 5, from the series “Pairings: Treasuries Izmailovsky officers in December 1913 to mark Paris. 1932−1934 V.A. Naslednikov (According to inscription in the background) his promotion to Captain of the 1st Brigade, Kara-Khanid State. 11th – 12th centuries of Samurai Loyalty” (Chushingura E-Kyodai) Paper, cardboard, photo printing, wood, metal, White metal, , stretched wire Circle of master Michael Polychronis, Aleppo, 2nd Guard Infantry Division velvet, glass Dagger and sheath. Authorial : Le chevalier 1810–1821, or master of the Japan. 1859 Russia. 1913 oublié (The Forgotten Knight) Paper; chromoxylography V.V. Tsarenkov school of the late 18th – first quarter Yellow metal, enamel, transparent gemstones, S.A. Girdin By K. Chernov, I. Muzalev of the 19th century Utagawa Kunisada (1786–1865) photography, glass; engraving Blade by A. Tsypkin Lamp shaped as a bird on a stand with engraved Wood (cypress), gesso, coloured varnish; Flag of the “Asafo” military formation, staves Shimada Station: The Ôi River (Shimada no eki Moscow. 2015 cut-through patterns and Arabic well-wishing gilding, mixed technique and traditional African weapons Ôigawa), from the series “Fifty-three Pairings A.V. Butenko, M.Yu. Bykov, S.I. Slipchenko Damask steel, white metal, yellow metal, ebony, inscriptions 10 pieces in total Icon The Synaxis of All Saints for the Tôkaidô Road” (Tôkaidô gojûsan tsui) leather; beating, casting, embossing, carving, Khorasan Province, Iran Mikhail Perkhin (master of the Fabergé firm) Ghana, Angola, Nigeria, present-day Kenia, Japan. C. 1845 engraving, encrustation, leather work Second half of the 11th century (The Celestial Paradise) Miniature helmet of the Russian heavy cavalry Democratic Republic of Congo, Cameroon. Palestine. 19th century Paper; chromoxylography Bronze; carving, engraving guards 19th – first half of the 20th century Wood, gesso; gilding, mixed technique A.A. Skrylnikov Utagawa Kuniyoshi (1798–1861) Russia. Early 20th century Textile, wood, straw, rattan, pigment, beads, M.Ya. Kryzhanovskaya Takiyasha-hime and Iga Jutarô, from White metal, enamel thread, iron, copper, brass, steel copper alloy; Dark Side of the Moon: the Gods Return DECORATIVE ART beating, carving, notching, encrustation, tabletop set Brass cup decorated with engraved patterns the series “Mirror of Warriors of Our Country” Three pilgrim eulogia made of carved S.I. Slipchenko applique, embroidery, pigment, stringing, Set includes a knife, a stand, a case and inscriptions on the inside and outside (Honchô musha kagami) weaving By A. Skrylnikov. Blade by Yu. Sarkisyan Inside on the bottom is a Persian inscription; mother-of-pearl Japan. 1855 ‘Alam tip St Petersburg. 2014 Paper; chromoxylography Iran. First half – mid- closer to the rim in small cartouches are the Seashell with Last Supper and Adoration D. Zemanek Damask steel, ebony, mammoth ivory, white beginning of one of the ghazals by the Persian Steel; beating metal, dark greenstone, composite steel, wood, of the Infant Christ scenes Utagawa Kuniyoshi (1798–1861) Model gun carved from a single piece of wood poet Hafiz Shirazi; on the outside in a wide strip Bethlehem or Jerusalem, Palestine Numazu Station (Numasu eki), from the series Album with watercolour drawings of the obverse velvet, brass; beating, mechanical finish, are hunting scenes; centre bottom is a battle Burkina Faso, Western Africa turning, embossing, laser engraving, cut glass Middle – second half of the 19th century “Fifty-three Pairings for the Tôkaidô Road” and reverse sides of the jubilee standard of 1910s – 1920s between a serpent and a beast Mother-of-pearl shell; carving, engraving encrustation (by Swarovski), carpentry, velvet Iran. Second half of the 19th century (Tôkaidô gojûsan tsui) the 13th Second Hussar Regiment of His Wood, dye; carving upholstery Japan. C. 1845 Imperial Royal Majesty William the Emperor Brass; engraving Seashell with the Nativity scene Bethlehem, Palestine. Middle-second half Paper; chromoxylography of Germany and King of Prussia A.A. Anikin Hakata of the 19th century Russia. 1911 The Admiral Nakhimov dirk with sheath, Goddess with a drum standing on a lotus Mother-of-pearl shell; carving, engraving, Paper, watercolour, leather, metal MENSHIKOV PALACE DEPARTMENT in case flower pigment traces By A. Gafarov. The blade made by V. Soskov Japan. The 1910s A.A. Varfolomeyev Seashell with the Resurrection and Adoration Gift: Moscow. 2016 Silk; mineral dyes ‘Alam tips Damask steel, white metal, ebony, lime wood, of the Infant Christ scenes Keramarkh NP 2 pieces in total wood, leather, velvet, white alloy; beating, M.B. Vladimirtsov Bethlehem or Jerusalem, Palestine Northern India. 18th – 19th centuries Middle – second half of the 19th century Le Vosgien Oven engraving, mechanical work, jewellery, casting, Bodhisattva Manjushri in the Arapachana Brass; casting, carving patination, stretching, carpentry Mother-of-pearl shell; relief and cut-through France. De Dietrich & C Niederbronn form on a lotus throne in the vajrasana position carving (SOUGLAND?). 1930s Mongolia. Late 19th – early 20th century I.V. Semushin Cast iron, enamel; casting, mechanical work A.M. Kurbatov Bronze; casting, gilding, turquoise encrustation, Collection of elements of belt fittings Light cavalry officer sabre of 1822 issue A.M. Kurbatov engraving and household items with scabbard Avers mural panel 5 pieces in total France. 1820s – 1840s Tula, Russia. 2010 Khorasan and Transoxiana. 11th – early Steel, brass, wood; beating, casting, stamping, Steel, paper, crayon; beating, welding, fitting, 13th centuries gilding, embossing blackening, graphics

32 33 ACQUISITIONS BY THE STATE HERMITAGE MUSEUM IN 2017 ACQUISITIONS BY THE STATE HERMITAGE MUSEUM IN 2017

WESTERN EUROPEAN APPLIED ARTS GRAPHICS Bound sample tablecloths (fragments) Evgeny Adolfovich Kibrik NUMISMATICS DEPARTMENT Brochure with an advertising banknote DEPARTMENT in different colour schemes with the Vernisazh Set of lithographs Gifts: and three sample watermarks issued to mark Grosvenor Gallery Ltd. 9 pieces in total Gifts: woven pattern the 195th anniversary of Goznak company Erté (Roman Petrovich Tyrtov) 3 pieces in total USSR. 1934–1938 A.V. Akopyan Paper Privolzhsk, Russia. Yakovlevsky Manufactory. Grosvenor Gallery Ltd. Graphic works Georgy Semenovich Vereisky Automatic luggage storage card, the North- 7 pieces in total Early 21st century Oriental numismatic and metrological artefacts, Erté (Roman Petrovich Tyrtov) Linen, cotton, weaving Set of lithographs 8th – 13th centuries Western Regional Railway Station Directorate France. 1913–1935 4 pieces in total Masquerade decorative sculptural group 101 pieces in total No. 000819955 Paper, watercolour, gouache, crayon, ink Leningrad. 1924–1960 France. 1988 Bound sample products of the Yakovlevsky White metal, copper, copper alloy, iron, bronze; Cardboard Linen Factory Bronze, coloured varnish, enamel Grosvenor Gallery Ltd. on instruction embossing, punching, stamping, casting, Permit to visit food stores and buy produce 29 pieces in total PHOTOGRAPHS beating Erté (Roman Petrovich Tyrtov) from Martin Lawrence Galleries Privolzhsk, Russia. Yakovlevsky Manufactory. at manufacturer prices, signed by St Petersburg Mikhail Artemyevich Riznikov Spring decorative sculptural group Erté (Roman Petrovich Tyrtov) 2015 A.A. Zhukov Governor Vladimir Yakovlev Set of photographs of Winter Palace interiors Surcharge covered by the city. No. 2639122 France. 1990 Printed graphic pieces Linen, cotton, cardboard, cord; weaving Bronze, coloured varnish, enamel 4 pieces in total Stamp with an image of a cross and anchor, Paper 3 pieces in total St Petersburg. Early 20th century (before 1910) France (?). 1987 T.V. Kotegova IM monogram and motto “Patience and Hope” Photography, collodion printing A. Raya T.D. Kadukova Paper, coloured serigraphy, foil stamping with a figured metal handle T.V. Kotegova Russia. Second half of the 19th century Mirror with engraved image of a lion of St Mark Three ensembles from the Autumn–Winter Mikhail Artemyevich Riznikov United Bank of Scotland cheques Steel 6 pieces in total Venice. C. 1900 (?) Through the Expert Purchasing 2012–2013 and Spring–Summer 2014 Set of photographs of interiors Glass, wood; engraving, hot furnace glass- Commission: of the photographer’s flat 1874–1950 collections L.A. Chernobrovkina Paper blowing St Petersburg. 2012–2014 5 pieces in total PAINTINGS St Petersburg. 1895–1906 Medal commemorating the wedding of Prince V.I. Prokoptsov M.A. Artsinovich T.V. Parfionova Photography, matte collodion printing Charles and Lady Diana, 29 June 1981 Anonymous artist Medalist’s initials P.N. Notes of the National Bank of the Republic Alexander Veselovsky Portrait of Mary of Hungary, Governor T.V. Parfionova Set of stereoscopic photographs 13 pieces in total United Kingdom. 1981 of Belarus Scorpions panel of the Netherlands Gown We Are Ecstatic about You designed USA. Underwood & Underwood. Copper-nickel alloy 1,000 roubles St Petersburg. 2015 The Netherlands. 1530s for Diana Vishneva, prima ballerina Early 20th century 2 pieces in total Dark greenstone; carving Oil on wood of the Mariinsky Ballet Cardboard, paper, albumen printing V.I. Lavrenov Paper St Petersburg. Tatiana Parfionova Fashion Souvenir medal and tokens Through the Expert Purchasing House. April 2015 Head of a Laughing Man DECORATIVE ART 3 pieces in total N.S. Moiseyenko Commission: Silk taffeta, silk threads, plastic; machine Flanders. 17th century Samara, Russia. 2015–2016 embroidery, hand and machine sewing Adolf Stepanovich Kurilov Bank of Russia notes dedicated to the Sochi Yellow alloy, steel; silver coating, gilding Bookstand Paper, black chalk, sanguine, traces Winter Olympics Paris. Alphonse Giroux & Co. Late 1850s – 1867 of white chalk Above the Waves decorative panel S.V. Vorobyova 100 roubles Oak, veneer, bronze, brass, painted horn, mirror Gus-Khrustalny, Vladimir Region, Russia. 2005 A.V. Baklanov Colourless crystal, cobalt; hot-furnace 2 pieces in total glass, metal; casting, embossing, gilding S.V. Vorobyova glassblowing, wide diamond cut, engraving Souvenir medal Year of the Rooster Paper DEPARTMENT OF THE HISTORY Two jugs decorated with vines, Three man’s outfits from the Svetlana Artwork by O.A. Yanchenko (?) OF RUSSIAN CULTURE Uniform of caretaker at the Ministry Banknotes of the Republic of Belarus, with detachable stoppers Vorobyova collection, Autumn–Winter 2016 Russia. St Petersburg Mint. 2016 (?) St Petersburg. 2015 of the Imperial Court (Directorate of Imperial White alloy, enamel Republic of Moldova, Latvia, Transdniester Segovia, Spain. Royal Glass Factory Gifts: 8 pieces in total at La Granja de San Ildefonso. 1815–1833 Woolen, cotton, silk fabrics, plastic; hand and Theatres or the Court Orchestra (?)) machine sewing Russia. Mid-19th century V.V. Guruleva 1992–2013 4 pieces in total DECORATIVE ART Paper Glass; blowing, gold painting Woolen cloth, silk fabric, gilded thread, V.V. Bukhinnik Souvenir medal Pope Francis V. Kanevsky wire-ribbon, sequins, brass, metal; goldwork, White table linen pieces stamping, gilding, machine and hand sewing Italy. Early 21st century Ya.A. Vezenicheva V.V. Bukhinnik Yellow alloy 17 pieces in total V. Kanevsky Notes of the National Bank of the Republic Germany (?). Late 19th century A man’s outfit from the Zelinsky Street Composite Bouquet Sberbank of Russia bank card using of Belarus Linen; weaving USA. 2016 collection dedicated to the memory of Natasha MUSEUM OF THE IMPERIAL PORCELAIN Pivovarova, lead singer of the Kolibri band, the Maestro international payment system 6 pieces in total Porcelain, terracotta, copper; underglaze MANUFACTORY DEPARTMENT No. 639002551004613456 2000 Spring–Summer 2014 season painting, embossing Valid until February 2010 Paper St Petersburg. 2014 Gifts: DEPARTMENT OF THE HISTORY Plastic Linen fabric, cotton, cotton with elastane, OF WESTERN EUROPEAN FINE ARTS E.M. Kazinets V.S. Kuleshov knitted fabric, wool, wool and linen, ribbon, Imperial Porcelain Manufactory JSC A.P. Laveretsky L.I. Dobrovolskaya viscose, silk threads, natural leather, basket The Pines of Rome set Bank of Russia note Gifts: Tabletop sculpture: a female hand on a cushion cloth, plastic, metal; machine embroidery, Mould and painting by N.L. Petrova Souvenir medal His Holiness Pope John With printed addition in blue ink: “Russian, with floral patterns hand and machine sewing Paul II stop drinking” SCULPTURE St Petersburg. Imperial Porcelain Manufactory Russia. Middle-second half of the 19th century JSC. 2012–2017 Italy. Early 21st century 10 roubles, No. ВБ 4162207 Marble Through the Expert Purchasing Yellow alloy Paper Giuliano Vangi Porcelain; underglaze polychrome painting Commission: Sberbank of Russia savings book V.P. Nikityuk V.A. Kalinin Giuliano Vangi V.V. Levshenkov No. ОУ 9142805 Sculpture of St John the Baptist Stereo pair with a genre scene I Like GRAPHICS Items related to the legacy of A.V. Vorobyevsky Commemorative medals Paper Italy. 1996 to Be Bathed Ivan Alexeevich Vladimirov 25 pieces in total 3 pieces in total Bronze; casting USA. CH Graves Publishers. Late 19th century Russia. St Petersburg Mint. 2002–2014 A.A. Ivanov Street Fight with Police near the Lithuanian USSR. 1960s – 1970s Cardboard, paper; albumen printing Paper, cardboard, coloured pencil, watercolour, Copper-nickel alloy, tombac Castle National Bank of Austria photo printing, printing, ink, pencil Yakovlevsky Len Limited Liability Company Petrograd. 1917 50 shillings, No. 207116J Paper, ink and quill, watercolour Paper Sample products of the Yakovlevsky Manufactory 15 pieces in total Privolzhsk, Russia. Yakovlevsky Manufactory. 1997–2015 Linen, cotton, weaving

34 35 ACQUISITIONS BY THE STATE HERMITAGE MUSEUM IN 2017

V.G. Vilinbakhov T. Hirschhorn Bank credit card issued by CJSC CB Citibank T. Hirschhorn Miles&More using the MasterCard international Sketches to the In-Between installation payment system France. 2014 No. 5203060017823004 Paper, colour digital printing, sticky tape, Russia. 2008 felt-tip pen, white correcting fluid, ballpoint pen; Plastic collage

E.G. Olekhnovich Steven A. McCurry Bank credit card issued by CJSC CB Citibank S. McCurry using the MasterCard international payment Photographs system with the logo of Stockmann store 93 pieces in total No. 5256897016548009 1980–2010 Russia. 2014 Paper, digital printing Plastic Ilya and Emilia Kabakov D.V. Grachev Ilya Kabakov, Emilia Kabakova Bank card issued by OJSC MTS-Bank using Wardrobe installation the UnionPay payment system St Petersburg. 2004 No. 6243420101603268 Mixed technique Moscow. 2017 Red Railway Car installation Plastic New York. 2008 Bank card issued by OJSC MTS-Bank using Mixed technique the MasterCard international payment system Plates from the Printer’s Mistake set No. 5337360184133966 8 pieces in total Moscow. 2016 Germany. Munster. 2010 Plastic Porcelain; underglaze painting

E.V. Lepekhina I.S. Plushchev Transport map by OJSC North-Western Ivan Plushch Suburban Passenger Company Sketches for the Passing Process installation No. 0001738611 St Petersburg. 2014 Russia. Early 21st century Paper, canvas, oil, gel pen, pencil, gouache Plastic Customer loyalty card, Pervaya Pomoshch I.B. Obukhov pharmacy chain I.B. Obukhov No. 0484437 V painting in a round plaster frame St Petersburg. Early 21st century , Russia. 2014 Plastic Oil on canvas; plaster of Paris, enamel

N.G. Burova MODERN ART DEPARTMENT D.A. Prigov Gifts: Nameless / – 1. Fragment of an Abstract Composition. Sheet 5/9 The Hermitage XXI Century Foundation, Moscow. 1994 on instruction by author Francis Alÿs Paper, pen F. Alÿs Lada Kopeyka installation Russia. 2014 Mixed technique

Z. Hadid Z. Hadid Malevich’s Tektonik London. 2015 Acrylic paint on canvas; printing

36 PERMANENT DISPLAYS PERMANENT DISPLAYS

THE ART OF THE ISLAMIC MIDDLE EAST: THE MAMLUK SULTANATE THE ART OF THE PEOPLES OF AFRICA

Curators: N. Teplyakova, Dmitry V. Sadofeyev Curators: Andrey O. Bolshakov, Alexey S. Akseshin The display opened on 14 February 2017 on the second floor of the Winter Palace (Rooms 385–387). The display was opened on 13 April 2017 on the first floor of the General Staff Building. This event was These rooms form part of the single gallery of Middle Eastern art which begins from the Saltykov Stair- the logical conclusion of thirty years’ collecting of artefacts that began in 1987. The African collection, case with displays devoted to Byzantium and the Arab Caliphate. The display comprises around 200 ex- which now comprises more than 250 items, comes from two main sources. The first was the collection hibits – artefacts of metal, wood, silk, glass and clay from the second half of the 13th to the early of Vladimir Arseniev, a member of the Kunstkamera staff and a professional Africanist, consisting 16th centuries. It is the first time that many of them have been shown to the general public. The Mam- of objects found in situ, primarily in Mali. He tried to acquire traditional items used in everyday life luk Sultanate played a prominent part in the political, economic and cultural life of the Middle East and religious practices, but they were supplemented by examples of contemporary art oriented towards from 1250 to 1517. Mamluks was the name granted to slaves of the sultan and emirs who were given European art, including paintings. The second source is artefacts purchased on the antiques market military training and formed a personal guard. The tradition of using slaves as professional soldiers and in the last few years especially for the Hermitage by the St Petersburg businessman Sergey Girdin, officers had existed for centuries in many Muslim countries. Many of them subsequently rose to high Honorary Consul of the Republic of Guinea. The antiques have a documented history from the late posts not only in the army but also as administrators, and frequently organised palace coups. 19th century onwards, which guarantees their adherence to a tradition not yet distorted by European The zenith of art and culture occurred in the reign of Muhammad ibn Qalawun (1293–1341 with influences at a time when they themselves were being drawn into the processes taking place in Western breaks). Numerous mosques and madrasas were built and skilfully illuminated manuscripts produced, art on a wave of interest in Africa. as well as utensils which sometimes bore the customers name and “emblem”. The display in Rooms 385 The display in Room 2A311 is not large – it consists of 42 items connected mainly with the cultures and 387 features bronze artefacts with the names of sultans and their emirs richly encrusted with silver, of West African peoples. However, these are not ethnographic but artistic objects, emphasised by the copper and gold, silk fabrics, wooden panels and gilded lamps painted with coloured enamels. predomination of plastic art, mainly masks and sculpture. As African materials are quite difficult From the late 14th century applied art gradually declined and tin-plated copper was used more and to comprehend, due to the fact that visitors have only a vague idea of the geography and population more frequently than bronze. The second heyday came in the second half of the 15th century in the reign of Africa, the labels (unusually for the Hermitage) provide extensive information (including little maps of Sultan Qaitbay (1468–1496). In 1516 war broke out between the Mamluks and the Ottoman Empire of the continent indicating the region of the object’s origin), so that they become sort of explanatory ruled by Selim I (1514–1520); it ended with the execution of the last Mamluk Sultan Tuman-Bay II texts. and the annexation of his territory by the Ottoman Empire. Artefacts from this period are displayed Despite the modest size of the display, the very fact of its appearance in the Hermitage is of substan- in Room 386, where two showcases are devoted to the art of the last Muslim state in Spain: the Emir- tial significance. It institutionalises the museum’s interest in materials that are new to it, especially ate of Granada (1238–1492), ruled by the Nasrid (1232–1492). The emirate was founded by in a civilisation which it had not previously featured. With this the Hermitage has once again confirmed Muhammad Ibn Al-Ahmar, who could trace his ancestry to a companion of the prophet Muhammad. its status as a museum of world culture. In the near future the Oriental Department and the Arsenal Muhammad Ibn Al-Ahmar launched an uprising against the ruler of Murcia Ibn Hud, capturing Arjo- Department, where the African artefacts are kept, plan to extend the display into several adjoining na in 1232 and Granada in 1238, transferring his capital to the latter. In that same year work began rooms. The size and composition of the collection allow for this, especially if the current purchasing on the reconstruction of the citadel and the construction of the Alhambra palace-residence, which was policy is maintained. The following members continued by his heirs, gradually forming a whole complex of , inner courtyards with fountains of staff of the Exhibition Design and ponds, gardens and mosques. Carved stone, wood and tiles were used in the decor of the residence. Department took part in the staging Unfortunately, only two of the six palaces have survived (Comares and the Palace of the Lions). The dis- of the permanent displays: play includes carved marble capitals and wooden consoles from one of the Nasrid palaces. B. Kuzyakin The display is accompanied by explanatory notes and maps. The labels include translations of the inscrip- (Head of the Department), tions and tracings of the heraldic symbols on the artefacts. Further information is supplied in the form V. Korolyov (Head of the Sector of Exhibition Design and of a picture frames in the showcase. Installation), E. Andreyeva, In the next few years the display will be extended by rooms devoted to the Ottoman Empire and Iran. M. Efimov, I. Kharitonov, O. Kirichenko, Yu. Kolotilov, G. Kuznetsova, A. Machikin, A. Madlevsky, N. Milasheva, A. Plotnikova, B. Stepanov 38 39 PERMANENT DISPLAYS PERMANENT DISPLAYS

A CABINET OF ARTISTS’ BOOKS EUROPE DURING THE GREAT MIGRATION PERIOD AND EARLY MIDDLE AGES

Curator: Mikhail V. Balan Curator: Alexey G. Furasyev The Hermitage opened the Cabinet of Artists’ Books in December 2015. It staged several temporary The permanent display of the Department of the Archaeology of East- exhibitions of books loaned by the well-known St Petersburg collector Mark Bashmakov and from the ern Europe and Siberia in the Kutuzov Corridor (ground floor of the museum’s reserves. A permanent display of masterpieces of the 20th-century illustrated book opened Winter Palace) reopened after reconstruction on 1 December 2017. in July 2017. The display, which occupies the southern wing of the corridor, is de- In this case the term “artist’s book” is a synonym for the French livre d’artiste: rare publications illus- voted to the history of the population of the southern part of Eastern trated by great masters, primarily painters and sculptors. As a rule, they have the vivid “luxuriant” Europe and some Western European peoples. In future this subject characteristics of a bibliophile’s book (limited editions with strict division into sections, hand typeset- will be continued by a display in the northern wing of the Kutuzov Cor- ting, handmade high-quality paper and original printing techniques). ridor, where it is planned to exhibit antiquities from the forest- The foundation of the Hermitage livre d’artiste collection was laid by Lydia Delektorskaya, Henri of the Russian plain in the 1st millennium BC. Matisse’s model and assistant. In 1965 she donated twelve books illustrated by Matisse to the Hermit- The Great Migration of Peoples (late 4th – 6th centuries) was an age. They were followed by further books donated by her or, largely thanks to her, by Marc Chagall, extremely important historical period – a period of transition from Dina Vierny, Eugene Theriade and Adrien Maeght. ancient times to the Early Middle Ages. For many European peoples At the beginning of 2017 Mark Bashmakov gave the Hermitage twenty books from his collection – it was the time when their own culture began to take shape, formed works by twenty artists, from and to André Lanskoy and Alexander as the result of a synthesis of national “barbarian” traditions and Calder. This gift, which included classic textbook examples of the livre d’artiste, filled numerous gaps the legacy of the Ancient Greeks and Romans. It is this synthesis or, in the Hermitage collection. As a result, for the first time it became possible to mount a permanent to be more precise, the ways and means of its manifestation in archaeological material, that forms display featuring works by all the leading masters of the livre d’artiste from the beginning to the middle the connecting thread of the display. Finds from ancient monuments on the Black Sea region, burial of the 20th century. grounds in Crimea and the Northern Caucasus, late ancient cities on the Pontus coast and necropolises The term “permanent display” does not mean that the selection of exhibits will always be the same. of the ancient Franks and Alamanni displayed in all sixteen showcases demonstrate one common char- Three or four times a year pages from each of the books will be replaced by others which have not yet acteristic. The cultural interaction of the numerous tribes and peoples with the in the been shown, and there will be a new “exhibition of a single book” at the entrance to the room showing period of the Great Migration and in the Early Middle Ages (6th – 11th centuries) was an indispensable one of the publications in detail. In this way visitors who previously regretted that they could not see and most important stimulus to the gradual development of both the new European statehood and the a particular book in its entirety will have that opportunity in due course. major political structures of the nomadic peoples of the steppe region. The influence of Roman and Byzantine traditions on surrounding tribes can be traced throughout the 1st millennium BC – not only on the basis of individual imported items in “barbarian” monuments in Europe, but primarily on the

40 41 PERMANENT DISPLAYS PERMANENT DISPLAYS

role played by these traditions in the formation of the national military and political elite of the Goths, Huns, Franks and Alans. In addition, the elite-standard artefacts in the display blend harmoniously into the “local” context of everyday life and mythology – into the culture of the ordinary population, whose customs and morals create the national character of any people. The most outstanding finds – masterpieces of ancient applied art – can be seen in the showcases de- voted to monuments of barbarian nobility from the turn of the 4th and 5th centuries AD (gold adorn- ments and silver tableware from the Bosporus necropolis, the Zamostye hoard and the Concești burial), and also of nomadic tribes – the Huns and Alans. The Alan and Hun gold from the 4th – 6th centuries is being exhibited in the open part of the Hermitage display for the first time. Staff from the Department of the Archaeology of Eastern Europe and Siberia and the Oriental Depart- ment took part in the creation of the display, with contributions from the Departments of Numismatics and of Classical Antiquity. A huge amount of work was undertaken by the Hermitage’s artist-restorers of archaeological metal, stone, organic materials, pottery and glass.

CLASSICAL GLYPTICS: GEMS FROM ANCIENT GREECE AND ROME FROM THE 15TH CENTURY BC TO THE 5TH CENTURY AD

Curators: Elena I. Arsentieva. Head of Project: Anna A. Trofimova The display was opened on 7 December 2017 in the Carved Stones Room (Room 120). This is one of the three rooms which complete a major project to renovate the Classical Antiquity Department’s display. Twenty galleries had already been opened under this project, which began in 2000. It only remained to open the last three rooms – the Gallery, the Hall of Vases and the Carved Stones Room – which had been staff offices and repositories of the Department of Classical Antiquity for nearly 40 years. Work on these rooms became possible in 2016 when the Department moved to the reconstructed “Reserve House” in the Winter Palace. Room 120, designed by the architect Leo von Klenze in the neo-Greek style, was originally earmarked for a cabinet of drawings. Since the 1860s it has contained antiquities from the Cimmerian Bosporus, Italy, Nymphaea and classical glyptics. The interior was restored in 2016–2017 and a new perma- nent display installed. A set of display cases was designed and made in the style of historical museum furniture. The showcases’ neoclassical design echoes the furnishings of the elegant room, giving the impression of a unified artistic ensemble. In the middle of the room are three table frames with gilded bronze gryphons and little showcase-pyramids on the tabletops. One of the frames dates from the mid- 19th century; the other two are copies of the original. Showcases such as these, designed by Leo von Klenze, were earmarked for the display of carved stones. The modern lighting inside the pyramids – the first time this has been done in the Hermitage – provides the opportunity of examining the stones “translucently”, enabling visitors to see the impeccable beauty of the patterns engraved by ancient masters on precious minerals. The display is devoted to classical glyptics in the Hermitage collection. Started by Empress Cathe- rine II, the collection – one of the largest in the world – fully demonstrates the evolution of this type of decorative applied art over twenty centuries. The earliest gems date from the middle of the 2nd mil- lennium BC and the latest to the decline of the Roman Empire. Over 2,000 exhibits were selected for the display, most of which had been kept in a repository: intaglios – stones with sunken carved reliefs, cameos – gems with prominent reliefs – and miniature sculptures of coloured minerals. The history of glyptics is complemented by exhibits concerning the use of gems in ancient and Western European jewellery art and the collection and study of carved stones (dacty- lotheques of famous owners, moulds and catalogues and a cupboard for exhibits from Catherine II’s collection). The display is arranged in chronological order: It begins with early Greek glyptics (15th – 7th centu- ries BC) and glyptics from the archaic and classical periods (6th – 5th centuries BC). The glyptics from the Hellenist period feature a new type of carving – cameos, including the famous . The glyptics from Ancient Rome include pieces from pre-Roman Italy, Etruria, the Augustan Prin- cipate and provinces of the Roman Empire. The characteristic feature of this stage was the diversity of themes: portraits, landscapes, signs and symbols, sculptures and pictures, magic amulets and early Christian gems.

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MUSEUM OF THE RUSSIAN IMPERIAL GUARD

Curator: Vladimir G. Danchenko The display was opened on 13 December 2017 in the General Staff Building. The selection of exhibits took into account the fact that the display is a multilevel project which can be seen as a chronologi- cal series of images of both historical and artistic interest. It was therefore necessary to draw on the variety of museum items in the Hermitage collection, including battle, genre and portrait paintings, weaponry, banners, uniforms and phaleristics. Exhibits were provided by the Arsenal Department, the Department of the History of Russian Culture, the Department of Western European Fine Arts and the Numismatics Department. The Russian Guard – the brainchild of Peter I, the Preobrazhensky and Semenovsky Regiments took part in many battles in the Northern War. This is reflected in the 18th-cen- tury medallions and lathes in the first room, which can be called “Peter’s Room”. The principal exhibit here is Peter I’s “Poltava Outfit”, demonstrating the uniform dress of an officer of the , a participant in the celebrated “victory” at Poltava. The tsar-reformer’s successors on the Russian throne devoted special attention to the guard, seeing it partly as a means of attaining their political aims in the struggle for power. An outstanding example of this is the story of a company of the Preobrazhensky Regiment, which became the Leib-Compagne which put Empress Elizabeth on the throne. Having attempted to bring order to the guards’ regiments and involving them in genuine military action, Emperor Paul I became the victim of a plot which includ- ed guards officers. The guard in this period is described by banners, uniforms and weapons, particularly those of members of the Leib-Compagne, as well as portraits of Empresses Elizabeth and Catherine II on horseback and imperial uniform dress. During Alexander I’s reign the guard fought many battles in the protracted struggle with Napoleonic France which ended in triumph in Paris in March 1814. The guard’s exploits are reflected in a variety In 1825 the guards found themselves on both sides of the barricade in the well-known events recorded of exhibits in the “1812” section: paintings, items of uniform and banners. by Vasily Timm in his painting Morning in Senate Square on 14 December 1825. With the passage of time the guard became part of the general order prescribed by Nicholas I in every sphere – it was a support of the throne, “fully buttoned up”. Evidence of this is provided in the everyday life of the guardsmen described in detail in pictorial art and, in particular, by the cut of the uniforms displayed in the room. Alexander II’s reforms and the new measures introduced by Alexander III directly affected the guards regiments, partly changing their status and, to a significant extent, their appearance. This is illustrated by materials in the display, especially by items of Alexander II’s military wardrobe. At that time it be- came a tradition to celebrate anniversaries of the guards regiments, as shown by the commemorative medals which occupy a whole showcase. The last years of the Imperial Guard’s existence were tragic: the losses in wars – the and Civil War – were irreparable. However, by the efforts of guards officers who emigrated and their descendants relics have survived as mementoes of its history. Some of these relics – gifts to the Her- mitage from private collections and materials from the Preobrazhensky Union – feature in the display.

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COSTUME GALLERY – OPEN REPOSITORY IN THE “STARAYA DEREVNYA” control of temperature and humidity (18–20 degrees Celsius, humidity no more than 55%). All the nec- RESTORATION, CONSERVATION AND STORAGE CENTRE essary conditions for preserving these delicate materials are now in place at the “Staraya Derevnya” Restoration, Conservation and Storage Centre. A rich and diverse collection of costumes and acces- sories from the Department of the History of Russian Culture is displayed in a new area – costumes from Peter I’s Wardrobe and church robes, traditional clothing from various provinces of the and ceremonial dresses of the Russian court, military uniforms and ball gowns, livery costumes and everyday clothes, children’s dresses and visiting costumes of city-dwellers, travelling chests and fans, hats and shoes, Russian-made wall- and folk embroidery.

SHOWCASES AND THE IMAGE OF THE MUSEUM – INAUGURATION OF A NEW OPEN STORAGE FACILITY

Curator: Tatiana B. Semenova When the Hermitage opened a new display area in the former Imperial Manège in 2014 the first exhibi- tion to be held there was “The History of the Hermitage Reflected in its Showcases”, featuring a rare collection of museum showcases made by leading cabinetmakers in various ages which enabled visitors to see the history of the Hermitage from the point of view of changes in European culture and museum ideology. It was the collection of showcases that made it possible to bring this idea to fruition, since they retain traces of the most important artistic ideas which form the basis of the design and organisation Curator: Nina I. Tarasova of the museum’s rooms. After the exhibition in the Manège ended it was decided to put the collection of showcases on display in one of the rooms in the “Staraya Derevnya” Restoration, Conservation and The Costume Gallery is yet another museum space organised as an open repository, making it accessible Storage Centre. An unusual display – a repository of showcases – opened there on 8 December 2017. both to specialists and to the general public. It was opened on 8 December 2017. The wonderful world of the Hermitage past and present is seen even more prominently in the surround- The Hermitage collection of textiles is one of the best known in the world. The main bulk of costumes ings of modern architecture. Devoid of their contents the showcases concentrate the attention on their and accessories from the late 17th to early 21st centuries, reflecting the development of European appearance, which powerfully affected the museum interior around them and played an important part fashion over the course of three centuries, is kept in the Department of the History of Russian Culture, in the formation of the museum’s image. The unique collection of Hermitage showcases enables the along with a range of uniforms and traditional clothing. visitor to feel the integrity of this image and how it has changed over the years. The collection began to take shape in 1918, immediately after the , when numerous Dressers and chests of drawers with elegant gilded bronze decor are witnesses of Catherine II’s reign, costumes from nationalised imperial and Grand Dukes’ palaces and aristocratic mansions in Petrograd when the Hermitage (“hermit’s refuge”) was her personal museum and also a national treasure-house. and its suburbs were concentrated in the ’s History of Everyday Life Department: ball Nicholas I gave the general public access to the collection and, at the same time, turned the Hermitage gowns, dresses for masquerades, visiting and everyday wear and accessories made in leading fashion into a temple of the arts with a striking diversity of collections. It was at that time that the showcases houses in Europe and Russia (Charles Worth, Morin-Blossier, Isambard Chanseau, Jeanne Paquin, took on a monumental appearance and a special decorative finish with the museum’s symbols. The fur- Nadezhda Lamanova, Olga Bubenkova, Auguste Brisac, Anna Ivanova) which had belonged to several ther development and augmentation of the museum required that showcases were, above all, conve- generations of the imperial family and the St Petersburg nobility. At the same time items of palace nient for the protection and viewing of the exhibits. The decorative aspect of their finish in this “refuge furnishings were also transferred to the Russian Museum (, wall-hangings and portieres), as well of the scholar, connoisseur and collector” faded into the background, yielding its place to ­aesthetic de- as examples of fabrics, embroidery and lace, later supplemented by folk art materials from the col- sign. Looking at the surviving examples of museum office furniture of the Soviet period, one can clearly lections of Ivan Galnbek, Fyodor Plyushkin and Natalia Shabelskaya. In 1930 the Russian Museum imagine how profound the crisis was in both the making of artistic furniture and its design, which did received a unique range of male costume from the first quarter of the 18th century known as Peter I’s not develop as it should have done, at any rate in terms of the museum interior. Wardrobe: it contained over 280 items of clothing and accessories that had belonged to Peter the Great. The path to the Hermitage of the collection of Russian monarchs’ uniform costumes (Catherine II’s uniform dresses, the military uniforms of Peter III, Alexander I and subsequent ) and ex- amples of the general and officer uniforms of various Russian army regiments from the 18th to early 20th centuries was long and tortuous. The reserves of the Russian Museum’s History of Everyday Life Department were moved several times: in 1934 they were part of the Museum of the Revolution and in 1937 – of the State Ethnographic Museum. It was only in the spring of 1941, following a government decision to create a Department of the History of Russian Culture in the Hermitage, that the collection of textiles of the Russian Museum’s History of Everyday Life Department, as well as other works of art, were acquired de jure by the Hermitage. Many of the costumes were immediately evacuated from Len- ingrad to Sverdlovsk. Work with the museum items actually began only after the war. The textile collection has constantly been supplemented by new exhibits: materials brought back from expeditions to various regions of the USSR from the 1950s to 1980s or acquired via the Expert Pur- chasing Commission, as well as items donated by private citizens in Russia and abroad. A new stage in the history of the collection is the “Contemporary Costume” project, under which the Hermitage regularly receives costumes and accessories dating from the 1930s to 1990s, pieces by well-known fashion designers from Western Europe, the USA and Russia, costumes for stage and screen, fashion photographs and books. The Department of the History of Russian Culture’s collection of fabrics and costumes now numbers over 24,000 items which require substantial areas with special equipment, a well thought-out system of protection from dust and light (lighting in the range of 45–50 lx) and strict 46 47 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

In 2017 the Hermitage held 33 temporary exhibitions. Opening of the exhibition “Salon de musique and Other Paintings It staged nine exhibitions (912 exhibits) in museums round Russia by Piero Pizzi Cannella” and took part in a further nineteen exhibitions (343 exhibits). The Hermitage staged nine exhibitions (2,462 exhibits) abroad and took part in a further 26 exhibitions (118 exhibits).

JJ TEMPORARY EXHIBITIONS IN THE HERMITAGE

The following members of staff Manolo Blahnik. The Art of Shoes of the Exhibition Design 10.05.17 – 23.07.17 Department took part in the staging General Staff Building of the temporary exhibitions: Curator: Tatiana V. Baboshina B. Kuzyakin (Head of the Department), This exhibition was a retrospective of shoes created by the well-known contemporary designer Manolo V. Korolyov (Head of the Sector of Blahnik over a period of 45 years. It consisted of six thematic sections: “Nature”, “Gala”, “Art and Exhibition Design and Installation), Architecture”, “Core”, “Geographical Influences” and “Materials”. The exhibition demonstrated the E. Andreyeva, M. Efimov, development of the master’s individual style, as well as the changes in society’s tastes in that period. I. Kharitonov, O. Kirichenko, Manolo Blahnik’s works enter into a dialogue with art: he draws inspiration from world museum collec- Yu. Kolotilov, G. Kuznetsova, tions, architecture and famous and talented people. The exhibition included over 200 shoes and 30 origi- A. Machikin, A. Madlevsky, Reality and Magic. Porcelain by Nelli Petrova nal drawings from the designer’s archive. N. Milasheva, A. Plotnikova, 23.05.17 – 03.09.17 B. Stepanov General Staff Building Salon de musique and Other Paintings by Piero Pizzi Cannella Curator: Inna K. Maistrenko 19.05.17 – 15.10.17 The exhibition included over 200 porcelain items made in the last decade by Nelli Petrova, Chief De- 2nd floor of the Winter Palace (Rooms 314 and 316–319) signer of the Imperial Porcelain Manufactory, demonstrating various aspects of her work: sculptural Curator: Natalia B. Demina vases, formal services and several original artworks for the modern interior. The artist has used the The exhibition featured paintings by the contemporary Italian artist Piero Pizzi Cannella from his own underglaze painting technique, in which she has achieved a special mastery, to create a series of dishes collection. The canvases were divided into several thematic groups: cathedrals, vedute, geographical in the animal style, poetic pictures of Russian nature and allegorical subjects. The theme of the hunt maps and clothes. The highlight was the artist’s “Salon de musique” series. The “seriality” principle features in the painting on large vases whose shapes were recreated at the factory based on examples was dictated by the artist’s perception and comprehension of the world. His art grows out of associations of imperial vases in the Hermitage collection. The display also included drawings and graphic sketches and observations. When a theme captivates him, Pizzi Cannella intuitively senses numerous possibilities for porcelain objects. of developing it. As a result, the paintings are like musical variations on a given (seen) theme.

Opening of the exhibition “Reality and Magic. Porcelain by Nelli Petrova”

Opening of the exhibition “Manolo Blahnik. The Art of Shoes”

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Opening of the exhibition “Giovanni Battista Tiepolo. Opening of the exhibition “Anselm Kiefer, for Velimir Khlebnikov. The Last Judgment” Fates of Nations”

Giovanni Battista Tiepolo. The Last Judgment 26.05.17 – 16.07.17 Armorial Hall, Winter Palace Curator: Sergey O. Androsov The Last Judgment by Giovanni Battista Tiepolo (1696–1770) from the Gallerie d’Italia, Palazzo Leoni Montanari in Vicenza, is a rare example of a completed sketch for a painted ceiling in a church or chapel. The Hermitage’s rich collection of Tiepolo’s works contains no ceiling paintings, for which the Venetian artist was especially renowned and which are among the highest achievements of monu- mental painting in Europe, so this work from the Palazzo Leoni Montanari was of particular interest. The exhibition was organised by the Hermitage in conjunction with the Inteza San Paolo Bank and the Gallerie d’Italia and was timed to coincide with the opening of the 2017 St Petersburg International Economic Forum. At the exhibition “Nefertari and the Valley of the Queens. From the Museo Egizio, Turin” At the exhibition “Anselm Kiefer, Anselm Kiefer, for Velimir Khlebnikov. Fates of Nations for Velimir Khlebnikov. Fates 29.05.17 – 03.09.17 of Nations” Nicholas Hall, Winter Palace Curators: Dimitri Yu. Ozerkov, Nina L. Danilova This was the first individual exhibition in Russia by the contemporary German artist Anselm Kiefer. In 2016 he devised an exhibition project especially for the Hermitage featuring canvases dedicated to the Russian futurist poet Velimir Khlebnikov (1885–1922). One of Khelbnikov’s main ideas – the con- cept of the endless cycle of fateful military confrontations which occur on land and sea once every 317 years – became for Kiefer the basis for reflections on the subject of war and peace, the fleeting and finite nature of human desires and the inexorability of fate. More than twenty new works were created for the exhibition.

Nefertari and the Valley of the Queens. From the Museo Egizio, Turin 15.06.17 – 10.01.18 Manège, Small Hermitage; Great Courtyard, Winter Palace Curators: Andrey O. Bolshakov, Andrey N. Nikolaev This exhibition from the Museo Egizio in Turin, the largest collection of Ancient Egyptian artefacts outside Egypt, featured items from one of the most interesting parts of the collection – objects from the New Kingdom (16th – 11th centuries BC). The highlights of the display were artefacts from the tomb of Ramses II’s wife Nefertari (mid-13th century BC), discovered in 1904 in the so-called Valley of the Queens by an expedition from the Turin museum led by Ernesto Schiaparelli. It is rightly consid- ered to be one of the best examples of the tombs of that period. The exhibition included a total of over 250 items.

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Opening of the exhibition Opening of the exhibition “The Henkin Brothers: The Henkin Brothers: A Discovery. People of the 1920s – 30s Leningrad and Berlin “The Hermitage Encyclopaedia The Hermitage Encyclopaedia of Textiles. History A Discovery. People of the 1920s – 30.06.17 – 24.09.17 of Textiles. Conservation” 28.07.17 – 15.10.17 30s Leningrad and Berlin” General Staff Building St George Hall, Winter Palace Curators: Dimitri Yu. Ozerkov, Anastasia T. Chaladze Curator: Tatiana N. Lekhovich This was the first exhibition of photographs from a unique family archive. The brothers Evgeny Henkin (1900–1942) and Yakov Henkin (1903–1938) were born in Rostov-on-Don. After the October revolution The Hermitage Encyclopaedia of Textiles. Conservation the younger brother moved to Leningrad, while the elder emigrated to Germany, where he lived in Ber- lin from 1926 to 1936. The photographs taken by the Henkin brothers – views of the two cities, public 28.07.17 – 15.10.17 events, portraits of family and friends – tell the story of life in the two cities in the late 1920s and early Armorial and Picket Halls, Winter Palace 1930s. Curator: Marina V. Denisova The exhibition was in two parts, the first devoted to the history of fabrics and the second to their con- servation and restoration. It was the first time in the Hermitage’s history that its textile collections had Porcelain Flowers by Vladimir Kanevsky been shown in all their diversity – from primitive examples to 20th-century fabrics, from ancient times 05.07.17 – 01.10.17 and Oriental countries to modern Europe. Blackamoor Room and Rotunda, Winter Palace The exhibition featured items whose life had been substantially prolonged by restoration: banners and Curator: Ekaterina S. Khmelnitskaya standards, wall-hangings and decorative embroidery, church vestments, military and civilian costumes The exhibition included more than 50 porcelain compositions created by the contemporary master Vlad- and memorial costumes of Russian emperors. A separate section of the exhibition was devoted to the imir Kanevsky between 2014 and 2016 on the theme of floristry. All the artist’s works are made by hand, history of the restoration and conservation of archaeological fabrics. The display included a total Installation of the exhibition so no two pieces are absolutely identical. The Composite Bouquet was made in 2016 especially for the Opening of the exhibition “Georg of 540 exhibits from various Hermitage departments. “Porcelain Flowers by Vladimir Hermitage porcelain collection and presented to the museum as a gift. Friedrich Schmidt (1712–1775). Kanevsky” The Royal Engraver” Georg Friedrich Schmidt (1712–1775). The Royal Engraver 05.09.17–19.11.17 Twelve-Column Hall, New Hermitage Curator: Niele K. Masyulionite The exhibition was devoted to the work of Georg Friedrich Schmidt, one of the most important masters of the 18th century in the genre of the engraved portrait and the best interpreter of ’s work in engravings. Schmidt was a member of the French Royal Academy and engraver to the Prussian court. In 1757 he was invited to Russia to engrave a full-length portrait of Empress Elizabeth painted by Louis Toqué (featured in the Hermitage display) and worked in St Petersburg until 1762. Having thoroughly mastered the school of classical French engraving and orientated his work on the achievements and aesthetic of the most outstanding masters, Schmidt had a substantial influence on the development of graphic art in Russia. The exhibition included 68 engravings.

Orthodoxy in the Holy Land. Alpha & Omega 28.09.17 – 14.01.18 2nd floor, Winter Palace (Rooms 396 and 397) Curator: Yury A. Pyatnitsky The exhibition featured materials connected with the culture of the Holy Land: Palestinian painted icons from the 18th and 19th centuries, an 18th-century silver crucifix, carved mother-of-pearl crosses and icons, including those presented to Russian by patriarchs of Jerusalem, albums-herbaria of flowers

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Opening of the exhibition “Orthodoxy in the Holy Land. Alpha & Omega”

from the Holy Land and drawings, prints and photographs by 19th-century artists who visited Jerusalem and Palestine. The display included a unique icon by the Cretan icon-painter Manolis Betinakis, painted in 2014 as a gift to the Hermitage. The “Alpha & Omega” studio embroidered a huge curtain in gold, silver and multicoloured silk especially for the exhibition. The Hermitage showed illustrations to the Bible by Marc Chagall for the first time. The exhibition was timed to coincide with the international conference “The Christian East: Interaction with Other Cultures” (Hermitage, 28–29 September 2017).

“In Memoriam…”. On the 300th Anniversary of the Russian and Novo-Nakhichevan Diocese of the Armenian Apostolic Church 28.09.17 – 14.01.18 Room of the Art and Culture of , Winter Palace Curator: Anna K. Ermolayeva The exhibition featured items that formerly belonged to the Armenian St Catherine Church in Nevsky Prospekt. The Hermitage part of the church’s collection numbers over 40 objects of very different kinds: an icon and service books, priests’ robes and other textiles, carpets and details of church furnishing, liturgical implements and other church utensils.

Porcelain Metamorphosis of Inna Olevskaya 29.09.17 – 14.01.18 General Staff Building Curator: Ekaterina S. Khmelnitskaya This exhibition featured more than 50 works by Inna Olevskaya, an artist and sculptor at the Imperial Porcelain Manufactory. The important components of the master’s creative method are tradition and

Opening of the exhibition “Porcelain Metamorphosis of Inna Olevskaya”

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Opening of the exhibition “Kochergin. Selected Works. Opening of the exhibition “The Winter Palace and the Hermitage in 1917. On the 80th Birthday of Eduard Kochergin” History was Made Here”

innovation, artistic heritage and modernity; her works represent a symbiosis of painting and sculpture. In the process of creating artistic ensembles the artist devotes serious attention to shapes and to the interaction of all the sculptural elements and textures of the pieces. As a result, the viewer is presented with a unique dialogue between forms of art in space and time.

Kochergin. Selected Works. On the 80th Birthday of Eduard Kochergin 13.10.17 – 19.11.17 Foyer of the Hermitage Theatre Curator: Ksenia A. Malich This exhibition of works by the outstanding artist, set designer and theatrical figure Eduard Kochergin featured his most important and best-known pieces – in particular, the legendary productions he worked on with , Kama Ginkas and . Kochergin’s sketches in the 1960s and 1970s were an alternative both to the official line in Soviet art and the underground. The exhibition was staged jointly with the Tovstonogov Bolshoy Drama Theatre, the St Petersburg Museum of Theatre and , the Bakhrushin Central Theatrical Museum and the Dostoyevsky Memorial Museum.

The Winter Palace and the Hermitage in 1917. History was Made Here 25.10.17 – 04.02.2018 Nevsky Suite, Winter Palace Curators: Vyacheslav A. Fedorov, Elena Yu. Solomakha, Ksenia A. Malich An exhibition devoted to the history of the imperial residence in 1917 was held in the formal rooms of the Suite in the Winter Palace. The display was divided into several sections: the history of the Tsar- evich Alexei Hospital, which opened in the Winter Palace in 1915 and operated until 27 October 1917; a description of the main events that led to the , Nicholas II’s abdication and the October revolution; and a section relating to the history of the museum itself – from the Imperial Hermit- age to a state museum. A separate section was devoted to the story of the making of Sergey Eisenstein’s film October. The display included a total of over 350 exhibits from the State Hermitage, the State Ar- At the exhibition “The Winter chive of the Russian Federation, the Museum of Artillery, Engineers and Signals, the Military-Medical Palace and the Hermitage in 1917. Museum, Pavlovsk State Museum-Reserve, the Fabergé Museum and the Russian National Museum. History was Made Here” It also featured items from private collections.

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Opening of the exhibition “‘In the Land of Dilmun Where the Sun Rises…’ Archaeological The Fallen. The and the Lesser Attalid Dedication. Treasures from the Bahrain From the Museo Archeologico Nazionale, Naples. From the “Masterpieces National Museum. from the World’s Museums in the Hermitage” Series 3rd – 1st millennia B.C.” 07.12.17 – 11.03.18 Roman Courtyard, New Hermitage Curator: Anna A. Trofimova The exhibition featured four sculptures relating to the Lesser Attalid dedication, a legendary monument of the Hellenistic age. The multifigured group was installed in the Acropolis in Athens in about 200 BC by Attala I, King of Pergamon in honour of his victory over the Gauls. It was a sculptural ensemble portraying the bodies of Pergamon’s defeated enemies. This famous monument described by ancient historians survives in Roman reproductions: the only complete set of sculptures is in the National Archaeological Museum in Naples.

The Hermitage in Photographs 2017 At the exhibition “The Press and the Revolution. Publications 07.12.17 – 17.12.17 of 1917–1922 from the Hermitage Foyer of the Hermitage Theatre Collection” The Press and the Revolution. Publications of 1917–1922 from the Hermitage Collection Curators: Elena V. Zvyagintseva, Andrey V. Terebenin 25.10.17 – 04.02.18 The Hermitage in Publications 2017 Blackamoor Room and Rotunda, Winter Palace 07.12.17 – 17.12.17 Curator: Galina V. Dorofeyeva Opening of the exhibition “The Fallen. The Dying Gaul and Foyer of the Hermitage Theatre The exhibition was devoted to publishing in Russia after the 1917 revolution. The display included books, the Lesser Attalid Dedication. From Curator: Natalia V. Martynenko periodicals and posters issued between 1917 and 1922 by state, departmental, private and cooperative the Museo Archeologico Nazionale, The traditional exhibitions featuring photographs of the year’s events and publications by Hermitage publishing houses. A separate section featured Hermitage publishing: exhibition catalogues, scholarly Naples”. From the “Masterpieces staff members. works by the museum’s staff and guides to the collections. Special attention was devoted to artistic from the World’s Museums publications and the development of culture, literature and museum activity in that period. The display in the Hermitage” Series comprised over 200 exhibits from the reserves of the Research Library and the Department of the His- tory of Russian Culture.

“In the Land of Dilmun Where the Sun Rises…” Archaeological Treasures from the Bahrain National Museum. 3rd – 1st millennia B.C. 05.12.17 – 22.04.18 Picket Hall, Winter Palace Curator: Natalia V. Kozlova The exhibition demonstrated the results of archaeological research in recent decades on the islands of Bahrain in the Persian Gulf which have been identified as the ancient country of Dilmun, well known from cuneiform sources. The exhibition showed the historical and cultural context of Dilmun’s develop- ment – trade, religion and funerary rituals. It was organised by the Department of Antiquities of the Kingdom of Bahrain and was one of the most important events of 2017, which was designated the Year of Archaeology in Bahrain.

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Opening of the exhibition “Giacomo Quarenghi (1744–1817). Architect and Draughtsman”

Opening of the exhibition “ Merisi Da Caravaggio. Opening of the exhibition “The Voice of the Time. Soviet Porcelain: The Lute Player. On the Completion of Conservation” Art and Propaganda”. From the “Christmas Gift” Series

The Voice of the Time. Soviet Porcelain: Art and Propaganda From the “Christmas Gift” Series 22.12.17 – 01.04.18 Recess of the Eastern Gallery, Winter Palace Giacomo Quarenghi (1744–1817). Architect and Draughtsman Curator: Tatiana V. Kumzerova 08.12.17 – 04.02.18 The exhibition featured propaganda porcelain from the 1920s to 1980s. Over a hundred pieces were Twelve-Column Hall, New Hermitage shown – they included little-known works as well as classic examples that are very familiar from exhibi- Curator: Ekaterina M. Orekhova tions and publications. The exhibits were pieces dedicated to memorable dates and anniversaries, the 2017 marked the 200th anniversary of Giacomo Quarenghi’s death. Quarenghi was undoubtedly one , the industrialisation and collectivisation of the country, the exploration of the North, physical of the most important architects who determined the appearance of St Petersburg and its environs, exercise and sport. The Imperial Porcelain Manufactory presented its traditional gift to the Hermitage. which is why blueprints and drawings linked with the city were selected for this exhibition. A separate On this occasion it was the large-scale porcelain composition Chechnya (2000) by Inna Olevskaya. section of the display consisted of portraits and caricatures of the architect, who was a popular figure and was frequently portrayed by his artist contemporaries. The exhibition featured 100 of the great ar- chitect’s works from the State Hermitage, the State Museum of the History of St Petersburg, Pavlovsk We Draw and Paint in the Hermitage State Museum-Reserve, the Pushkin State Museum of Fine Arts, the Shchusev Museum of Architec- 23.12.17 – 14.01.18 ture, the Gallerie dell’Accademia in Venice, the Angelo Mai City Library in Rome and city historical Foyer of the Hermitage Theatre archives – the Quarenghi Collection (Bergamo), the Carrara Academy (Bergamo) and the National Curator: Boris K. Kravchunas Archive (Helsinki). The traditional exhibition of the year’s work by pupils of the State Hermitage Art Studio at the School Centre.

Michelangelo Merisi Da Caravaggio. The Lute Player. On the Completion of Conservation Final Exhibition of the Year. A Gift of 2017 09.12.17 – 11.02.18 29.12.17 – 14.01.18 Apollo Room, Winter Palace Armorial Hall, Winter Palace Curator: Tatiana B. Bushmina Curator: Nina I. Tarasova The exhibition marked the completion of the restoration of one of the masterpieces in the Hermitage Just before the New Year holidays one of the most interesting gifts to the museum in the past year was collection and the only work in Russia by Michelangelo Merisi da Caravaggio (1571–1610). The painting presented in the Armorial Hall. It was the “Charleston” dress (France, 1925) from the Art Deco period relates to the master’s Roman period (1595–1596), when he was already an established artist receiv- with a boa of four ostrich feathers from the collection of Christiane Chadi-Brechard, the well-known ing major official commissions. Each item in the painting has a symbolic meaning and was intended for European collector, art and fashion expert and historian. There had previously been no costumes from contemplation by enlightened people. Tradition has it that Caravaggio considered this painting to be his that period, so this gift was all the more significant. The dress will form part of the modern costume best. It was commissioned by Marquis and purchased for the imperial picture gal- collection of the Department of the History of Russian Culture and will be put on display in the Costume lery in the Hermitage in 1808. “Charleston” dress. France, 1925. Gallery at the “Staraya Derevnya” Restoration, Conservation and Storage Centre. Gift to the museum

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JJ EXHIBITION-EVENTS

Livre d’Artiste Masterpieces. Gift of Mark Bashmakov 10.02.17 – 26.02.17 Foyer of the Hermitage Theatre Curator: Mikhail V. Balan The exhibition featured a gift to the Hermitage by the well-known St Petersburg collector Mark Bash- makov – twenty rare publications illustrated with prints by prominent 20th-century artists.

Giacomo Quarenghi (1744–1817). Architect in St Petersburg 02.03.17 – 28.05.17 Opening of the exhibition-event “The Cat who does not Want Opening of the exhibition-event “The Same Paints for All” to be a Tiger is as Nothing” Foyer of the Hermitage Theatre Curator: Sergey O. Androsov Words of Stones. An Experiment in Reading and Conveying the Legacy of Qala-Quraysh March 2017 marked the 200th anniversary of Giacomo Quarenghi’s death. The anniversary was cel- ebrated both in his native Italy and in Russia, where he worked for almost 40 years. The exhibition 21.09.17 – 22.10.17 included photographs taken by Hermitage photographer Pavel Demidov in autumn 2016, featuring the General Staff Building most important buildings designed by the master in St Petersburg and Tsarskoye Selo, as well as rooms The exhibition was devoted to the digitisation of medieval monuments from Qala-Quraysh in Dagestan, in the Winter Palace. one of the first Muslim settlements on the territory of Russia and in the whole of Southeastern Europe. The cemetery where its rulers from the 12th to 19th centuries are buried has become a place of pilgrim- age. All the gravestones bear skilful carving and poetic texts. The exhibition was part of an international The Same Paints for All round-table discussion concerning the problems of the copying of works of art and showed the potential 31.03.17 – 10.05.17 of new technology for demonstrating cultural and historical objects that are difficult to access. Forum of the General Staff Building Curator: Ilya D. Ermolayev The exhibition featured classic porcelain made at the Imperial Porcelain Manufactory and painted by New Vision. Transforming Through Ages. Exhibition of Works by Winners of the Photography artists with autism spectrum disorder, and pottery made at the studios of the “Anton is Right Here” Competition Centre and painted by the leading artists of the Imperial Porcelain Manufactory. The porcelain was 14.12.17 – 11.01.18 complemented by pictures painted by people with autism inspired by late 19th-century French paintings General Staff Building in the Hermitage collection. The opening of the exhibition was timed to coincide with World Autism The display presented the results of an international photography competition held by the Hermitage and Awareness Day, held annually on 2 April. the St Isaac Cathedral Museum with the support of the Government of St Petersburg. It featured the best photographs from the competition. The “New Vision” project originated in St Petersburg in autumn 2015. The main theme of the 2017 competition was a new vision of the life of man and the metamor- “The Cat who does not Want to be a Tiger is as Nothing” phoses of his life and surroundings. The aim of the project is the popularisation of photography and the 13.05.17 – 21.05.17 discovery and encouragement of talented photographers. 2nd floor of the Winter Palace (Room 351) Curator: Maria B. Khaltunen Opening of the exhibition-event The exhibition – part of the “Day of the Hermitage Cat” project – featured a Chinese nianhua wood- “Shinichi Sawada. Images block print depicting two boys, pomegranates and a cat in a tiger mask from the museum’s collection. from the Depths of the Mind. The depiction has a profound subtext: the boys represent wishes for numerous sons and the pomegranate From the Collection lying beside them – a wish for plentiful progeny. They dress the cat in a tiger’s skin and at that moment of the Outsider it becomes the reflection of a huge beast, assuming its potential. (Amsterdam, Netherlands)”

Shinichi Sawada. Images from the Depths of the Mind. From the Collection of the Outsider Art Museum (Amsterdam, Netherlands) 05.09.17 – 17.09.17 Foyer of the Hermitage Theatre Curator: Ilya D. Ermolayev The exhibition featured works by a prominent representative of art brut (outsider art) – the Japanese artist Shinichi Sawada. Every work in this movement is created according to principles that exist only in the mind of a specific outsider artist, who comes into contact with the outside world only in accor- with his own innate psychology. The exhibition was part of the international conference “Outsider Art and Inclusive Practices in the Museum”. 62 63 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

JJ EXHIBITIONS IN MUSEUMS ROUND RUSSIA . Landscape with Waterfall 05.10.17 – 04.02.18 Kaluga Museum of Fine Arts Curator: Ekaterina V. Deryabina

Opening of the exhibition “Birds The exhibition featured a landscape by the French artist Antoine Watteau (1684–1721) from the Her- of Olympian Gods. European mitage collection. The painting relates to the master’s mature style and is a very rare example of his Decorative Arts from the 16th landscapes. Besides its artistic value the canvas is of interest from the point of view of its history. to 19th Century in the Collection The landscape was once part of the collection of the last marshal of the nobility of Kaluga Province. of the State Hermitage Museum”. ­After his death the painting was bequeathed to an art museum, was taken to the Antikvariat organisa- Hermitage • Vyborg Centre tion in Leningrad in 1930 for examination by experts and was acquired by the Hermitage in 1931.

Exhibition of a Single Painting from the Hermitage Collection Ivan Kramskoy. Portrait of Empress Maria Fyodorovna 13.10.17 – 21.01.18 Museum of Fine Arts Curator: Yury Yu. Gudymenko An exhibition as part of Days of the Hermitage in Yekaterinburg featured a portrait of Maria Fyodorov­ na by Ivan Kramskoy which had belonged to the imperial family right up to the revolution and had been in the in St Petersburg. The painting came to the Hermitage in 1918 and for a long time was unknown to specialists. It was put on public display for the first time in 2004 after substantial restoration.

Birds of Olympian Gods. European Decorative Arts from the 16th to 19th Century in the Collection of the State Hermitage Museum 25.04.17 – 15.10.17 Hermitage • Vyborg Centre Curator: Tatiana N. Kosourova The subject of this exhibition was the birds which accompanied the Olympian gods – the eagle, the pea- cock, the swan, the dove, the owl and the cockerel. The display included around 200 exhibits: objects of silver, pottery and porcelain, carved stones, fans and pieces of jewellery, wall-hangings and fabrics, furniture, objects of bronze, ivory and enamel, embroidery and lace. These items, made between the 16th and 19th centuries, demonstrated the virtuosity of applied art masters from Italy, France, Germany and England. United by a single theme, they showed the diversity of its perception in different ages.

A 16th-century Knight’s Armour from the State Hermitage Collection Display of a Single Exhibit 13.06.17 – 30.09.17 Opening of the exhibition “Under Tsarskoye Selo State Museum-Reserve, St Petersburg the Transparent Ice of Glaze. Under the Transparent Ice of Glaze. St Petersburg Porcelain Curator: Alexander E. Bogdanov St Petersburg Porcelain”. 18.10.17 – 20.05.18 Hermitage • Kazan Centre The Hall of Knights in the Arsenal pavilion was the venue for a display of tournament armour made Hermitage • Kazan Centre in Germany in the mid-16th century. It had been once kept in the Arsenal at Tsarskoye Selo but is now Curator: Anna V. Ivanova part of the Hermitage collection. The armour is covered with an etched pattern with an Oriental orna- The exhibition included over 500 works made at Russia’s first porcelain factory between the 18th ment of geometric elements and a stylised floral design. Richly decorated armour such as this may have to 21st centuries from the collections of the State Hermitage and the Imperial Porcelain Manufac- been used both for tournaments and for formal wear. tory. The display consisted both of masterpieces commissioned by the and of pieces made in the Soviet period and by contemporary artists. Items from the historical collection were united An Encounter with Antiquity. A Red-Figure Krater with an Oblational Scene. Exhibition by subject with original porcelain, demonstrating that, regardless of differences in artistic language, of a Single Masterpiece from the Hermitage Collection the traditions of the oldest porcelain enterprise in Russia are still being maintained. 29.06.17 – 01.10.17 Primorskaya State Picture Gallery, Vladivostok Seventeenth-Century Flemish Art from the State Hermitage Museum Collection Curator: Elena B. Ananych 03.11.17 – 20.04.18 An exhibition staged as part of Days of the Hermitage in Vladivostok included a krater made in Apulia Hermitage • Vyborg Centre in the south of Italy in the 4th century BC, painted by one of the leading craftsmen of the time who Curator: Natalia I. Gritsay is known as the master of Darius on account of a vase he made, now in Naples, portraying the Per- sian king Darius holding a war council with his courtiers. Similar large kraters frequently served as The 17th century was the heyday of Flemish art in every respect. The principal figure of this period was tomb monuments, so they feature scenes from myths on the obverse side and portraits of the deceased Pieter Paul Rubens (1577–1640), whose work hugely influenced all the artistic culture of Flanders in the in a structure resembling a burial vault on the reverse. 17th century. His influence spread to all types of arts and crafts, determining, to a large extent, their 64 65 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

future development. The images and themes of his works inspired many masters of applied art not only JJ EXHIBITIONS ABROAD in Flanders but also beyond its borders, primarily in the Netherlands and Germany. The exhibition fea- tured paintings in the “cabinet” format, wall-hangings with vivid characteristics of the style, ivory sculptures made in Rubens’s studio, Flemish lace and weaponry.

Opening of the exhibition “1917. Craft as Art. Exhibits from the Hermitage Weapon Collection Romanovs & Revolution. 01.11.17 – 28.01.18 The End of Monarchy”. Vrubel Regional Museum of Fine Arts, Hermitage • Amsterdam Centre Curators: Yury G. Efimov, Madina G. Zaychenko © Evert Elzinga This exhibition, organised as part of Days of the Hermitage in Omsk, featured six items from the Arsenal Department – unique examples of 16th-century protective armour. They included two helmets made in Germany, round shields capable of protecting their owners from cold steel and even firearms made by 16th-century Italian masters, and also a 16th-century Italian formal cuirass.

The Stroganovs as Collectors 29.11.17 – 18.02.18 Perm State Art Gallery Curator: Fyodor S. Svetlakov The exhibition included around 200 masterpieces of Western European and Russian painting, graphic art, sculpture and decorative applied art of the 13th to 19th centuries from the State Hermitage and the Tambov Region Art Gallery collected by Alexander and Pavel Stroganov. The exhibition was a study of the cultural heritage they collected. Pavel Stroganov had already bequeathed the most valuable part of his collection to the Hermitage in his lifetime, and after nationalisation all the objects from the Stro- ganovs’ palaces in St Petersburg and Pavel Stroganov’s suburban estate in Tambov ended up in the Hermitage, the Russian Museum, the Tambov Region Art Gallery and other museums. The exhibition in Perm brought the whole collection together again.

1917. Romanovs & Revolution. The End of Monarchy Opening of the exhibition 04.02.17 – 17.09.17 “The Stroganovs as Collectors”. Hermitage • Amsterdam Centre Perm State Art Gallery Curators: Vyacheslav A. Fedorov, Elena Yu. Solomakha The exhibition, which marked the hundredth anniversary of the 1917 revolution, described the circum- stances that led to the revolution, the last Russian emperor Nicholas II and his family, the political and social circumstances of his reign, the first Russian revolution in 1905 and the Russian Empire’s participation in the World War I, the revolutionary events of 1917 and the last days of the imperial family. The exhibition included photographs and videos, painting and applied art, weapons, historical documents, personal belongings and letters of the last Romanovs. The display included over 250 exhibits from the State Hermitage, the Russian Federation State Archive in Moscow and the Museum of Artil- lery, Engineers and Signals in St Petersburg.

Old Masters 18.03.17 – 18.06.17 Mori Arts Centre Gallery, Tokyo, Japan 01.07.17 – 18.09.17 Aichi Prefectural Museum of Art, Nagoya, Japan 03.10.17 – 14.01.18 Hyogo Prefectural Museum of Art, Kobe, Japan Curator: Svyatoslav K. Savvateev This was a continuation of the series of exhibitions introducing the Hermitage collections to the Japa- nese public. It included paintings by 16th – 19th-century European masters, demonstrating the unique richness of the Hermitage collection of paintings, the history of its formation and the collecting prin- ciples followed by Catherine II, Alexander I and Nicholas I. The main European schools of painting – Italy, Spain, Flanders, the Netherlands, Germany, England and France – were represented by works by outstanding masters.

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Opening of the exhibition At the exhibition “Scythians: Warriors of Ancient Siberia”. Ceremonious meeting of the truck carrying exhibits for the exhibition “Old Masters”. Aichi Prefectural British Museum “Dutch Masters from the Hermitage. Treasures of the Tsars”. Museum of Art, Nagoya Peter the Great. A Tsar in France. 1717 Hermitage • Amsterdam Centre 30.05.17 – 24.09.17 © Evert Elzinga Grand Trianon, Versailles National Museum, France Curator: Natalia Yu. Bakhareva Scythians: Warriors of Ancient Siberia This exhibition marked the 300th anniversary of the Russian monarch’s visit to France and included 14.09.17 – 14.01.18 more than 180 exhibits from the State Hermitage. They were paintings, prints, instruments and tools British Museum, London commissioned or purchased by Peter I in France, one of the tsar’s costumes and items he brought with Curator: Svetlana V. Pankova him on his journeys to Europe – exhibits describing his first European journey in 1697–1698. The exhibition brought together exhibits from various Hermitage permanent displays in a single nar- rative. Materials concerning Peter the Great’s Siberian collection were accompanied by materials on the history of the Kunstkamera and historical documentary drawings. The focal point of the display was East and West. Rare Antique Arms from the State Hermitage Museum Collection an account of the excavations of Scythian burials in Siberia. The exhibits included wooden and leather 03.07.17 – 12.11.17 adornments, the famous tattoos, daggers, arrows and gold jewellery. The exhibition also featured Sir National Museum of the Republic of Kazakhstan, Astana Godfrey Kneller’s famous portrait of Peter the Great from the in Buckingham Palace. Curators: Yury G. Efimov, Vsevolod N. Obraztsov The exhibition included about 80 examples of battle, hunting and dress weapons from Turkey, Iran, India, Japan, France, Italy, Germany and Spain. The oldest exhibit was a 16th-century set of German Dutch Masters from the Hermitage. Treasures of the Tsars tournament armour, while the “youngest” was a sabre made in Kubachi in the early 20th century. Items 07.10.17 – 27.05.18 made by Eastern and Western European armourers were shown side by side, giving visitors the oppor- Hermitage • Amsterdam Centre tunity to see both the differences between them and the common trends in the development of weaponry Curator: Irina A. Sokolova over the centuries. The exhibition was timed to coincide with the EXPO-2017 International Specialised The exhibition included 63 paintings by Dutch masters from the Hermitage collection – the first time Exhibition in Astana. so many had been shown in their native land. The Hermitage collection of Dutch painting is one of the largest in the world and the most important outside the Netherlands, including works by virtually every well-known artist. The display featured six Rembrandt masterpieces and works by , Pieter Lastman, , , Paulus Potter, , , Isaac van Ostade, Willem Claesz Heda and Willem Kalf.

From to . Three Centuries of the French Art. Masterpieces of the French Art of the XVII–XIX Centuries from the Collection of the Hermitage 18.12.17 – 15.04.18 National Museum of Korea, Seoul Curator: Irina K. Serebryanaya The exhibition, which traced the development of French artistic culture over three centuries, included over 60 paintings. The first half of the display was devoted to the age of the “Sun King”: canvases by art- ists of that period reflected the great decorative style which dominated painting in the first half of the 17th century. The second, more extensive part of the exhibition presented 18th-century art. The first half of that century largely featured the elegant and light style with its courtly scenes, whereas at the end of the century artists turned to genre paintings and portraits. Early 19th-century art was repre- sented by paintings by leading romantic and neoclassical artists and the later 19th century by canvases Opening of the exhibition “Peter the Great. A Tsar in France. 1717”. At the exhibition “Peter the Great. A Tsar in France. 1717” by masters of genre, portrait and landscape painting. The end of the century was marked by the begin- Versailles National Museum. Emmanuel Macron, Vladimir V. Putin © Didier Saulnier ning of a new trend in French painting – Impressionism. and Mikhail B. Piotrovsky © http://kremlin. ru 68 69 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

JJ PARTICIPATION IN EXHIBITIONS IN MUSEUMS ROUND RUSSIA The Romanovs and the Papal Throne. 1613–1917 Russian Federation State Archive, Moscow 04.12.17 – 18.02.18 Lords of the Ocean. Treasures of the Portuguese Empire, 16th – 18th Centuries Saint Louis and the Relics of Sainte-Chapelle Kremlin Museums, Museums, Moscow 07.12.17 – 25.02.18 02.03.17 – 04.06.17 Build the Steps of the Future from the Wonderful Stones of the Past Facing the Future. Europe 1945–1968 Roerich Family Museum-Institute, St Petersburg Pushkin State Museum of Fine Arts, Moscow 14.12.17 – 27.05.18 06.03.17 – 28.05.17 English Prints of the 18th and Early 19th Centuries . 1890–1964 Pavlovsk State Museum-Reserve, St Petersburg Pushkin State Museum of Fine Arts, Moscow 27.12.17 – 27.03.18 24.04.17 – 08.09.17 The Romanovs on their Travels State Museum-Reserve, Leningrad Region 18.05.17 – 10.09.17 JJ Lhasa – Land of Gods PARTICIPATION IN EXHIBITIONS ABROAD Roerich Family Museum-Institute, St Petersburg 26.05.17 – 26.11.17 The Groot Brothers: A Portraitist and an Animal Painter. German Artists Impressionism: The Art of Landscape at the Russian Court , Potsdam, Germany Tsaritsyno State Museum-Reserve, Moscow 21.01.17 – 28.05.17 31.05.17 – 17.09.17 . La Madonna Barbarigo from the Hermitage Collection. History, Renaissance Venice. Titian, , Veronese. From Collections Fate and Restoration in Italy and Russia Palazzo Fulcis Museo Civico, Belluno (Veneto), Italy Pushkin State Museum of Fine Arts, Moscow 26.01.17 – 01.05.17 08.06.17 – 20.08.17 Revolution. Russian Art 1917–1932 Pantikapaion and . The Two Capitals of the Bosporus Kingdom , London Pushkin State Museum of Fine Arts, Moscow 07.02.17 – 17.04.17 26.06.17 – 17.09.17 Valentin de Boulogne Art into Life Louvre, Paris State Russian Museum, St Petersburg 20.02.17 – 22.05.17 17.08.17 – 20.11.17 The Poetry of Venetian Painting. Titian School – Klunder. Graphic Art and Venetian Painting Pushkin State Museum of Fine Arts, Moscow Kunsthalle Hamburg, Germany 01.09.17 – 03.12.17 23.02.17 – 21.05.17 Maximilian Messmacher (1842–1906). Graphic and Architectural Legacy : The Wandering Knight. Travelogue Russian Academy of Arts Museum, St Petersburg Museo delle Culture, , Italy 06.09.17 – 15.10.17 14.03.17 – 09.07.17 Exhibition Dedicated to Leningrad Art: “70s” Michelangelo – Sebastiano: A Meeting of Minds Manezh Central Exhibition Hall, St Petersburg , London 28.09.17 – 29.10.17 15.03.17 – 25.06.17 Chaim Soutine. Retrospective Rodin, Exhibition of the Century Pushkin State Museum of Fine Arts, Moscow Grand Palais, Paris 23.10.17 – 21.01.18 20.03.17 – 31.07.17 Petrograd. 1917 The Le Nain Brothers, Realist Artists in the Reign of Louis XIII Manezh Central Exhibition Hall, St Petersburg Louvre-Lens, Lens, France 15.11.17 – 06.12.17 22.03.17 – 26.06.17 The Russian Stradivarius From the Great Mughals to the Maharajahs. Jewels from the Al Thani Collection State Museum of Theatre and Music, St Petersburg Grand Palais, Paris 17.11.17 – 17.06.18 27.03.17 – 05.06.17 70 71 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

Schloss Pöggstall – 800 Years in the Pulse of Time JJ HERMITAGE CENTRES Schloss Pöggstall, Lower Austria 01.04.17 – 12.11.17 Museum Kunstpalast, Dusseldorf, Germany HERMITAGE • AMSTERDAM CENTRE 08.04.17 – 30.07.17 At the beginning of February, the Hermitage • Amsterdam Centre launched an exhibition marking the Amor Sacro centenary of the October revolution: “1917. Romanovs & Revolution. The End of Monarchy” (curators National Archaeological Museum, Naples, Italy Vyacheslav Fedorov and Elena Solomakha). The idea of an exhibition devoted to the events of 1917 had 06.06.17 – 16.10.17 been mooted long before and negotiations concerning its concept and composition had been ongoing Portraits by Cézanne for several years. The Russian Federation State Archive in Moscow and the Artillery Museum in St Pe- Musée d’Orsay, Paris tersburg took part in the project. Considering the complexity and diversity of the material, the main 13.06.17 – 24.09.17 task of the Hermitage • Amsterdam Centre was to arrange the exhibits so as to form a single concept. This task was superbly carried out by guest designer Caspar Conijn, who managed to strike a balance Renaissance Venice: The Triumph of Beauty and the Destruction of Painting between the use of modern technology and didactic material without lessening the importance of the Thyssen-Bornemisza Museum, Madrid exhibits. The number of visitors to the exhibition exceeded all the organisers’ expectations – in the six 20.06.17 – 24.09.17 months of the exhibition it was seen by over 230,000 people. The average time of a visit was about East and West. Rare Antique Arms from the State Hermitage Museum Collection 2½ hours, so interesting was the subject of the exhibition to the Dutch public. Another significant result National Museum of Kazakhstan, Astana of the exhibition’s success was that the Hermitage invited Caspar Conijn to assist in the staging of an 03.07.17 – 12.11.17 exhibition in the Hermitage: “The Winter Palace and the Hermitage in 1917. History was Made Here”. The Hermitage • Amsterdam Centre did everything possible to ensure the success of this collaboration. After Canova. Sculpture in Florence and Rome An exhibition entitled “Dutch Masters from the Hermitage. Treasures of the Tsars” (curator Irina So- Palazzo Cucchiari, Carrara, Italy kolova) opened in Amsterdam in early October. The idea of holding such an exhibition in the artists’ 07.07.17 – 22.10.17 native land had originated long before but it had only now become possible to put it into practice. With Matisse – Bonnard. Long Live Painting! the desire of blending the display into the museum landscape of Amsterdam which traditionally focuses Staedel Museum, Frankfurt-am-Main, Germany on the Golden Age of the Netherlands, the organisers endeavoured to give it an unusual character. Of the 13.09.17 – 14.01.18 63 paintings selected for the exhibition some were by the best-known masters (Rembrandt, Frans Hals, Jacob van Ruisdael, Pieter de Hooch, Jan Steen), while others were rare works with an unusual history. Zuloaga in Paris in La Belle Époque 1889–1914 The concept of the organisers was that the main sections should reflect the various stylistic trends of the 28.09.17 – 07.01.18 17th century and the whole range of genres of Dutch painting. Despite its many years’ experience of stag- Mapfre Foundation, Madrid ing exhibitions, this was the first time the Hermitage had shown 17th-century Dutch painting on such André Derain. 1904–1914. The Radical Decade a scale. Painted vases made at the Imperial Porcelain Manufactory in the 1830s and 1840s – featuring Pompidou Centre, Paris copies of Dutch paintings – gave a particularly Russian accent to the display, whose theme was the col- 04.10.17 – 29.01.18 lecting of Dutch painting in Russia. The exhibition was the result of collaboration between Hermitage Gauguin the Alchemist Grand Palais, Paris At the exhibition “1917. 09.10.17 – 21.01.18 Romanovs & Revolution. The End of Monarchy” . The Power of Transformation © Evert Elzinga Kunsthistorisches Museum, Vienna 17.10.17 – 14.01.18 Grisaille. Painting in Black and White National Gallery, London 30.10.17 – 18.02.18 Mariano Fortuny-y-Marsal (1838–1874) Prado Museum, Madrid 21.11.17 – 18.03.18 Hessian Princesses in Russian History Icon Museum, Frankfurt-am-Main, Germany 23.11.17 – 25.02.18 Climate Powers – Driving Force of Evolution Sachsen-Anhalt Museum of , Halle, Germany 29.11.17 – 21.05.18

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HERMITAGE • ITALY CENTRE

2017 was a productive year for the Hermitage • Italy Centre, both in the implementation of long-planned programmes and, most importantly, in preparations for future events in various spheres of cultural activ- ity. In February 2017 the Hermitage signed strategic agreements with the largest museums in Campan- ia: the Archaeological Museum in Naples and the Royal Residence in Caserta. One of the results of these agreements was an exchange of exhibits with the Naples Archaeological Museum: the Hermitage took part in the exhibition “Love Stories of the Gods” (7 June –16 October) and the Naples museum loaned four statues for a display in the New Hermitage’s Roman Courtyard – the exhibition entitled “The Fall- en. The Lesser Attalid Dedication” opened on 7 December 2017. The first important event in Caserta will be a large exhibition of historical costume from the Department of the History of Russian Culture, planned for autumn 2018. In January 2017 the Palazzo Fulcis, a splendid example of the Venetian baroque style decorated by the prominent Venetian painter Sebastiano Ricci, opened after many years of restoration and became the property of the Civic Museum in Belluno (centre of the province of the same name in the Veneto Region). However, the province of Belluno is most proud of its other famous native Titian, so it was no coincidence that the Hermitage loaned his Madonna and Child with Mary Magdalene (Madonna Barbarigo) for display in the new rooms after the completion of its restoration in the Hermitage. This exhibition of a single masterpiece (26 January – 1 May) was accompanied by an account of the research undertaken during the restoration and two similar works of Titian’s studio from the Uffizi Gallery At the exhibition “Dutch and the Savings Bank of Hungary. Masters from the Hermitage. For seven years the Hermitage has regularly participated in the International Restoration, Museums Treasures of the Tsars” and Cultural Business Trade Show in . In 2017 it was held from 22 to 24 March (the coordina- © Evert Elzinga specialists and the Amsterdam Centre. Designers Carlo Wijnands and Roger Cremers succeeded in cre- tor was Svetlana Petrova, Head of the Laboratory for Scientific Restoration of Sculpture and Semi- ating an elegant and expressive display. Precious Stones). Not only Hermitage restorers but many researchers took part in the conferences, In order that as many people as possible could see the masterpieces of from the Hermitage seminars and round-table discussions organised by various Italian cultural institutions: in Verona Uni- in their own country the Hermitage • Amsterdam Centre staged a number of new promotions – from the versity (27 April) – “: Around the Enigma of Judith”, Irina Artemieva; Palazzo Fulcis, Bel- possibility of buying a ticket for a specific time to a free audio guide. For the first time the exhibition luno – “Madonna Barbarigo and the History of the Venetian Family Gallery”, Irina Artemieva; Alex- catalogue was issued in hardback form, emphasising the significance of the event. Major Dutch compa- andria (3 May) – “Chapeau!”, Tatiana Baboshina; Turin (22 May) – “The Museum and the Book: Art nies (ABN-AMRO Bank, KLM Dutch Airlines and Heineken) became special partners of the Hermitage Enclosed in Pages”, Elena Zvyagintseva; Naples Archaeological Museum (14–15 November) – “Injured Centre. Archaeology. The Battle with Vandalism and the Illegal Displacement of Cultural Monuments”, Andrey For over a year the four-episode documentary film Dutch Masters. Retour has been made in St Peters- Nikolaev; Cagliari (1 December) – “Civilisations of the Mediterranean”, Yury Piotrovsky. burg and Amsterdam. It was shown on one of the main Dutch TV channels in February 2018. The filming The main event of the year was the exhibition “Nefertari and the Valley of the Queens”, which gave was sponsored by the State Hermitage. the Russian public the opportunity to see part of the collection of the Egyptian Museum in Turin. In July 2017, when the exhibition “1917. Romanovs & Revolution. The End of Monarchy” was in full The publication of catalogues of the Hermitage’s permanent displays is a priority for the Centre, and last swing and “Dutch Masters from the Hermitage. Treasures of the Tsars” was in preparation, Hermitage year saw the issue of the latest volume: “17th – 18th-century Italian Sculpture. From Bernini to Cano- Director Mikhail Piotrovsky and Cathelijne Broers, Director of the Hermitage • Amsterdam Centre, va” by Sergey Androsov. The presentation of the catalogue took place in the Chapel of the Doge’s Palace signed the Centre’s programme of exhibitions for 2018 to 2024. It has been compiled in the course in Venice on 6 November. On that morning a session of the Academic Committee of the Hermitage • Italy of 2017 in close cooperation with all the Hermitage’s curatorial departments and is already at the imple- Centre was held under the chairmanship of Hermitage Director Mikhail Piotrovsky. One of the partici- mentation stage. pants was the Mayor of Venice Luigi Brugnaro. The session discussed the Centre’s plans for 2018: it was The Outsider Art Museum opened in the Hermitage • Amsterdam Centre in March 2016. It features again confirmed that the Centre’s priority should be scholarly and restoration research and the prepara- works of art by people from all over the world with alternative talents, or – as they are called in Russia – tion of catalogues. This will be facilitated primarily by the full renewal of grants from 2018. people with atypical emotional development. A programme of collaboration between the State Hermit- age and the Outsider Art Museum began in 2017 with the support of the Hermitage • Amsterdam Centre. In September 2017 a seminar entitled “Outsider Art and Inclusive Practices in the Museum” was held in the Hermitage, resulting in the signing at the St Petersburg Cultural Forum of a memorandum of co- HERMITAGE • KAZAN CENTRE operation between the State Hermitage, the Outsider Art Museum, the Hermitage • Amsterdam Centre and the Hermitage XXI Century foundation. The seminar was accompanied by an exhibition from the More than 121,000 people visited the Hermitage • Kazan Centre in 2017; twelve lecture cycles Outsider Art Museum’s permanent collection: “Shinichi Sawada. Images from the Depth of the Mind”. (72 ­lectures) were given in the Centre’s Lecture Theatre by staff from the State Hermitage. In autumn 2017 the Hermitage • Amsterdam Centre carried out sociological research on the public’s perception of the Centre. It transpired that visitors to the Centre saw it not as an art gallery but as a fully- CHRONICLE OF EVENTS fledged museum. The Hermitage • Amsterdam Centre will try to maintain this standard in the future, 31 January – 25 February as it considers its collaboration with the State Hermitage to be a unique phenomenon in international As part of the exhibition “St Petersburg Modernism. 1890s – 1910s. Style and Society Fashion” from museum practice. the State Hermitage collection an exhibition-competition for Valentine’s Day was included in the pro-

gramme “Romantic Days in the Hermitage • Kazan Centre”.

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1 March – 7 April Also connected with the exhibition was the display “21st-century Modernism”, which presented works by students of the Design Department (painting and decorative applied art) of Kazan National Research Technological University. Cultural programmes were organised for schoolchildren: “Christmas Amusements, or New Year Bustle at the Imperial Court”, “Fashion Secrets of the Empresses, or A Journey into the Age of Modernism” and others. Special programmes were launched for Valentine’s Day and International Women’s Day: “A Journey into the Fashion World of the Imperial Court” and “The Endless Spring of Modernism”. 7 April Opening of an exhibition of photographs entitled “The Wild Nature of Russia”. It featured 200 of the best works by prize-winners at the 2016 All-Russian Photographic Competition, held by National Geo- graphic magazine and the Russian Geographic Society since 2011. The period of the exhibition included the annual “Museum Spring” festival, the programme offering guided tours of the exhibition, films about nature and its inhabitants and the quiz-game “The Young Geographer and Ecologist”. 29 April At the exhibition “Under Opening of the “Genius of the Century” exhibition, organised by the State Tretyakov Gallery in partner- the Transparent Ice of Glaze. St Petersburg Porcelain” ship with the “” State Historical, Architectural and Artistic Museum-Reserve and the The exhibition opened with a “Porcelain Album of St Petersburg”, which included works with ­images Republic of Fine Arts Museum. The display was devoted to one of the most outstanding periods of St Petersburg, Petrograd and Leningrad. Depictions of the imperial residences which appeared on por- in the history of Russian art – the first decade of the 20th century. celain in the late 18th century, images of the capital and the Imperial Guard were replaced by slogans 29–30 April on plates and figurines of the new residents of Petrograd after the revolution. Later paintings featured the days of the , followed by romantic cityscapes by contemporary artists. Various A practical seminar on museum educational programmes was held at the “Genius of the Century” ex- types of information about St Petersburg were provided by “Propaganda Porcelain. An Advertisement hibition. Staff from the State Tretyakov Gallery presented programmes for schoolchildren of various of Eternal Values” – an ironic mini-encyclopaedia of distinguishing features of the city, such as Neva ages: “The Swan Princess and Other Stories” for primary schoolchildren; “Artists and Isms” for pupils sprats and White Nights, by Alexander Florensky. in years 6 to 8; “Secrets of ” for those in the top classes. One characteristic of St Petersburg porcelain was the reflection of themes and artistic images created 20 May by the Northern Capital’s writers – Pushkin, Gogol and Dostoyevsky. The subjects of theatre, ballet A non-stop dramatised programme was held at the “Genius of the Century” exhibition on the Museum and carnival also occupied an important place in the display. Separate sections traced the development Night. of popular genres in porcelain – images of flowers and animals. The display ended with “Porcelain for All Needs”, demonstrating a great variety of unique pieces. Ser- 2 June vices and table decorations for the imperial table, porcelain sculpture, pieces with copies of paintings A “Museum Open to All” round-table discussion was held on the subject “The Museum and Inclusion. in the Hermitage collection, fancy items, vases and other objects for the interior decorated in all kinds Museum Work with People with Health Problems”. On the conclusion of the discussion a joint master of techniques were striking for their wonderful mastery. class on “Disposable Sculpture” was held for children, parents and teachers. The works by contemporary artists that rounded off each thematic section were the final bright chord 4 September of the display, which presented the output of the Imperial Porcelain Manufactory as one of the cultural Opening of an exhibition by the celebrated French graphic artist, illustrator, pioneer of artistic anima- codes of St Petersburg. tion and film director Alexandre Alexeieff: “Anna Karenina. Aquatints by Alexandre Alexeieff”. During Days of the Hermitage Mikhail Piotrovsky held a meeting with scholars of the Tatarstan Acade- my of Sciences and on the theme of “The Museum as Historiographer of a Dia- 6–9 September logue of Cultures” and took part in the summing-up of the results of the regional stage of the Vladimir As part of the 13th Kazan International Festival of Muslim Cinema films of the “Russia – an Islamic Matveyev “Skilful Word” Interregional Journalists’ Competition. World” section were shown in the Hermitage • Kazan Centre. There were meetings with Hermitage restorers and curators, films by the British director Margy Kin- 26–27 September month – Discovering the Hermitage and The Hermitage. Immersion in History with Konstantin Khaben- Film showing “Life of a Genius” was timed to coincide with the closing of the “Genius of the Century” sky in the leading role – were shown, and there was a virtual zone: the Jupiter Hall in the Hermitage exhibition. It included a documentary about Mikhail Vrubel and a film about Kuzma Petrov-Vodkin in 3D format. based on the artist’s recollections. 10 November A methodical seminar was held for students at the Republic of Tatarstan Ministry for Culture’s Institute of Further Education on the organisation, promotion and advertisement of exhibitions and the prepara- 18–19 October tion of documents. Days of the Hermitage in Kazan 22–29 November Showing of a series of documentary films: History in Porcelain. The central event of Days of the Hermitage in Kazan was the opening of the exhibition “Under the Trans- parent Ice of Glaze. St Petersburg Porcelain” from the State Hermitage and the Imperial Porcelain 20 December Manufactory (curator Anna Ivanova). The display featured some 400 exhibits. The concept included five Opening of an exhibition by People’s Artist of Russia Nikolay Gushchin entitled “New Year Fantasies. thematic sections, each of which could be an independent narrative. Gold Khokhloma”.

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HERMITAGE • VYBORG CENTRE HERMITAGE • VLADIVOSTOK CENTRE

Over 37,500 people visited the Centre in 2017 and more than 550 Days of the Hermitage were held in Vladivostok from 25 September to 1 October 2017. The venues guided tours were conducted in Russian, Finnish and English. for the events were the Primorskaya State Picture Gallery and the building of the future Hermitage • The State Hermitage staged three exhibitions in the Centre. Vladivostok Centre. In April “The Unforgettable Glory of Russia. The Patriotic The programme opened with a master class in the restoration and conservation of tempera painting con- War of 1812” came to an end, as did “Birds of Olympian Gods. ducted by Viktor Korobov, Head of the Laboratory for Scientific Restoration of Easel Painting, as part ­European Decorative Arts from the 16th to 19th Century in the of a joint project by the State Hermitage and Coca-Cola in Russia entitled “Joining Forces to Preserve Collection of the State Hermitage Museum” (curator: Tatiana Cultural Heritage”. This year the theoretical part of the master class was included in the programme of Kosourova) in October. The exhibition on the theme of the sacred the Lecture Hall and was open to all visitors to Days of the Hermitage. From the end of June until 1 Oc- birds which accompanied the Olympian gods featured around tober the gallery’s main building was the venue for a display of a single exhibit from the State Hermitage 200 exhibits: objects of silver, pottery and porcelain, carved collection: “An Encounter with Antiquity. A Red-Figure Krater with an Oblational Scene”. The opening stones, fans and items of jewellery, wall-hangings and fabrics, of the exhibition was accompanied by lectures by Elena Dmitrieva from the Hermitage Department furniture and pieces of bronze, ivory, embroidery and lace. of Classical Antiquity. The sacred birds were depicted in various ways in the applied art This year the programme of Days of the Hermitage in all the future Hermitage centres featured a unique works: as companions and attributes of the gods, as their her- project – the “Hermitage VR” Virtual Reality Cinema. It included a showing of the film The Hermitage. alds or simply as a decorative motif. In November visitors to the Immersion in History, starring Konstantin Khabensky, and a virtual model of the Jupiter Hall created Centre could see the exhibition “Seventeenth-Century Flemish jointly by the State Hermitage and the CROC Virtual Reality Centre. Viewers were able to make a vir- Opening of the exhibition Art from the State Hermitage Museum Collection” (curator: tual tour of the Hermitage in St Petersburg and visit the Jupiter Hall, one of the most impressive rooms “Birds of Olympian Gods. Natalia Gritsay). It included painting and applied art from Flanders from the 17th century, the hey- in the New Hermitage. European Decorative Arts from day of all types of Flemish art. Audio guides were available for the last two exhibitions and were used A catalogue entitled The Unknown Hermitage was prepared and presented for Days of the Hermitage the 16th to 19th Century in the by over 700 visitors. A surprise for visitors was a technical novelty – a virtual exhibition with the use by staff of the Primorskaya State Picture Gallery. It included exhibits which previously belonged to the Collection of the State Hermitage of 3D photography and a showing of the exhibition “Birds of Olympian Gods” with the aid of a 3D holo- Hermitage. Museum” graphic pyramid. The ceremonial opening of the display of Flemish art and the photography exhibition On 29 September 2017 the awards ceremony of the 2nd “Artful Word” Interregional Competition was in memory of Vladimir Matveyev, the Deputy Director of the State Hermitage who had made a great held in Vladivostok. The prize was instituted by the State Hermitage and the Vladimir Potanin Charita- contribution to the creation and development of the Centre, marked the tenth anniversary of the signing ble Foundation on the initiative of the Yekaterinburg Museum of Fine Arts and dedicated to the memory of the agreement concerning the foundation of the Hermitage • Vyborg Centre. of Vladimir Matveyev (1948–2015), the Hermitage Deputy Director for Exhibitions and Development. As part of the artistic-educational programme 25 exhibitions by artists from Vyborg, St Petersburg and The annual prize is awarded to journalists writing about culture and working in the cities where the State neighbouring countries were staged in the main building and in the “Art Hall” Gallery. Hermitage is opening centres. The aim of the prize is to increase information transparency in museums The Lecture Hall continued its work for pupils of the Vyborg Children’s Art School. Around 40 les- and cultural institutions, to stimulate creativity and competitiveness, to develop high-quality cultural sons were held for schoolchildren of various age groups: they included the “War of 1812” quest game, journalism in the regions and to bring together the Hermitage exhibition centres. The competition was “The Unforgettable Glory of Russia”, “Birds of Olympian Gods”, “Lace ”, “Let’s Talk about first held in 2016, when prizes were awarded in Yekaterinburg, Vladivostok and Omsk. In 2017 these Baroque” and “Hello, Hermitage”. cities were joined by Kazan, Vyborg and Kaluga, where Hermitage centres are already functioning. A special guided tour of the exhibition of Flemish art was held for members of the “Korchaginets” Wheelchair Users Society. This became possible thanks to the museum’s purchase of an automatic stairlift. The Cinema Club was as successful as ever: feature films were shown in connection with the exhibition “The Unforgettable Glory of Russia. The Patriotic War of 1812” – Bagration (dir. Giuli Chokhonelidze, HERMITAGE • KALUGA CENTRE 1985) and a film marking the anniversaries of Stanislav and Andrey Rostotsky Squadron of Flying Hus- sars (dir. Stanislav Rostotsky, Nikita Khubov, 1980). A series of events were held on 5 and 6 October 2017 in the Kaluga Museum of Fine Arts as part of Days For the third time the Centre took part in the Russia-wide Museum Night and staged a programme of the Hermitage. entitled “In the Steps of Beauty: from the Past to the Present”. The programme included an exhibition 5 October saw the ceremonial opening of an exhibition of “Antoine Watteau. Landscape with Water- of monumental sculptures by the St Petersburg artist Sergey Borisov in the museum’s landscaped area; fall”, a painting from the State Hermitage collection. It was the second exhibition organised under an original guided tour of the Panzerlax Bastion by Elena Penskaya; a performance entitled The Fan: a cooperation agreement signed by the State Hermitage and the Kaluga Region in 2015. Secret Signs of Love at the “Birds of Olympian Gods” exhibition by musicians and singers from the Vy- Antoine Watteau’s Landscape with Waterfall was in Kaluga until 1930. It is known to have been brought borg Children’s Art School and the Vyborg Ball Society. to Russia in the late 18th century by Count Andrey Shuvalov and was in the family collection in St Pe- On Russia Day the Hermitage • Vyborg Centre held a joint event with the Children’s Health Camps tersburg until 1882, passed down from father to son. In 1882 Aide-de-Camp Alexey Shuvalov’s daugh- ­Directorate: “Our Flag and Emblem are Covered in Glory!”. ter Maria married Nikolay Bulychev and was given the painting as part of her dowry. Shortly afterwards The Centre staged the Archangel Michael international eparchial readings on the “20th Century in Rus- the newly-weds moved to Kaluga, where Watteau’s landscape remained in the Bulychev household for sian Culture” section. 35 years. In 1919, after the death of Nikolay Bulychev, the last Marshal of the Nobility in Kaluga Prov- In 2017 the Centre received official visits from the mayors of the Finnish towns of Mikkeli and Lappeen- ince, Watteau’s painting was given to an art museum. In 1930 the Landscape with Waterfall was taken ranta: Kimmo Mikander, Seppo Miettinen and his successor Kimmo Jarva; the Russian Deputy Minister to the Leningrad branch of Antikvariat for expert examination and was transferred to the Hermitage for Culture Oleg Ryzhkov; Governor of the Leningrad Region Alexander Drozdenko and representatives in 1931. of the Leningrad Region Legislative Assembly. After the opening ceremony the winners of the Vladimir Matveyev “Artful Word” prize were presented with their awards. During Days of the Hermitage a series of films About the Hermitage with Love were shown in the Kaluga Museum of Fine Arts, including Mikhail Piotrovsky’s My Hermitage.

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HERMITAGE • URALS CENTRE were directors and deputy directors of museums in the Volga and Urals Regions, Siberia and the Far East of Russia. The speakers included Evgeny Fedorov and Agata Semenova from the Hermitage Project Days of the Hermitage were held in Yekaterinburg for the second time from 13 to 20 October 2017. Finance Sector, Olga Oracheva, General Director of the Vladimir Potanin Charitable Foundation, and One of the main events was the opening of an “Exhibition of a Single Painting from the State Hermit- Alexey Matveyev, Deputy Director for Development and Executive Director of the Development Founda- age Collection. Ivan Kramskoy. Portrait of Empress Maria Fyodorovna”. Kramskoy’s portrait belonged tion of the Omsk Vrubel Regional Museum of Fine Arts. to the imperial family before the revolution and was in the Anichkov Palace in St Petersburg. It ended Omsk, like all the other Hermitage centres, hosted the awards ceremony for the winners of the Vladimir up in the Hermitage in 1918 and for a long time was unknown to specialists. After restoration the paint- Matveyev “Artful Word” competition for journalists. Fourteen pieces were selected from 87 entries ing had been put on display only once – at an exhibition in the in Moscow. by Omsk journalists, five of whom won prizes. The portrait, one of Ivan Kramskoy’s best, was presented to the Yekaterinburg Museum of Fine Arts The programme of Days of the Hermitage also included the launch of the “Hermitage VR” Virtual Reality by the exhibition’s curator Yury Gudymenko, Leading Researcher in the Hermitage Department of the Cinema. History of Russian Culture. The Lecture Hall in Yekaterinburg, opened in 2016, continued its work. Staff from the Hermitage De- partment of the History of Russian Culture and the Education Department gave lectures on Emperor Alexander III and Empress Maria Fyodorovna, the art of their reign and the Russian portrait in the Hermitage collection. As part of the joint project by the State Hermitage and Coca-Cola in Russia “Joining Forces to Pre- DAY OF THE HERMITAGE IN ASTANA, REPUBLIC OF KAZAKHSTAN serve Cultural Heritage” master classes on the restoration and conservation of graphic art were held in the Yekaterinburg Museum of Fine Arts. They were given by Tatiana Sabyanina, Head of the Labora- The last in the series of Days of the Hermitage, including those in Vladivostok, Kaluga, Yekaterinburg, tory for Scientific Restoration of Graphic Works, and artist-restorers Darya Smirnova and Elizaveta Kazan and Omsk, was the Day of the Hermitage in Astana on 10 November 2017. It was timed to coin- ­Mzhagina. The participants included staff not only from the Yekaterinburg Museum of Fine Arts but also cide with the closing of the exhibition “East and West. Rare Antique Arms from the State Hermitage from many other museums in the Region. Museum Collection”, which had been staged at the National Museum of the Republic of Kazakhstan Another important event was the awards ceremony for the Vladimir Matveyev “Artful Word” prize. since 3 July 2017. The programme of Days in the Hermitage in 2017 also featured a unique project – the “Hermitage VR” The programme of the Day of the Hermitage began with a press conference with the participation Virtual Reality Cinema. of Svetlana Adaksina, Deputy Director and Chief Curator of the State Hermitage, Leonid Kochetov, On 16 November 2017, during the 6th St Petersburg International Cultural Forum, a signing ceremony Acting Director of the National Museum of the Republic of Kazakhstan, and Almaz Nurazkhan, Direc- for a supplementary agreement to the document signed in 2014 concerning the intention to open a Her- tor of the Department of Cultural Affairs of the Kazakhstan Ministry for Culture and Sport. The main event was a presentation by Hermitage specialists to representatives of more than 30 city and regional mitage • Urals Centre took place in the Atrium of the General Staff Building. The agreement was signed by Hermitage General Director Mikhail Piotrovsky, the Sverdlov Region Minister for Culture Svetlana museums. Svetlana Adaskina introduced “Planet Hermitage”, a complete narrative of the museum’s Uchaikina and Head of the Culture Directorate of the Yekaterinburg Administration Tatiana Yaroshev­ history, its buildings, famous collections and key events. Particular attention was devoted to the Hermit- skaya, in the presence of Nikita Korytin, Director of the Yekaterinburg Museum of Fine Arts, where age centres as a new form of collaboration between museums. Lectures were also given by Dmitry Lubin, Head of the Arsenal Department, Yury Efimov, Head of the Arms and Armoury Sector of the Arsenal it is planned to set up the Hermitage • Urals Centre. Department, Vsevolod Obraztsov, Senior Researcher and Curator of Eastern Weapons in the Arsenal Department, Tatiana Baranova, Head of the Department of Scientific Restoration and Conservation, and Igor Malkiel, Head of the Laboratory for Scientific Restoration of Precious Metals. Just as at other Days of the Hermitage, visitors to the National Museum of the Republic of Kazakhstan were able to immerse themselves in virtual reality, strolling through the Hermitage in space and time HERMITAGE • SIBERIA CENTRE with the aid of special glasses in the filmThe Hermitage. Immersion in History, as well as seeing a virtual 3D model of the Jupiter Hall created by the State Hermitage in conjunction with the CROC Company. Days of the Hermitage were held in the Vrubel Museum of Fine Arts in Omsk from 30 October to 2 No- The day was rounded off by a showing of Ashot Dzhazoyan’s film The Hermitage with Love. vember 2017. The principal event was the opening of the exhibition “Craft as Art. Exhibits from the Her- mitage Weapon Collection”, featuring six unique examples of 16th-century defensive armaments from the Tsarskoye Selo Arsenal. The opening of the exhibition was accompanied by a lecture by the curator Madina Zaychenko, a Senior Researcher in the State Hermitage Arsenal Department. The last time an exhibition from the Hermitage was held in Omsk was over twenty years ago. On 2 November in the Omsk Vrubel Regional Museum of Fine Arts Mikhail Piotrovsky gave an open lecture entitled “The Hermitage. A Conservative Innovator”, presenting the Hermitage as a palace and a museum, its news and future plans, describing in detail the exhibitions organised by the Hermitage to mark the centenary of the Russian revolution. On the same day the Hermitage Director was shown the progress made on the reconstruction of the former Salamander Insurance Company building where the Hermitage • Siberia Centre will be located and chaired a session of the Board of Guardians of the Development Foundation of the Omsk Museum. The session was attended by Oksana Oracheva, Gen- eral Director of the Vladimir Potanin Charitable Foundation, and patrons from Omsk who are helping the museum to develop. Days of the Hermitage also included a master class on the restoration and conservation of furniture, a continuation of the joint project of the State Hermitage and Coca-Cola in Russia “Joining Forces to Preserve Cultural Heritage”. The master class was given by Vladimir Gradov, Head of the Laboratory for Scientific Restoration of Furniture. As part of the Vladimir Potanin Charitable Foundation’s “Museum Landing” programme the Omsk Museum hosted a practical seminar entitled “Fundraising in Museums. The East”. The participants

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JJ CURATORS ON EXHIBITIONS to gigantic proportions formed the basis of the design. Several screens showing film chronicles and ex- pressive lighting, combined with the varying dimensions and dynamics of the designer blocks, not only emphasised the particularly documentary character of the display but also conveyed the tragic atmo- sphere of the changes that occurred in Russia. Vyacheslav A. Fedorov, Elena Yu. Solomakha

THE WINTER PALACE AND THE HERMITAGE IN 1917. HISTORY WAS MADE HERE

The State Hermitage staged a large-scale project with the overall title “The Storming of the Winter Pal- ANSELM KIEFER, FOR VELIMIR KHLEBNIKOV. FATES OF NATIONS ace” to mark the centenary of the February and October revolutions. The main event in the project was the exhibition “The Winter Palace and the Hermitage in 1917. History was Made Here” in the formal “And what did you find?” rooms of the Winter Palace’s Neva Suite – from the Jordan Gallery on the ground floor to the Small “Should one not expect the fall of a state in 1917?” Dining Room on the first floor. Velimir Khlebnikov. Teacher and Student. 1912 The February revolution, the abdication of Emperor Nicholas II and the refusal of supreme power by Grand Duke Mikhail marked the end of the monarchy in Russia. The October revolution opened a new The State Hermitage marked the centenary of the October revolution with an exhibition by Anselm chapter in world history. Kiefer dedicated to Velimir Khlebnikov, who had predicted the revolution. During the two revolutions the Winter Palace and the Hermitage were at the centre of the main events The prominent German artist first encountered Khlebnikov’s work in the 1970s and was entranced by the connected with the change in the state structure of Russia. poet’s mystical philosophy and number theory. Since then he has repeatedly turned to Khlebnikov’s Even when it was transformed into a huge hospital the Winter Palace remained a symbol of imperial work, particularly to his numerological and eschatological theories. power. It was for this reason that the revolutionary masses descended on the palace in February 1917 The exhibition was devised especially for the Hermitage and St Petersburg – the places where the revo- and it was here that the Provisional Government was arrested in October 1917. lution had happened – and was arranged in the Nicholas Hall, the part of the Winter Palace where The events of the World War I and the participation of members of the imperial family in military action the events had unfolded and where the myth of the foundation of a new world order had subsequently and in the organisation of rear services were detailed in unique documents – diaries, telegrams, photo- been born. Unique exhibition architecture was specially constructed, with load-bearing eight-metre high graphs and film chronicles. Special attention was devoted in the display to the Tsarevich Alexei Hospital walls and the dedicatory title drawn by hand by the artist in charcoal on one of the walls. in the Winter Palace and the selfless work of its staff. The display featured 30 new works painted specially in 2016 and linked to the themes and motifs Historical photographs, documents and portraits reflected the life of the Hermitage and the Winter of Khlebnikov’s prose: the most important sea battles, the mystical number 317, the phenomenon of the Palace in the troubled months of 1917 and the evacuation of valuable art, and also featured the staff Aurora. The dry sandy landscapes in the Hermitage exhibition appeared to be filled with the humid- of the museum and the palace who saved the building from looting and devastation, including Hermitage ity of St Petersburg and overgrown with Leningrad forests, while submarines from the Neva estuary Director Count Dmitry Tolstoy and the Winter Palace’s Chief of Police Prince Ivan Ratiev. surfaced among the canvases. A sheet of black coming down from the top, swallowing up the image, The Hermitage’s curators defended the treasures entrusted to them – they stood guard in the museum for is a motif that featured for the first time in Kiefer’s latest series. It was as though the blackened skies days on end, not allowing the exhibits to be removed to satisfy the political games of the new Bolshevik were drawing near and falling upon the drowned landscape and the submarines. Kiefer often uses lead authority. Most importantly, however, they began to implement the idea of turning the court museum in these works, treating it with complex technology. With his Hermitage flotilla he built a strict artistic into a national museum. Indeed, the “revolutionary achievement” of the Hermitage was the annexation system of colour relations, tactile sensations and semantic qualities. His pictures are narrative in form, of the Winter Palace into the museum – the Imperial Hermitage and the imperial residence were amal- but frequently enigmatic in their final concept. gamated to create one of the world’s largest museums. The title, pronounced in the form of a dedication, defined the exhibition’s genre as ekphrasis: with pictur- During the ceaseless military action there were two revolutions – in February and October 1917, accom- esque-objective means the artist created his own interpretation of the sum of the poetry and prose texts. panied by the arrest of members of the imperial family, their exile and eventual execution. The former He achieved this both by combining various natures of technological elements of painting and by their imperial residence became the venue for sittings of the Provisional Government and the residence of its overall texture and colour. head , and in October 1917 Anatoly Lunacharsky, People’s Commissar in the Bolshe- The exhibition was designed by the Anselm Kiefer Studio. After the exhibition one of the works – Aurora – vik government, based himself here. was purchased for the Hermitage collection. The French revolution of 1789–1799 was included in the fabric of the exhibition as a direct analogue and Dimitri O. Ozerkov forerunner of the Russian revolution – the ’ ideology and methods were similar to those of the political struggle of the Jacobins. One section of the exhibition was devoted to the actual circumstances of the Provisional Government’s arrest and the mythology of the so-called storming of the Winter Palace as portrayed in Sergei Eisen- stein’s film October. THE STROGANOVS AS COLLECTORS The display featured 350 exhibits from the State Hermitage, the Russian Federation State Archive, the Museum of Artillery, Engineers and Signals Corps, the Military Medicine Museum, Pavlovsk State Perm State Art Gallery Museum-Reserve, the Fabergé Museum and the Russian National Museum. It also included items from 30 November 2017 – 18 February 2018 private collections and a unique dual portrait of Emperor Nicholas II and from Second- ary School No. 206 in St Petersburg’s Central District. This exhibition from the collections of the State Hermitage and the Tambov Region Art Gallery was Some unique historical documents were brought together in a single exhibition for the first time: the Deed staged in the Perm Gallery on the eve of its 95th anniversary. of Nicholas II’s Abdication from the Throne and the Deed of Grand Duke Mikhail’s Non-­Acceptance The display included around 200 masterpieces of Russian and Western European painting, graphic art, of Power, protocols of Provisional Government sittings and protocols of sessions of Hermitage employ- sculpture and decorative applied art from the 13th to 19th centuries collected by Alexander and Pavel ees expressing support for the Provisional Government and not recognising the authority of the Bolshe- Stroganov. Pavel Stroganov bequeathed the most valuable part of his collection to the Hermitage during viks, and many other documents. Visitors’ attention was drawn particularly to the diaries of Nicholas II his lifetime, and after nationalisation all the items from the Stroganovs’ palaces in St Petersburg and and Empress Alexandra Fyodorovna, their family photograph albums, drawings and documents. Pavel Stroganov’s Tambov estate ended up in the Hermitage, the Russian Museum, the Tambov Region The historical importance of the subjects and documents was fully reflected in the exhibition’s design, Art Gallery and other museums. devised by Caspar Conijn and his Amsterdam studio. Documents and historical photographs enlarged 82 83 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

This was the first time that the two collections of members of the celebrated family had been shown One of the most complex matters to be decided in arranging the display was the order in which the ex- on such a scale. It was particularly symbolic that this should happen in Perm, where the “Stroganov hibits should be shown, bearing in mind that they represented an exceptionally wide geographical and Empire” took shape. Some outstanding works by artists of Western European schools were displayed chronological compass. Starting from the premise that the British public had virtually no idea about for the first time: the Italian school (Gian Pietro Rizzoli (Giampetrino), Bartolomeo Schedoni, Ales- the Scythians (as confirmed by visitors’ reactions), the exhibition was structured thematically, without sandro Allori), the Flemish and Dutch school (Jan van Scorel, , Bartholomeus van der stressing the differences in geography and chronology. It was intended to answer the main questions that Helst) and the French school (Jean-Baptiste Greuze, Hubert Robert, Jean-Honoré Fragonard). would naturally arise on first acquaintance with an unknown ancient people: What did they look like? Besides works by Western masters the exhibition also included paintings by prominent Russian artists What did they wear and what did they eat? What were their principal occupations, sources of existence from Pavel Stroganov’s Tambov collection (Karl Bryullov, Ivan Ayvazovsky, Silvester Shchedrin, Fyodor and beliefs? What are our sources of knowledge about the Scythians? Who were their contemporaries Vasiliev). and neighbours, and how did they interact? How did they bury their dead? And finally, why did they dis- The author of the concept was Sergey Androsov. appear and who lived on their territory after them? The sequence of these thematic sections formed the The exhibition was organised with the support of the Vladimir Potanin Charitable Foundation. conceptual and planigraphic structure of the main part of the exhibition. Exhibits from the Pazyryk collection made up the lion’s share. Items that were particularly popular Fyodor S. Svetlakov with visitors were pieces of cheese from the 3rd century BC, shoes embroidered with beads, fragments of a chieftain’s skin with tattoos and a huge log coffin. Richly decorated harness and burial accessories demonstrated the Scythians’ care for their horses and the role played by horses in the nomads’ lives and their notions of the afterlife. An important part in the display was played by exhibits from the ancient SCYTHIANS: WARRIORS OF ANCIENT SIBERIA Scythian barrows Arzhan-1 and Arzhan-2, as well as finds from the “royal” barrows of the Northern Black Sea region and the Northern Caucasus excavated by Russian expeditions in the 19th and early 20th centuries. British Museum, London This was, perhaps, the first time the results of natural scientific examinations of a number of exhibits 14 September 2017 – 14 January 2018 had been featured in such a volume: gold artefacts, fabrics and glass beads. The microfilms and X-rays placed alongside traditional labels made visitors feel as though they were involved in the research pro- The exhibition was initiated by our British colleagues for the centenary of the Russian revolution which cess. As shown by numerous reactions, this information aroused great interest and attention among was marked in other museums in London, but in a more traditional way. The theme of this exhibition visitors to the exhibition. was the history and culture of the nomadic tribes which inhabited the steppes of Eurasia in the 9th – One should not fail to note the exhibition’s eye-catching design and the efficient organisation of infor- 3rd centuries BC. The previous small exhibition in London on the subject of Siberia (“Frozen Tombs”) mation in the space outside the showcases. There were numerous photographs with views of Siberian had taken place in 1978, so few of the British public had had the chance to learn about the nomads landscapes and barrows on the walls. The large number of thematic maps and stands with texts and il- of the Scythian age. lustrations provided the necessary general information about each section of the exhibition. Graphic re- The title of the exhibition appeared to contradict the significantly broader geography of the settlement constructions of the nomads’ clothing, silhouettes of animals in the Scythian “animal” style and quotes of Scythian tribes – from Northern China to Central Europe – that was reflected in the display. In the from Herodotus (the main written source on the history of the Scythians) added to the atmosphere and first place, however, the origins of Scythian culture and nomadic cattle-breeding are linked specifically informative background of the display. with regions of Southern Siberia and Central Asia. In the second place, the vast majority of the exhibits The series of video sequences attracted the attention of various categories of visitors. One of them showed came from Siberian regions – and, in particular, Altai, where numerous leather, wood and fur a series of “frames” from the watercolour scrolls of Pavel Piasetsky’s “Siberian Route”, giving an idea objects were found in the frozen barrows and went to form the Hermitage’s famous Pazyryk collection. of the diversity of Siberian landscapes. Another included photographs of the excavations of key Asian Many highly artistic gold artefacts belonging to the so-called Siberian collection of Peter I come from monuments from the Scythian age (most of them were provided by the Scientific Archive of the Russian the Altai steppes – between the Ob and Irtysh rivers. And finally, Europeans associate the geographical Academy of Sciences’ Institute for the History of Material Culture). Two videos featuring 3D animation and cultural image of Russia with Siberia – an enormous severe territory, a land of exiles and labour illustrated the Scythians’ contacts with contemporary civilisations and gave an idea of the appearance camps. of Scythian riders and their horses. The principal idea of the exhibition was to acquaint visitors with the history, way of life and rich culture Throughout the exhibition the British Museum’s website included short thematic videos of materials of an unfamiliar nomadic people and their contacts with world civilisations – , Achaemenid Iran, in the display and Internet transmissions were held in real time. The exhibition was also accompanied Greek cities and China. The display also featured the history and achievements of Russian and Soviet by publications in the press. Periodically so-called “early shows” were held – morning tours for various archaeology from the early 18th century to recent Hermitage expeditions. categories of visitors and lectures by curators. The foyer of the British Museum regularly staged orna- The bulk of the Hermitage exhibits in the display consisted of material provided by the Department mental master classes for children of various ages connected with the themes of the exhibition. of the Archaeology of Eastern Europe and Siberia. Some artefacts from elite burials from the Scythian On the whole, judging by the reactions of visitors, the exhibition was a great success. It was visited period in Crimea excavated in the 19th century were provided by the Department of Classical Antiquity. by 122,823 people; the number of visitors remained high throughout the four months and there was The Department of the History of Russian Culture contributed eight early 18th-century prints with views a particular rush in the final days of the display. The exhibition received the highest ratings in the major- of St Petersburg and the Kunstkamera, and seven watercolours from the 1730s depicting items from ity of press reviews, both in print and online. Peter I’s Siberian collection. An international conference entitled “The Scythians and Other Ancient Nomads of Eurasia” in London The Hermitage materials – over 800 items in all – formed the main part of the exhibition in London. in October 2017 was devoted to the results of scholarly research. The display also included Sir Godfrey Kneller’s portrait of Peter I from Queen Elizabeth’s collection, A catalogue prepared by staff of the Hermitage and the British Museum was published for the opening seventeen items from the National Museum of the Republic of Kazakhstan in Astana and artefacts from of the exhibition. burials in the Nymphaion necropolis from the Ashmolean Museum in Oxford. In addition, the British Svetlana V. Pankova Museum included in the display several exhibits from the famous Amu Darya hoard, cuneiform docu- ments reflecting the Scythians’ contacts with Assyria and a Greek dish depicting an archer of Scythian appearance. The display began in a striking manner with exhibits detailing the origins of Russian archaeology in Pe- ter I’s reign. It featured Peter’s portrait and the prints with views of St Petersburg and the Kunstka- mera. The showcases in the middle of the room included gold artefacts from Peter I’s Siberian collection and watercolours depicting them. The idea of showing these exhibits together was implemented in Lon- don for the first time and proved to be very successful. 84 85 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

JJ SOCIOLOGISTS ON EXHIBITIONS Three-fifths of respondents (59%) had not previously planned to visit the exhibition and had decided to include it as part of their visit to the museum. The percentage of visitors who came specifically for the exhibition was 41%. 73% of those questioned had known about the exhibition before their visit. The most frequent source of information was word of mouth. Various Internet resources, primarily the State Hermitage website and social networks, came second. Other sources named were TV, radio, the press, advertisements in the street and in cafes. THE PUBLIC AT THE TEMPORARY EXHIBITION “THE WINTER PALACE The exhibition was perceived by the public as an organic unity. All its fourteen sections were of interest, AND THE HERMITAGE IN 1917. HISTORY WAS MADE HERE”: particularly the following thematic complexes: IMPRESSIONS AND APPRAISALS • The October Revolution, • The Romanovs in their Family Circle, A written opinion poll of Russian-speaking visitors to the exhibition was carried out from 26 October • The Hospital in the Winter Palace, to 31 December 2017 on a random sample basis. 315 correctly completed questionnaires were received. • The February Revolution. The exhibition was visited both by individuals and by organised groups. A total of 380,000 people visited The majority of those questioned (95%) had positive reactions to the exhibition that were determined the exhibition in its 58 days of operation, an average of 6,550 per day. by the following factors: The visitors were divided almost equally between men (46%) and women (54%). The majority of visi- tors – approximately two-thirds (68%) – were young people under 35; visitors of middle age (35 to 54) accounted for about a fifth of the total (21%); the older age group (55 and over) made up the remaining SCALE OF THE DISPLAY 11% of those questioned. The average age of visitors was 32. The majority of visitors were of a high “The exhibition’s scale, richness and atmosphere were staggering. I was impressed by the number educational level: 59% of respondents were graduates of higher education establishments and 25% had of varied exhibits which illuminated the revolutionary theme from different perspectives” (student, 20, not completed their higher education. Most of them (73%) had humanitarian, technical and economic St Petersburg); specialisations. The visitors were predominantly people in full employment or students in higher and “The exhibition is grandiose, epoch-making and, at the same time, correct and stylistically perfect” secondary education. (teacher, 62, St Petersburg); The social composition of visitors was as follows: “Probably the best Russian exhibition on the revolutionary events of 1917, presenting all the complex • Employed people (58%), mainly: multidimensionality of this historic time from every aspect” (political scientist, 22, St Petersburg). engineering-technical workers; middle managers; professionals in artistic occupations (architects, designers, museum employees, art historians, guides); HIGH CONTENT OF THE EXHIBITION school and pre-school teachers and lecturers in higher educational establishments; “What was impressive was the full information about our past and the part played by our ancestors • Students (32%) – students of higher and secondary educational establishments; in establishing the future of our country” (therapist, 49, St Petersburg); • Unemployed people (10%) – pensioners, housewives. “Very informative. The link between ages is palpable” (lawyer, 28, Yekaterinburg); From October to December 2017 the Hermitage was visited both by people from St Petersburg and those “This exhibition makes you look at the history of our country in a new light” (schoolgirl, 17, St Petersburg). from other cities. St Petersburg residents accounted for a half of all visitors to the exhibition.

SOCIAL SIGNIFICANCE OF THE PROJECT “Thank you Mr. Piotrovsky and the Hermitage staff for staging this exhibition in conditions of total silence on such an outstanding event in history” (historian, 63, St Petersburg); “It is good that the youth of today have the chance to learn a story which has already been retold to the point of unrecognisability. It is a story which is now known only to a small circle of specialists” (interior designer, 51, Moscow); “The exhibition is very important for educating the teenage generation” (teacher, 47, St Petersburg).

OBJECTIVITY OF THE CURATORS IN THE RECONSTRUCTION OF HISTORICAL EVENTS “The whole period was conveyed fairly concisely. The absence of subjective views was very noticeable. Thanks to the organisers” (student, 19, St Petersburg); “A big thank you for this honest, well-documented account of our country’s history. The faces of ordinary people, soldiers, officers and members of the imperial family look into your soul, your heart and trouble your thoughts” (teacher, 77, St Petersburg).

RE-CREATION OF THE SPIRIT OF THE REVOLUTIONARY AGE “A huge thank you to the Hermitage Director and his staff! A full sensation of the tragedy which befell our great country” (lawyer, 52, St Petersburg); “You feel at one with the great history of our country. This is why I came to St Petersburg – where else could I be on the centenary of the October revolution?” (secondary school pupil, 16, Moscow); “The exhibition is full enough, encompassing all the most important aspects of that time. For me, as a visitor, it was important and interesting to take myself back to the time of the revolution to fully immerse myself in that atmosphere” (designer, 23, Orel).

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DISPLAY OF RARELY SHOWN ITEMS • the authentic documents (propaganda posters, minutes of sessions of the Provisional Government, “Many of the exhibits are attractive because they are authentic, blend into the rooms where they are Order No. 1 of the Petrograd Council, the telegram to the Council of People’s Commissars from the displayed, and you will not see them anywhere else” (schoolgirl, 14, Moscow); Urals Regional Council with notification of the execution of the imperial family, ballot papers for “The exhibition was amazing, particularly the dual portrait of Nicholas II and Lenin” (student, 19, the election to the Constituent Assembly with party lists); St Petersburg); • the hospital which operated in the Winter Palace from 1915 to 1917 (photographs of the wards, “I was particularly struck by the diaries of ‘Nicky’ and his wife, and by the authentic costumes” (­teacher, 46, nurses and doctors, surgical instruments); St Petersburg). • Machinery and weaponry (an armoured car, rifles of American, Austrian and Japanese manufac- ture, a Russian bomb-thrower, an Austro-Hungarian mortar, a “Maxim” heavy machine gun).

VIVID EXPERIENCES THAT WOULD STAY LONG IN THE MEMORY 69% of visitors to the exhibition expressed the thoughts and emotions that the October revolution “The exhibition left an indelible impression” (engineer, 30, Yekaterinburg); ­inspired in them. These can be divided into four types of perception: “An enchanting exhibition. It makes you want to study the history of the revolution afresh” (student, 18, 25% of those questioned see the October revolution as an historical given which “knows no subjunctive St Petersburg); mood” and requires objective study based on authentic certificates and documents; “Mixed feelings will remain deep inside for a long time” (student, 17, St Petersburg). 23% of respondents consider the revolution to be an evil which brought infinite cruelty, violence, lawless- ness and ruin to Russia; DESIGN OF THE EXHIBITION For 13% the 1917 revolution was a great epoch-making event which led to cultural renewal and the “The exhibition is designed on the scale of the historical events it describes” (director, 23, St Petersburg); creation of a powerful state; “A remarkable exhibition both from the point of view of the material and information and from the point The revolution evokes contradictory feelings in 8% of visitors: pride, admiration and hope along with of view of presentation and the methods of display” (specialist in the inventory of museum objects, 23, sorrow and pity. Kolomna); Alexey A. Roshchin, Tatiana I. Galich “A competently organised exhibition. Everything is very convenient for viewing” (engineer, 24, Chelyabinsk).

GOOD PROVISION OF INFORMATION “There is a great deal of information and it is all easily accessible, interesting to see and read – there DEBATES ON THE EXHIBITION “JAN FABRE: KNIGHT OF DESPAIR / is no fatigue” (specialist in intercultural communication, 30, St Petersburg); WARRIOR OF BEAUTY” “A large amount of very important and well set out information. I especially liked the audio guide” (schoolgirl, 14, Moscow); This exhibition was the best-attended display of contemporary art since sampling began (about one mil- “The texts are large and easy to see. The stills from film chronicles complement the corresponding sec- lion visitors) and also the most resonant and debatable. Lively discussions and disputes between its ad- tions of the exhibition” (accountant, 36, St Petersburg). vocates and opponents were carried on throughout the information sphere – in the media, on the Internet and in several visitors’ books. The fact that the public were divided in their assessment of the exhibition 4% of respondents had an ambivalent attitude towards the exhibition. In their opinion there were too was also evident from an opinion poll that was carried out. Of those that attended the exhibition in the few exhibits. There were also observations concerning the small font and insufficient informativeness Hermitage 67% gave it a positive rating, as did 52% of those who saw it in the General Staff Building. of the texts. A number of those questioned thought that a musical accompaniment would have enhanced The total number of contradictory and negative ratings from the exhibition’s principal venue was 33%, the “atmosphere” of the exhibition; and 48% in the General Staff Building. “The exhibition is interesting, but small. I should have liked to see more exhibits and history” (deputy The most common reactions to the exhibition as a whole were interest, curiosity, perplexity and surprise. company head, 43, Moscow Region); “Some of the labels are hard to read because of the small font and insufficient lighting. The relationship The last of these was especially prevalent in the General Staff Building where, in comparison with the between the label and the exhibit is not always obvious” (art historian, 23, St Petersburg); other part of the exhibition, stronger reactions such as irritation and inner protest were encountered. “A high standard of explanatory and informative pages, but some items are nevertheless insufficiently The data received indicates the more problematic character of the perception of the display in the Gen- explained” (art historian, 42, Moscow); eral Staff Building. “I liked the exhibition, particularly the minor details from that time that were shown. However, I would The opinion poll showed that the compositions of both sets of visitors were quite similar. The majority have added music for a better atmosphere” (manager of cultural projects, 24, Kazakhstan). of visitors were young people under 30 (60%), women (70%) and people with completed or unfinished higher education (over 80%), primarily in humanitarian (30%) and technical (23%) specialisations. 1% of those who filled in questionnaires were critical of the exhibition as they considered its design to be Representatives of various artistic professions accounted for 13%. The only significant difference be- unsatisfactory and the amount of material devoted to the October revolution to be insufficient: tween the two venues was that the percentage of St Petersburg residents in the General Staff Building “I did not much like the design of the exhibition. The stands with posters were very tall and not very easy was higher than in the Hermitage (70% as opposed to 45%). to absorb” (lawyer, 31, St Petersburg); An important indicator, which largely explains the reactions of visitors, was the reason for their visit. “The exhibition is aimed at foreigners and those who know their history only superficially. There was Only 29% of those questioned had come to the Hermitage specifically for the Jan Fabre exhibition, and a revolution – why, for what purpose? Where were the Decrees about peace and land? Not a word about only 36% in the General Staff Building. These figures were made up primarily of those who regularly Trotsky” (teacher, 45, Moscow). visited the Hermitage and its temporary exhibitions – young people from St Petersburg. The majority had happened on the exhibition by chance. Of those from outside the city most were not prepared to see The parts of the exhibition which left visitors with the most powerful impressions included: contemporary art in the Hermitage and certainly did not expect to see works by a contemporary artist • the sections connected with the Romanov family (Nicholas II’s diary, the Deeds of Nicholas II’s alongside classical works. abdication from the throne and Grand Duke Michael’s refusal to accept it, letters, clothing, photo- Judging by the replies of respondents who mentioned many rooms, the exhibition was studied quite fully. graphs, Tsarevich Alexei’s toys, a bayonet used in the murder of the imperial family); Up to 80% of those questioned named the works which had produced the most powerful impressions • the dual portrait of Nicholas II and Lenin; on them – some of them positive, others negative. The most popular works were Stupidity is Founded • the archive photographs and videos of the World War I and the revolutionary events; on Mortality, Vanity is Founded on Death, Angel with Open Arms, My Queens, Fidelity and the Repetition

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of Death and Chapter X. The least popular were Carnival of Dead Street Dogs, Protest of Dead Stray Cats Other frequently mentioned works were For Velimir Khlebnikov. Fates of Nations, New Doctrine about and I Let Myself Drain. War, Spirit over the Water and Sea Battles. The reactions of those who gave the exhibition a positive rating were mainly admiration, empathy, exis- It was noticeable that the number of people who did not like some of the artist’s works did not exceed tential experiences and reflections: “I admire his mastery, his incredible technique”, “I am staggered 10%. Most of all they were critical of Aurora as not corresponding to the heroic-romantic image to which by the artist’s imagination”, “I feel pity for animals thrown on to the street, I am struck by people’s cru- they were accustomed. elty”, “I immerse myself in emotions and reflections on life and death”, “I ponder on the new, piquant, An analysis of comments on the effect produced by Kiefer’s works showed a wide range of reactions provocative media used in contemporary art”. and enabled a typology to be drawn up. These were the principal types of reaction: Some visitors particularly mentioned the method of the juxtaposition of Jan Fabre’s works with ac- admiration (“I was struck by the artist’s vision”, “the scale of the paintings is striking”, “breathtak- knowledged masterpieces (“That is great! Integration into classical art introduces obvious parallels and ing”, “I admire how it looks close up and at a distance”, “I was struck by the relief of the painting, the echoes”, “You want to scrutinise it and understand the context”, “I look at classical art from a different unusual colour range”); perspective”, “Fabre’s works blended well into the permanent display, enlivening it”. immersion in the painting (“I felt as though I was in the painting”, “it seemed I was there, I felt the air At the same time, those with opposing views mentioned their lack of understanding and acceptance and space, I heard the rustle of reeds”, “the painting came to life, enveloping me completely”); of the artist’s work (“I do not understand the idea the artist wanted to put across”, “I am in shock – how comparison with reality, associations (“I recognised our landscapes, lakes and roads”, “I read by mem- many beetles he killed!”, “it’s kitsch”, “shocking”, “not art, but an attraction”, “vulgar non-aesthetic, ory Pushkin’s Boldino cycle”, “I seemed to see the horrors of war in past ages”); not worthy of the Hermitage”. reflections and existential experiences (“I think it was important for the artist to remind us that all that Many visitors to the General Staff Building were angered by two of Jan Fabre’s works concerning the remains after war are these cheerless landscapes with warped iron”, “it was like an echo of the past”, problem of cruelty to animals. Since they were understood literally, the object for moral judgment was “I reflected on what awaits us all in the world and it caused troubled emotions”, “I thought about the not those who throw out their pets, condemning them to death, but the artist himself and the museum transience of existence and eternity”, “there is a great deal of mystery and complex ideas, a particular for showing works like these. mood, but I would have liked more hope”). It was vitally important to find out visitors’ opinion on the aims of holding the Jan Fabre exhibition. There were also comments expressing incomprehension (“I did not really understand it”, “I do not know For this purpose the questionnaire included the question “Why do you think the Hermitage is showing why a book is there”, “the title of the exhibition is unclear”). the works of this contemporary artist alongside classical art?” In this instance the responses were more Here it has to be said that in most cases the exhibition, conceived as a dedication to the outstanding unanimous. In both venues the most important aims were stated to be the following: to encourage reflec- Russian poet, was perceived without this reference by the artist. The title, according to 70% of those tion, discussion and debate, for reflections on the extension of the boundaries of what is permitted in art, questioned, did not affect their perception of the works on display. It turned out that they knew little to attract the visitor’s attention to contemporary art which touches on acute and topical problems. or nothing about Velimir Khlebnikov’s work and this, of course, could not but hamper their understand- The data collected shows that by displaying such art the Hermitage is achieving those aims. ing of the exhibition’s concept and a deeper understanding of the German artist’s works. As for the dialogue between a contemporary artist and classical works on which the museum had In conclusion, it should again be noted that the exhibition was successful with the general public, elicited counted, it has to be admitted that the idea appealed to a comparatively small percentage of visitors a lively response and received one of the highest ratings among exhibitions of contemporary art. (19% in the Hermitage and 24% in the General Staff Building). It was accepted by competent visitors and remained difficult for the ordinary, less prepared visitor. Irina A. Bogacheva The conclusion to be drawn on the basis of the results research is that, despite the ambivalent attitudes to the Jan Fabre exhibition as a debatable venture, the majority of visitors acknowledged the importance of the aim of such an exhibition. Irina A. Bogacheva OPINIONS OF VISITORS TO THE EXHIBITIONS “THE HERMITAGE ENCYCLOPAEDIA OF TEXTILES. HISTORY” AND “THE HERMITAGE ENCYCLOPAEDIA OF TEXTILES. CONSERVATION”

IMPRESSIONS OF VISITORS TO THE EXHIBITION “ANSELM KIEFER, About 370,000 people visited the exhibition. In an opinion poll carried out in August and September 2017 FOR VELIMIR KHLEBNIKOV. FATES OF NATIONS” questionnaires were completed by 300 people. Many of the of visitors were relatively young – 63% of them were under 35. People of older working This exhibition, held in the Nicholas Hall in the Winter Palace from 30 May to 4 September 2017, was age accounted for 22% and those over 55 for 15%. The predominance of women at the exhibition was visited by around 600,000 people. The composition of visitors was fairly typical for the summer season significant – 79%, as opposed to 21% of men. The level of education was fairly high – 61% with higher and was similar to the makeup of visitors to the Hermitage in general. In the main the visitors were education, including 2% with further degrees, 33% were students and about 9% were senior schoolchil- from outside St Petersburg (70%), women (69%) and people with higher or unfinished higher educa- dren. Of those in higher education 32% specialised in humanities, but it was of equal interest to those tion (74%), primarily in technical (31%) and humanitarian (20%) specialisations. The visitors included with technical specialisations (28%). The percentage of specialists with artistic education in the fields many young people (64%), particularly students and schoolchildren. A comparatively small percentage of design, painting, restoration and design of clothes was 15%. Half of those visiting the exhibition were of people (12%) had come specifically to see this exhibition – they were St Petersburg residents who were St Petersburg residents, 10% were from Moscow and residents of other regions of Russia accounted regular visitors to the Hermitage. The rest of the visitors, consisting mainly of people from other cities, for 37%. had happened on the exhibition by chance. However, this did not affect the high ratings given to the ex- Since the exhibition had a complex varied structure, 21% of visitors needed from 30 minutes to an hour hibition, which the majority of visitors (almost 90%) liked. There were no negative reactions of the type to view it and 17% spent between one and two hours. In addition, 5% of visitors said it was their second encountered at the exhibition “Jan Fabre: Knight of Despair / Warrior of Beauty”: Anselm Kiefer’s time at the exhibition, discovering new details and reading the accompanying information thoroughly. works were not wedged into the main display and the artist had made no attempt to shock the public. Nevertheless, 23% of visitors spent only five to fifteen minutes on it. This correlates with the question The exhibition was acknowledged to be interesting not only by well-prepared visitors, but also by the on frequency of visit, to which 24% replied that they were visiting the Hermitage for the first time. less experienced, for whom it was “surprising” and “unusual”. Only 2% found the exhibition boring. The overwhelming majority of visitors to the exhibition (49%) were regular visitors to the Hermitage, It produced a lively reaction from visitors: “emotional”, “expressive”, “symbolic”, “disturbing” and while 26% had previously been in the museum once or twice. “poetic”. As far as the motives for their visit were concerned, 19% had come to the Hermitage specifically for this The majority of respondents (over 80%) indicated the work that had appealed to them, some of which exhibition. There were also 41% whose plans included both the exhibition and the permanent displays, were the leaders in their preferences: Untitled. 2015–2016, Untitled. 2016 and Untitled. 2015–2017. and some the St Petersburg residents (7%) who intended to take in several new temporary ­exhibitions

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in one visit. The most effective sources of advance information were word of mouth (37%) and the ­official JJ THE PRESS ON EXHIBITIONS Hermitage website (34%). Street advertising was mentioned by 9% of respondents, while similar num- bers decided to visit the exhibition after reading comments on social networks (9%) and reports on other websites (8%). Various aspects of the exhibition’s structure and design were rated quite highly, in the range of 4.2 to 4.7 out of 5. Visitors gave high marks to the diversity of the exhibits (4.7) and their arrangement in the rooms (4.7). The transparency of links between exhibits in various sections of the exhibition was Anselm Kiefer, for Velimir Khlebnikov. “2Henkin2” introduces the Henkin brothers to Russia and to the given a mark of 4.6. Opinions on the quality and amount of the accompanying information differed de- world. And, to all appearances, their work will find its niche in the Fates of Nations pending on the way it was presented: visitors were most impressed by the video monitors (4.6) showing history of photography. the process of fabric restoration. The film made to accompany the exhibition received an average rating In the last few years exhibitions of the principal German neoexpres- Evgeny Avramenko. “The Hermitage is showing of 4.5, while the wall texts and labels on the exhibits were given a rating of 4.4 by the public. A similar sionist masters have been staged in St Petersburg and Moscow: the unique photographic archive of the Henkin brothers”. not particularly high rating (4.4) reflected the difficulties that some visitors experienced in viewing the Georg Baselitz in the Russian Museum, Markus Lüpertz in the Her- Izvestia, 4 July 2017 small items in the display cases and in their general examination of the costumes. Besides that, respon- mitage and Gerhard Richter in the Jewish Museum. Now it is the dents rated the illumination of individual exhibits and the quality of lighting of the wall texts – both these turn of Anselm Kiefer. For nine years the Hermitage has been ne- For the first time the Department of Modern Art is showing works parameters were given a mark of 4.2 on a five-point scale. gotiating with the artist, who chose the place in the museum for his not by international stars but by previously unknown amateur pho- Despite the fact that the exhibition was full of explanatory information describing the restoration pro- project and specified its theme during a visit to St Petersburg last tographers who captured two cities 100 years ago… The design cess from A to Z, some parts of it remained not entirely comprehensible to visitors or inspired them year. of the exhibition came as a pleasant surprise… Instead of the usu- to seek information for themselves. There are two names here: one – romantic and referring to Hoff- al of photographs (more often than not chronologically Visitors’ replies concerning what was lacking or what they would have liked to be added or amended mann – belongs to the German artist who was born at the end of the or thematically) the organisers have created an exhibition-instal- were extremely informative and significant. Of the 300 people questioned 12% would have liked to see World War II in 1945, and the other – a reference to the Russian lation – a photographic laboratory in which the Henkin brothers more information about each exhibit on the labels so that the text would partly repeat the information poet who was born 60 years earlier and a celebration of the memory could have printed their negatives: a red light, trays for developing supplied by the video monitors. One remark was that the annotative texts were difficult to read because of Slavic archaism. They are both of equal stature in the title of the photographs and stands for hanging “samples” with . of the coloured background and reflections. 9% of respondents would have liked to see more exhibits, exhibition. Vadim Mikhailov. “A Plate with a Hammer”. more costumes and dresses, but not so much formal as everyday wear. Visitors were also interested Pavel Gerasimenko. “An exhibition by Anselm Kiefer Sankt-Peterburgskiye , 7 July 2017 in the comparison of the styles of dress of different classes in the same historical period and expressed has opened in the Hermitage”. Kommersant, 4 June 2017 the desire that the clothes should be accompanied by footwear and headgear. 9% voted for an improve- In order to show this photographic legacy from 80 years ago the cu- ment in the amount and quality of the lighting. Some visitors suggested adding an interactive element The exhibition turned out even better than expected, and the expec- rators of the Hermitage exhibition, Dimitri Ozerkov and his Depart- and inviting staff to give a short narrative about the history of the exhibits while dressed in clothes tations were great. Kiefer is not merely an artist, but an intellectual ment of Modern Art, have chosen a precise image, drawing a par- in the style of the particular period. Visitors also expressed concern about the inconvenience of viewing and a humanist who attempts to work on the borders of painting and allel between the depiction gradually appearing on photographic exhibits that were above human height. poetry and succeeds in doing so. Besides that, he also belongs to the paper and the propensity of the human memory to change under the Responses to the question why a particular exhibit or section of the display was memorable elicited two post-war generation for whom the war always remains a matter of influence of historical events. main motives which defined visitors’ focus of attention, interests and position during their visit. The ar- personal responsibility. As a result, his humanism is not abstract but Olga Maslova-Walther. “Photographs of Berlin tistic-aesthetic motive for visiting the exhibition was based on attention to the aesthetic perfection of the an ethical stance that does not descend into moralising. and Leningrad in the 1930s are on display exhibits (refinement, elegance, a bright combination of colours, decorative patterns) and on a detailed “On the exhibition ‘Anselm Kiefer, for Velimir Khlebnikov’”. in the General Staff Building”. Vedomosti, 24 July 2017 study of the methods, technologies, materials and devices used both by the creators of the masterpieces 107.4 / Business FM, 6 June 2017 and by the restorers (68%). Visitors’ replies also frequently mentioned a culturological motive (32%), The Nicholas Hall in the Winter Palace is unrecognisable – it has In short, even the red “blackout” could not dim the light pouring which showed an interest in everyday culture, the history of life and tradition, the attitude to the body out of these photographs. They had survived being cooped up in an in various ages and the practices involved in wearing the clothes. been transformed into a stylish gallery of contemporary art in di- mensions such as have previously been seen perhaps only in Amer- archive for many decades, so they could certainly survive the cura- The opinion poll demonstrated that “The Hermitage Encyclopaedia of Textiles” is an effective way tors’ clever-clever quirks – perhaps the day will come when we will of introducing visitors to the drama of the restoration process – from fragments of a masterpiece de- ica, but now, when artists and gallery owners have taken over in- dustrial ruins, these dimensions have also appeared in Europe. see these photographs in all their disarming simplicity and clari- stroyed by time via the arrangement of a of these fragments to the complete appearance of an ty and will also learn something very important “about time and item of clothing that survived for several ages. This was probably the main highlight of the exhibition. In fact, the hall is not visible at all – it temporarily houses a suc- cession of three “white cubes”, extending up perfectly even walls about ourselves”. After all, the subjects of these photographs are Lydia Ya. Rakhmanova right up to the ceiling… In short, the Hermitage dedication to Ve- not posing for the camera or trying to be better and more attrac- limir Khlebnikov and the October revolution is played out in the tive than they actually are. The Henkins’ style is incredibly modern scenery of a “war against palaces” – not in order to destroy in the sense they were trying to capture life as it was – ungroomed, it but to completely ignore it. However, it is impossible to dispel in motion, on the move. That is why every viewer involuntarily be- the thought that at the end of the Neva Suite, of which the Nicho- comes part of that life, like somebody passing by an open door and las Hall is the main part, is the room where the Provisional Gov- seeing by chance a table with a checked tablecloth, a child play- ernment was arrested. ing on the floor, a woman with her arms raised in front of a mirror. The Lesser Dutchmen would probably have seen pre-war Lenin- Anna Tolstova. “Isaak Velimirovich Kiefer”. grad and Berlin in the same way if they could have been trans- Kommersant, 9 June 2017 ported there. Tatiana Voltskaya. “Water in a Jug”. Radio Svoboda, 25 August 2017 The Henkin Brothers: A Discovery. People of the 1920s – 30s Leningrad and Berlin The Hermitage Department of Modern Art’s latest exclusive is a mi- raculously surviving family photographic archive showing unofficial life in Leningrad and Berlin in the 1920s and 1930s. The exhibition 92 93 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

Porcelain Flowers by Vladimir Kanevsky ness and volatility of painted forms, cut the lace of the most deli- kenty Smoktunovsky were anticipated by his sketches for the pro- To mark the centenary of the revolution the familiar appearance cate Brabant cuffs from straight geometric hatching, enclosed in ductions in which they acted their best roles. of the formal palace interiors has been changed to such an extent Nature created flowers which show their beauty but quickly die. an elegant oval what was painted in a strict rectangle on the can- that they are unrecognisable: red panels, photographs enlarged The flowers created by the amazing artist Vladimir Kanevsky rival Stanislav Savitsky. “An exhibition to mark Eduard Kochergin’s vas, “packed” what took up several square metres in a palace room to gigantic proportions and lighting effects captivate you from the eternity and can delight the eye indefinitely. 80th birthday has opened in the Hermitage”. into a sheet of paper, altered the outfits according to the demands Delovoy Peterburg, 17 November 2017 very threshold, immersing you in the revolutionary past… Anastasia Yalanskaya. “The Hermitage is staging of the time and sometimes permitted himself to joke and wink at his Svetlana Konokotina, “The Hermitage. We Speak an exhibition of porcelain flowers by Vladimir Kanevsky”. painter friends. and Show”. St Petersburg TV channel, 31 October 2017 Peterburgsky Dnevnik, 6 July 2017 Kira Dolinina. “A Chisel for Imitation”. Kommersant, The Hermitage tells “how it really was” with scholarly detachment, The Winter Palace and the Hermitage in 1917. The Blackamoor Hall and the Rotunda in the Winter Palace are full 8 September 2017 proud that this is the museum’s first exhibition in 100 years about of poppies, lilies of the valley, roses, lilac… The flowers and buds History was Made Here An exhibition which Hermitage Director Mikhail Piotrovsky has the revolution. It is cunning, of course: the accent here is not on the made of porcelain are painted by hand and “planted” on a metal called aesthetic has opened in the Twelve-Column Hall in the New The main exhibition of the year marking the centenary of the Octo- chaos but on how it was overcome, describing how the Hermitage framework in the form of plant stems with delicately engraved pet- Hermitage. It features a long-lost art which can be called the fore- ber revolution has opened in the Hermitage. The museum has never prevented looting and how the revolution was transformed from the als. The authenticity and special charm of these flower-deceptions is runner of modern photography – the engraved portrait, revealing been seen like this: projectors coloured the outer walls of the Winter main event in the country’s history into just one of its episodes. This enhanced by little defects – trails of insects and caterpillars. the name of an outstanding master of the genre. His name and sta- Palace red, the colour the building was at the moment of the revolu- is the pathos of the exhibition-performance: people die but culture Ludmila Leusskaya. “Flora of Porcelain”. tus as one of the most important graphic artists of the 18th centu- tion, and it was also red inside. “Renounce the Old World!”, “Long never does. For the sake of this simple thought, expressed polysyl- Sankt-Peterburgskiye Vedomosti, 13 July 2017 ry who left a noticeable trace in Germany, France and Russia are Live the Constituent Assembly!” – rows of red calico panels with labically, elegantly and on many levels, you should go to the Hermit- mentioned in the title of the exhibition: “Georg Friedrich Schmidt slogans greeted visitors at the entrance to the exhibition, impressing age. There is no need to take it by storm. (1712–1775). The Royal Engraver”. them and scaring them at the same time. The project, entitled “The Olga Komok. “Surmounting Chaos: the exhibition ‘The Winter Winter Palace and the Hermitage in 1917. History was Made Here”, Palace and the Hermitage in 1917. History was Made Here’”. Ludmila Leusskaya. “The Royal Engraver. King of Engraving”. The Hermitage Encyclopaedia of Textiles. History. was, surprising though it may seem, the celebrated museum’s first Peterburgsky Dnevnik, 21 November 2017 Conservation Sankt-Peterburgskiye Vedomosti, 12 September 2017 experiment with this type of exhibition. Five rooms, more than 350 exhibits from a dozen different museum collections, reproductions, What influenced the choice of exhibits for this display was not so video, audio – they have never worked here on such a scale. much their uniqueness and high standard of artistry as the possi- bility of showing how complex problems of conservation and res- Porcelain Metamorphosis of Inna Olevskaya Inga Bugulova. “The Talking Palace”. Giacomo Quarenghi (1744–1817). toration are resolved and how the approach to them has gradual- Rossiyskaya Gazeta, 26 October 2017 Architect and Draughtsman The work of Inna Olevskaya – a master of painting on porcelain and ly changed over the last 80 years, which methods are still used and sculptress who creates original services, a talented painter and the- The display is structured on an inexplicit dialogue with Eisenstein’s Quarenghi’s real museum is, of course, the city itself. However, the which new trends are now predominant. Some of the exhibits have atrical designer – is diverse and masterly. It not only enriches the propaganda film and refutes the fabrication of “the storming of the architect is respected both in his native city of Bergamo (the an- their own unique history of restoration. St Petersburg school of artistic porcelain, but is itself a significant Winter Palace” that was formed under the film’s influence, but the niversary of his death was marked there by several events) and in Diana Mitskevich. “An Art Itinerary: The Hermitage Encyclopae- phenomenon of contemporary decorative applied art. Olevskaya’s exhibition’s historical and documentary genre cannot conceal its ob- the Hermitage. The St Petersburg museum presents Quarenghi dia of Textiles. History. Conservation”. InterModa.ru, 29 July 2017 original talent, outstanding individuality and wonderful skill enable vious monarchist bias – the main focus is on the Winter Palace’s last as a draughtsman, both in architecture and in the broader sense. inhabitants. A painting exhibited for the first time can be seen as The display includes blueprints for his own projects and drawings A formal costume of Peter I made for the coronation of his wife the her to create incomparable pieces which win the sincere love of con- a metaphor of Russian history: in 1924, on the reverse side of a for- of them, as well as drawings of other buildings. The brilliant pu- Empress, a caftan and breeches raised by archaeologists from a ves- noisseurs and professionals of porcelain art. mal portrait of Nicholas II painted by Ilya Galkin in 1896 for the as- pil of Raphael Mengs and Stefano Pozzi breathed life into the dry- sel that sank in 1724, a Dutch doll presented to Alexander I – all this Ekaterina Kudasova. “Porcelain Metamorphosis. sembly hall of a commercial college Vladislav Izmailovich painted ness of often formal routines. An even more entertaining section can now be seen not through the prism of photographic archives but An unusual exhibition is opening in the Hermitage”. the figure of Lenin against the background of the SS Peter and Paul of the exhibition is devoted to cartoons and caricatures of Quareng- with one’s own eyes at the “Hermitage Encyclopaedia of Textiles” Argumenty i Fakty, 25 September 2017 Fortress. The painting hung in that form for many years in a Sovi- hi, whose unfortunate nose and defeat in the battle with Thomas de exhibition. et school. Thomon for the Stock Exchange building made him the butt of end- Alina Malyutina. “What to see at the ‘Hermitage Pavel Gerasimenko. “The Hermitage is greeting visitors less jokes. Encyclopaedia of Textiles’ exhibition”. Sobaka, 1 August 2017 with revolutionary posters”. Vedomosti, 30 October 2017 Kira Dolinina. “Hero of One City. Giacomo Quarenghi Kochergin. Selected Works. On the 80th Birthday in St Petersburg”. Kommersant, 20 December 2017 St Petersburg’s principal museum has never shown fabrics from its of Eduard Kochergin Who would have thought that the day would come when regular visi- collection in such volume, diversity and chronological range. About tors to the Hermitage could experience the upheaval more powerful- 300 exhibits – the best and most interesting – have been selected The Hermitage has organised an exhibition to mark the 80th birth- ly than those who first crossed the threshold of the museum? Thresh- from the 50,000 pieces in the textile collection. day of the most distinguished theatrical designer in St Petersburg, old is not, in this case, a figure of speech. The Great Courtyard of the Eduard Kochergin. It is a great compliment to a man who has be- The Voice of the Time. Soviet Porcelain: Evgeny Avramenko. “The Hermitage is showing Winter Palace contains the “Enemy of Capitalism” armoured car, come a legend of Russian theatre and Russian literature in his life- Art and Propaganda. From the “Christmas Gift” Series timeless fashion”. Izvestia, 23 August 2017 similar to the one from which Lenin called for a socialist revolu- time but has always seemed to be in the shadow of other greats. tion in April 1917. The Jordan Gallery, through which visitors en- The Hermitage has opened an exhibition entitled “The Voice of the Kira Dolinina. “An Artist in a Cube”. ter the museum, is completely covered in red calico banners with Time. Soviet Porcelain: Art and Propaganda”, marking the cente- Kommersant, 24 October 2017 revolutionary slogans: “Renounce the Old World!”, “Down with the nary of the Russian revolution and also forming part of the “Christ- Georg Friedrich Schmidt (1712–1775). The Royal Engraver Capitalist Ministers!”, “Long Live the Constituent Assembly!”… mas Gift” series held in conjunction with the Imperial Porcelain An exhibition to mark Eduard Kochergin’s 80th birthday has opened The grand staircase is crowned by a huge poster depicting a work- Manufactory. Some may find the combination of propaganda and Schmidt chose the portrait as his principal discipline and the exhi- in the Hermitage. It is a celebration of rare merit and the museum is er smashing fetters with a hammer. All this relates to the exhibition Christmas inappropriate, but this is the most intelligent and intel- bition is mainly about how well-known paintings became world-fa- well matched with the celebrant. Kochergin as a theatrical design- “The Winter Palace and the Hermitage in 1917. History was Made lectually rich exhibition in the eighteen years of the project. It shows mous thanks to Schmidt’s reproductions. For the subject of the por- er undoubtedly commands respect – even in the world of the theatre Here” in the formal rooms of the Neva Suite. It is the final part of how Soviet porcelain changed over the years. trait the choice of engraver was hugely important, even in the case with its jealousy and malice. He was one of the founders of the leg- “The Storming of the Winter Palace”, a major Hermitage project to Vadim Mikhailov. “A Plate with a Hammer”. of the most successful painting: it would determine how the portrait endary Bolshoy Drama Theatre under Georgy Tovstonogov and has mark the centenary of the revolution. would look to a much wider audience than the original. Schmidt per- been the theatre’s principal designer since 1972. The benefit perfor- Sankt-Peterburgskiye Vedomosti, 26 December 2017 Ludmila Leusskaya. “Storm of the Year”. formed miracles: with a dry chisel he was able to retain the gentle- mances of , , Efim Kopelian and Inno- Sankt-Peterburgskiye Vedomosti, 31 October 2017 94 95 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION

In 2017 the Department of Scientific Restoration THE DEPARTMENT OF SCIENTIFIC and Conservation restored 6,623 cultural RESTORATION AND CONSERVATION IN 2017 and artistic monuments A number of exhibits were prepared for large-scale exhibitions dedi- cated to the centenary of the October Revolution. The Laboratory Including for Scientific Restoration of Photos restored photographs portray- ing Tsarevich Alexei shooting with a bow and sessions of the State Easel paintings 412 . In both cases, apart from the restoration of prints, a con- siderable effort was made to restore and conserve inscriptions Tempera paintings 37 and marks which have a huge historical significance. The Laboratory for Scientific Restoration of Graphic Works pro- Mural paintings 65 cessed a number of brochures, journals, books, posters and graph- Oriental paintings 20 ic pieces. The special nature of the job stemmed from the variety of techniques, the quality of paper and the character of damage. Graphic works 727 Experts from the Laboratory for Scientific Restoration of ­Easel Painting have completed the restoration and conservation Laboratory for Scientific Restoration of Precious Metals. Discussion Master class on restoration and conservation of furniture. Omsk Vrubel Sculptures and semi-precious stones 107 of The Lute Player by Caravaggio. After the removal of yellow var- of preliminary outcomes of the cooperation between the State Hermitage, Regional Museum of Fine Arts. Vladimir Gradov, Head of the Laboratory nish and overpaintings, the picture was largely transformed, return- Carl Zeiss AG and OPTEC Group AG for Scientific Restoration of Furniture Works of applied art 2,533 ing closer to the original colour-scheme. The painting was displayed at a temporary exhibition from the “On the Completion of Restora- Artefacts made of organic materials 196 tion/Conservation” cycle, and an accompanying academic publica- Textiles and water-soluble paintings 142 tion was ­issued which traced the stages of the restoration. Restorers of murals are continuing with the project involving the Precious metals 269 restoration of large-scale frescoes by the studio of Raphael. 2017 saw the unveiling of the preliminary results of the clearing of the Timepieces and musical mechanisms 1,825 fresco A Landscape with a Faun and Nymphs. In 2017 the State Hermitage was represented at the Denkmal Pieces of furniture 63 ­Russia–Moscow 2017 International Trade Fair of Heritage Preser- vation, Restoration and Museum Technology. The Hermitage stand Chandeliers 56 included video clips about the Department of Scientific Restoration Photographic materials 171 and Conservation, specialised editions, master classes on the res- toration of graphic artworks. The State Hermitage Publishers pro- duced an information booklet on restoration and conservation at the Hermitage for the fair. A meeting of the Hermitage Friends’ Club on 30 March 2017 was The RESTAURO-MUSEI Salon, Ferrara, Italy. Master class on mounting Study course “Issues of Filling in Lost Areas and Tinting with Restoration dedicated to the work of restorers. The “Staraya Derevnya” Resto- and restoration of photo materials Mastic in Applied Art Objects”. National Museum Reserve of Tauric ration, Conservation and Storage Centre was used as a base for visits Chersonesos, Sevastopol to restoration labs, and a number of master classes on the restora- tion of books and graphic works; the technique of making and re- were offered on the history of restoration at the Hermitage, the res- storing lapis lazuli and mosaics; and cyanotype. Regular toration of paintings and photographic materials. classes for visitors from the “Resurrecting the Past” cycle included The Hermitage School of Restoration Programme (curated by Ma- lectures, master classes and tours of the laboratories of the Depart- rina Michri) marked its twentieth anniversary. To celebrate this ment of Scientific Restoration and Conservation. date, the fourth academic and practical conference “The Hermit- The programme “Joining Forces to Preserve Our Cultural Heritage age School of Restoration: Conclusions and Prospects” was held Together” (joint project of the State Hermitage and the Coca-Cola in ovember 2017 at the Sverdlovsk Regional Local History Museum. system) is being successfully continued. Traditionally, the Hermit- Papers and presentations were made by employees of the State Her- age restorers share their experience with their colleagues in Russian mitage and other museums in Russia and Kazakhstan; the outcomes regions after study trips to museums and specialised centres abroad. of the work over the past years were discussed, and further pro- The master classes held in 2017 focused on the restoration and con- gramme development prospects were outlined as well as the topics servation of furniture (at the Omsk Vrubel Regional Museum of Fine for future study programmes. Arts), tempera paintings (at the Primorskaya State Picture Gallery, In 2017 the Hermitage School of Restoration Programme included Vladivostok), textiles (Ulan-Ude, Buryatia). study courses on “The Basics of Preventative Conservation and For the seventh time the Hermitage participated in the Restauro- Restoration of Photographic Materials” (based at the East Crime- MUSEI Salon of the Art of Restoration and Conservation of the an Historical and Cultural Museum-Reserve, ) and “Issues Cultural and Economic Heritage in Ferrara, Italy. The programme of Filling in Lost Areas and Tinting with Restoration Mastic in Ap- included master classes on mounting and restoration of photo ma- plied Art Objects” (at the National Museum-Reserve of Tauric Cher- Laboratory for Scientific Restoration of Mural Painting. Mounting display pieces for the exhibition “The Hermitage Encyclopaedia terials, restoration of lapis lazuli and malachite mosaics. Lectures sonesos, Sevastopol). Restorers at work of Textiles. Conservation”

96 97 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION

MICHELANGELO MERISI DA CARAVAGGIO (1571–1610). THE LUTE PLAYER

Italy. 1595–1596 Oil on canvas 94 × 119 cm Inv. No. GE-45 Curator Tatiana Bushmina Restored by Victor Korobov

The only painting by Caravaggio in Russia has always been main- tained in proper condition by the museum’s experts. But layers of old varnish and overpainting were distorting the original design. The picture was sent to the Laboratory for Scientific Restoration of Easel Painting in May 2015. The restoration was accompanied by a thorough technical and tech- nological study using state-of-the-art high-precision equipment. In accordance with the traditions of the Hermitage School of Res- General view of the painting before restoration toration, the restorer was faced with a task of clearing the paint- ing while leaving a thin layer of original varnish, so it was decided

General view of the painting after restoration

Detail of the painting before restoration: Detail of the painting after restoration in direct light: a) small inpaintings are visible in direct light the varnish has been thinned out and levelled, the darkened overpainting b) in side light, individual bulges can be seen across the entire surface has been removed, the lost painting details have been filled in

to ­undertake this task layer by layer, thinning out the varnish gradu- dark background. The later inpainting levelled and subdued the ver- ally across the entire surface. satile manner of painting demonstrated by the artist. The removal As the interim varnish layers were thinned out, multiple overpaint- of broad inpainting has made it possible to clear up the original ings and inpaintings of different periods were revealed. The main ex- structure, to open up the transitions between thickly painted areas tensive areas of inpainting in burnt umbra could be seen across the and half-transparent paint layers. entire background around the figure. The border of the ray of light The visual effect after the uncovering has made it possible to see on the wall was adjusted, possibly in the 19th century, so that the a new surface, radiant in the light reflected by the surface of the slanting ray of light did not touch the youth’s head, narrowing the lit painting, a light which creates vibrant, sparkling colours by using strip. The youth’s haircut was “improved”: the hair on the right was a complex multifaceted texture. The removal of restoration addi- made somewhat shorter, making the head more symmetrical. Some tions across the entire surface also uncovered tiny worn-out areas of the thicker inpainted areas were concentrated around the image and small painting losses concealed by later additions. The lute of the jug and along the entire left border of the painting. The violet strings were altered above the layers of restoration varnish. iris flower, hardly visible prior to restoration, had been altered using The challenge of uncovering the work was necessitated by the need, a thick layer of dark-olive-coloured paint, and there was an area on the one hand, to smooth the abrupt outlines of newly-painted painted in a dark half-transparent colour to the right of it. The en- strings while faced with a dangerous possibility of deleting them tire dark background in the left upper quarter of the canvas was completely, and on the other hand, to maintain a balance of cor- covered with an even layer of greenish-brown paint in an attempt relation between the original painting and the late alterations, to mask the tiny areas of wear and tear around the tips of the pro- to find a harmony, to achieve an agreement between conservation truding areas. Under this paint, it was hard to discern the end wall elements and the original work, if these elements were superim- of the room and two violet irises, which nearly blended in with the posed over areas where some of the original had been lost. In view

98 99 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION of these circumstances,­ the work called for a compromise solution A RED-FIGURE PELIKE WITH THE IMAGE and a high-precision approach to restoration. OF A LABOUR OF HERCULES The overpainted areas that looked like stains on the image of the youth’s face, breast and hands, as well as on the white shirt drew Attica. C. 350s – 340s BC the restorers’ attention. The overpainted areas covered light and Clay; red-figure painting, overlay painting. 94 × 119 cm dark spots over abrasions or minor bulges, which made it even Inv. No. P.1839-26 harder to remove. In the shaded areas of the face, neck and hands Curator Dmitry Chistov of the youth, the inpaintings were covering abrasions down to the dark priming. Restored by Bazhena Kutergina During the uncovering process, it was established that all of these overpaintings tended to consist of two layers. The later overpainted The year 2017 saw the completion of the restoration of a pelike dis- areas, wide and darkened, were concealing areas smaller in size, playing a labour of Hercules pursuing the Ceryneian Hind. Among lying over tears and abrasions in the original painting. The inpaint- the onlookers watching the hero complete his quest is the winged ings placed directly over the original without the intervening layer figure of Nike, whose appearance signals the hero’s success. This is of varnish were diffusely linked to each other and for that reason, a unique subject for the Kerch style of vase painting, which means they were not completely removed but just eroded. After the late that the pelike, its magnificent painting adorned with overlay paint- additions and inpaintings had been removed from pilot areas, the ing, is of great academic interest. However, a full study of the arte- varnish layer was finally levelled. Conservation priming was ap- fact was hampered by its poor state of preservation exacerbated by plied to tears and the varnish over the surface of the painting was later restoration interventions; after a previous restoration attempt, regenerated. To add a protective layer which could optically bring the glue had lost its hold and had darkened considerably. There the painting together, it was covered with a turpentine-containing were significantly stained areas, the bottom of the vessel was cov- mastic varnish. The lost painted areas were filled in using Maim- ered in thick calcareous crust, with water-soluble salts discovered eri restoration colours. Since the uncovered abrasions of the upper in the pottery, which were causing irreparable harm to the paint- paint layer across the background as a whole were not clashing with ing, i.e. varnish peeling and flaking. There were multiple abrasions, the colour scheme and tonal unity in the perception of the painting, chips, nicks and considerable losses across the entire surface. Plas- it was decided to retouch them in specific selected points, so that ter additions had been lost in many places. a minimum intrusion in the original painting did not interfere with Researchers focused on the use of overlay paints (yellow, red) in the the aesthetic and historic value of this work of art. elements which were traditionally treated differently in vase paint- ing of the time, such as the three figures on the B side. The authen- ticity of the paint on the sitting female figure, as well as the figures of Hercules and Nike, was called into question. It was suggested that some additions and overpaintings applied during an earlier res- ICON OF THE VIRGIN toration attempt were in evidence. The old plaster additions were in JOY OF ALL WHO SORROW some places applied over the original surface of the artefact, mak- IN A GILDED SILVER CASE ing its attribution difficult. Icon of the Virgin Joy of All Who Sorrow. Icon of the Virgin Joy of All Who Sorrow. Ahead of the start of restoration, the Examination and Authentica- Moscow. Icon: second half of the 17th century. Case: 1823 Before restoration After restoration tion of Works of Art Department undertook tests aimed at deter- Wood, tempera, silver, copper; blackening, gilding, silvering, enamel, mining the composition of the paint. X-ray fluorescence analysis was embossing, filigree, engraving. 128.5 × 119 cm used to establish that the overlay yellow and red paints were differ- Inv. No. ERO-8836 ent in composition from the paints that were used in the 4th centu- open areas. The X-ray fluorescence analysis did not reveal any mer- S. Osipova, art restorer at the Laboratory for Scientific Restora­ ry BC, whereas the dove-grey colour of the hind and the white ­colour Curator Alexander Solin cury, which is an obligatory element of amalgamation silvering. tion of Tempera Painting, investigated the painting under the Restored by Mikhail Verevkin under the supervision of Igor It is likely that this foil was placed there during a renovation or case which revealed a threat of flaking: in the upper section of the Malkiel (Laboratory for Scientific Restoration of Precious Metals); restoration, since the technique of metal plating, which replaced icon, priming with paint layer was peeling off in vertical bulges, Svetlana Osipova (Laboratory for Scientific Restoration the extremely hazardous amalgamation, was not invented until with multiple ridge-like elevations across the entire surface. In the of Mural Painting) 1838, while the case dates back to 1823. The silvering losses were middle and lower part of the icon, large cavities were discovered filled in using a tool for local metal plating. The old thread to which (places where the paint layer had become detached from the base). When it was presented to the Laboratory for Scientific Restora- the foil was attached had been damaged and had lost its elastic- It was necessary to reinforce the paint and priming layers. The tion of Precious Metals, the case was very dark, with some essen- ity. The workgroup decided to replace the thread using the existing area was coated in a weak warm solution of fish glue applied over tial mounting elements missing or deformed, with traces of blows holes in the foil. square Japan paper. The area was covered with a thin PTFE film visible on the background and frame plates, with resulting damage Under the enameled plates, there were paper inserts with water- and warmed up slightly using a hair-drier. When the paint layer and to enameled plates and tearing and crumpling of the filigree crowns. marks, fragments of counterenamel and even plant seeds. After the priming became suitably elastic, the surface was carefully levelled After the case had been completely dismantled, the elements were chalk had been cleared away, the cracks and chips in the enamel using a PTFE spatula. Stronger glue was injected from a syringe cleared of stains and oxides, the crumpled filigree fragments were were filled in with a light-cured polymer composite material. In the into peeling areas. After the bulges had been levelled, the glue had straightened out under the Zeiss Axio Zoom V16 and LYNX EVO laboratory, they restored the thread joints, manufactured replace- been applied, and the electric spatula was used over filter paper to microscope. All the fragments were welded together using a laser ments for lost mounting elements which were necessary to make dry the area up, it was placed under pressure (sandbags). Several over the torn areas. The challenge was made much greater because the structure durable. The adjoining points were reinforced with weeks later, the pastings and excessive glue were removed from the the twined silver filigree wire was so fragile. The surface of the cop- cardboard cushions to prevent further damage to the paint layer painted surface. per foil under the filigree parts was covered with a layer of wax and from the protruding screws. To protect the surface of the silvered soot and corroded, while the silvered layer had peeled off in many areas from darkening, it was covered with a Paraloid B 72 resin. Before restoration After restoration

100 101 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION of the female figures were authentic. The ceramics sector of the TSAREVICH ALEXEI SHOOTING Laboratory for Scientific Restoration of Applied Art Objects also WITH A BOW carried out a number of studies, including one under UV light, which uncovered additions over the original white paint on both female fig- Anonymous photographer, 1918 ures. After all the studies had been undertaken and a full clearing Gelatin print. 21.3 × 119 cm had been completed, the original white and dove-gray paint was re- Inv. No. ERFt-36643 inforced, after which the pelike was disassembled, and the remnants Curator Natalia Avetyan of old glue, the inpaintings and the loose additions were removed. What followed was a long and painstaking process of putting the Restored by Olga Eberts pelike together again, which was made much more complicated by The bronze decor after restoration the fact that many fragments had been filed off during the previous This photographic print was sent for restoration ahead of the ex- restoration and had a joint area of 1–3 mm, and sometimes no joints hibition “1917. Romanovs & Revolution. The End of Monarchy” at all. The upper and lower parts of the pelike were assembled sepa- were fixed inside using brass wire brackets, which gave the entire (The Hermitage • Amsterdam Centre, 4 February – 17 September rately, and after the seams were reinforced and filled in with mastic, structure the required stability and completeness. Then came the 2017). The scene pictured on the photograph dates back to the exile they were put together again. painstaking work of replacing the lost fragments. Silicone molds of the last Russian Emperor Nicholas II to . The multiple losses on the body of the vase were filled in with plaster, were made using the original decorative elements which were sym- On the reverse of the photograph there are a great number of in- the lost areas around the lip were replaced using the mould made metrical to the lost ones, which were used to create replacements scriptions, notes and stamps which bear witness to the long prov- from an intact part of the lip. Then the additions were retouched so made of two-part epoxy resin. Then one-mm-thick brass plate was enance of the print. that they did not differ in colour from the colour of the pottery, with- used to saw out replacement foundations based on their outlines. When the print was sent for restoration, it was grimy and deformed, out reproducing the painted elements. This work resulted in uncov- The foundations with replacements pasted onto them were at- with multiple bow-shaped creases made by fingers. The bottom left ering the painted areas which had been hitherto obscured by overlay tached with brass wire brackets which kept the structure steady corner is lost, and there is a small tear near the upper right corner. paint and plaster, and it became possible to study the artefact fur- inside. The ends of the brackets visible on the obverse were cut off There were some abrasions, small scratches, fingerprints on the sur- ther, to specify its attribution and dating. and riveted over. After the reinforcement was complete, the ad- face of the image layer, and some silver had been lost in the darker ditions were tinted over. The whole set of restoration steps ended areas of the image. Along the left edge at the bottom, the hardest with the assembly of the vase. creases have led to the cracking and peeling of the gelatin layer. As a result of the restoration work, the bronze decor regained The paper tag pasted to the reverse was loose and badly deformed because of the shrinking of the unevenly applied glue. Its lower part EGG-SHAPED VASE its famous sheen so typical of French bronze in the 18th – early 19th century,­ and the vases regained their display-worthy quality. along the crease line was the worst affected: there were some losses and tears and some small fragments which could hardly remain France. Sèvres Porcelain Manufactory. C. 1804 Considering the cultural, historical and artistic importance of these Before restoration Porcelain, light-blue background, lapis gilding; bronze, gilding artefacts, they are scheduled to be placed on permanent display in place. Height 107 cm, diameter 51 cm “Under the Sign of the Eagle” in the General Staff Building on both It was decided that the tag should be removed. After some tests had Inv. No. EF-24967 sides of the painting An Invalid Handing a Petition to been made, it turned out that the glue which held the tag was water- soluble. But the impact of liquid could easily have caused the loss Curator Jan Vilensky at the Parade in the Court of the Tuileries Palace by Horace Vernet. of handwritten inscriptions, notes and retouching, because they are Restored by Stepan Kutergin an unalienable part of the item’s historic image. So it was necessary to remove the tag by means of local dampening. This was an espe- The Hermitage collection owns some magnificent examples of the cially challenging task. A moist heat pack of methylcellulose water Empire style, including a pair of Sèvres Manufactory vases. One solution was applied to a small area. A lengthy period of time was of the vases had to be restored because of its unstable condition. required to soften the glue, and even a minor and local application Bronze and steel elements were covered in corroded deposits and of liquid made the base of the print buckle considerably. It could not had multiple scratches; the gilding had worn off, completely in some be suffered to crease and the tag itself could not be damaged. After cases. On the surface of the porcelain there were persistent stains, the glue had been softened, the fragment of the tag was detached especially where there were metal elements adjacent to it. The vase from the print, the methylcellulose was removed and the area was had already been restored before. The inner surface of bronze ele- dried out between sheets of filter paper under a small weight. Thus, ments had traces of old tin soldering which had become loose, caus- the tag was removed without moistening the print too much, and ing the cast bronze decorations in the lower part of the vase to bend it was then cleared of remnants of glue and reinforced. Japan paper out of shape, peeling off the porcelain surface. Some fragments of was used to strengthen the tears and fill in the losses. Surface stains the bronze decor has become detached; there were also losses which and remnants of glue were removed from the print, and tears and had to be filled in so that the artefact was more durable and became peeling gelatin layer were solidified. fit to be displayed. In order to remove the deformities, the print and tag were moistened Ahead of restoration events, the item was subjected to a detailed using Gore-Tex membrane fabric (a material which ensures moist- scrutiny. The X-ray fluorescence analyser was used for the test, ening without direct contact with water) and placed under a weight while a visual investigation was undertaken under a Leica micro- between cardboard sheets until they were made quite straight. After scope at 40 × magnification. The restoration project began with the restoration was complete, an exhibition mount was made for the disassembly of the metal vase body case, its handles, legs, and photograph. base. Then the stains were removed from the porcelain, bronze and steel details were cleared, and the corrosion was stabilised. The main challenge for restorers was the reinforcement of the original bronze decor. After the stains and traces of the previ- After restoration ous restoration (glue, tin) had been removed, the bronze details Before restoration After restoration 102 103 PUBLICATIONS PUBLICATIONS

JJ PUBLICATIONS OF 2017 TO MARK THE 100TH ANNIVERSARY OF THE RUSSIAN REVOLUTION OF 1917

The Voice of the Time. Soviet Porcelain: Art and Propaganda. Exhibition catalogue. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 240 pp. Ill. (“Christmas Gift” Series) ISBN 978-5-93572-761-1 COLLECTION CATALOGUES This catalogue was prepared for the traditional “Christmas Gift” exhibition, organised by the State Her- mitage Museum and the Imperial Porcelain Manufactory to mark the October revolution of 1917. It con- Dutch Painting Seventeenth – Eighteenth Centuries. Catalogue of the collection. 4 vols. tains over a hundred works showcasing the development of agitprop porcelain throughout 1919 – 1980s. By Irina Sokolova. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. Vol. 1: Aldewereld–Vijnck. – 440 pp. Ill. Sergei Eisenstein. October in the Winter Palace. By Ksenia ISBN 978-5-93572-745-1 (vol. 1) Malich. The State Hermitage Museum. St Petersburg: The State ISBN 978-5-93572-744-4 Hermitage Publishers, 2017. – 76 pp. Ill. This is the first complete scholarly catalogue of 17th- to 18th-century Dutch painting in the State Her- mitage holdings. The museum’s vast collection encompasses over 1,500 pictures representing almost all ISBN 978-5-93572-757-4 artistic centres in Holland and a multitude of the Golden Age masters. The brochure makes an attempt to reconstruct the story behind the The material is spread across several volumes. The first volume includes works by the artists from making of the film October by Sergei Eisenstein and Grigori Al- Aldewereld to Vijnck (“V” is the third letter in Russian ABC), both celebrated and less known ones. exandrov, tied to the 10th anniversary of the October revolution. The study covers scholarly literature and archival records to the maximum extent possible. One third A ­special focus is given to the episodes shot in the Winter Palace of the paintings have never been published before. and in Palace Square.

Dutch Painting Seventeenth – Eighteenth Centuries. Catalogue of the collection. 4 vols. By Irina Sokolova. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. The Winter Palace. October 1917. Collection of Memories of the October Revolution Participants. Vol. 2: Vinkbons–Liust. – 384 pp. Ill. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 164 pp. Ill. ISBN 978-5-93572-746-8 (vol. 2) ISBN 978-5-93572-752-9 ISBN 978-5-93572-744-4 A collection of memories of the participants in the revolution of 1917, written in the retrospective mem- The second volume of the catalogue of 17th- to 18th-century Dutch oire genre. painting in the State Hermitage holdings comprises works by a se- lection of artists from Vinkbons to Liust. The supplement contains reproduced samples of the owner’s and other stamps found on the The Hermitage Museum. From February to October. 1917. backside of the canvases. Archival Records. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 712 pp. Ill. (“Pages of the Hermitage History” Series) Nineteenth-Century Russian Painting. Catalogue of the collection. By Yury Gudymenko. ISBN 978-5-93572-743-7 The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 424 pp. Ill. This collection is concerned with the museum’s activities in 1917. ISBN 978-5-93572-737-6 In addition to the records that provide a multifaceted insight into The catalogue features artwork of the 19th-century Russian school of painting, created by those artists the Hermitage’s activities, the publication incorporates archival whose authorship is undisputed or assumed. The works by unidentified 19th-century Russian artists will records giving an account of a struggle between the museum and be dealt with in a separate volume. The artists that studied outside the Russian Empire were not included the government following the October coup as well as articles from in the publication. Most of the works were published or reproduced for the first time, with many given the revolutionary-time newspapers and a rich variety of photo- new attribution and dating, as reflected in the catalogue. graphs by the Artistic and Historical Commission that recorded the destruction of the Winter Palace interiors following the arrest of the Provisional Government.

Museo Statale Ermitage. La scultura italiana dal XVII al XVIII secolo Da Bernini a Canova. Catalogo della collezione. Revolutionary Time in the Russian Museum and in the Hermitage (Recollections of Count By Sergey Androsov; Ermitage Italia, Venezia. Milano: Skira, Dmitry Tolstoy). The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 336 p. Ill. 2017. – 56 pp. Ill. ISBN 978-88-572-3417-5 ISBN 978-5-93572-748-2 A catalogue of 17th- to 18th-century Italian sculpture from the State This publication features recollections of the State Hermitage’s Director, Count Dmitry Tolstoy. It is un- Hermitage Museum. derpinned by the materials from The Russian Archive. Russian History in the Accounts and Records of the 18th – 20th Centuries (Moscow, 1992). The text is published without amendments. Archival pho- tographs and records are included.

104 105 PUBLICATIONS PUBLICATIONS

CATALOGUES OF TEMPORARY EXHIBITIONS Reality and Magic. Porcelain by Nelli Petrova. Album for the exhibition at the State Hermitage Museum. St Petersburg, 23 May – 3 September 2017. Compiled by S. Kraeva. Articles by A. Borovsky [et al.]; abstracts and catalogue descriptions by E. Mikhailova [et al.]. St Petersburg: Russkaya Byzantium through the Centuries. Exhibition catalogue. The State Hermitage Museum. St Petersburg: Kollektsiya Publishers, 2017. – 258 pp. Ill. The State Hermitage Publishers, 2017. – 428 pp. Ill. ISBN 978-5-00067-039-2 ISBN 978-5-93572-718-5 This publication familiarises the reader with the artwork produced by the St Petersburg porcelain artist This publication is premised on the materials of the exhibition “Byzantium through the Centuries”. Nelli Petrova. The bulk of the works were created after her first monographic album The Sources (2010) The catalogue introduces the readers to Byzantine works hailing from various Greek museums, among and are published for the first time. Apart from porcelain works, the book incorporates Petrova’s draw- them sculptures, mosaics, fresco fragments, liturgical vessels, jewellery, illuminated manuscripts, ings: portraits and sketches. painted and mosaic icons. The exhibits span the whole period of Byzantine culture, from its nascence to the fall of Constantinople in 1453.

Anselm Kiefer, for Velimir Khlebnikov. Fates of Nations. Mariano Fortuny: The Magician of Venice. Collector. Artist. Exhibition catalogue. St Petersburg: NP-Print Publishers, 2017. – Couturier. Exhibition catalogue. The State Hermitage Museum. 308 pp. Ill. St Petersburg: The State Hermitage Publishers, 2017. – 296 pp. Ill. ISBN 978-3-901935-57-2 ISBN 978-5-93572-705-5 The catalogue includes around 30 new works by Kiefer, specially The catalogue accompanies an eponymous exhibition and presents created for this project, and articles by Russian and foreign authors. a selection of fabrics and dresses, drawings for prints and proofs by Mariano Fortuny, kept in the Musei Civici di Venezia and private collections. His artwork is supplemented with historical analogues, among them ancient fabrics and clothing from Fortuny’s collection in Palazzo Fortuny and Palazzo Mocenigo as well as exhibits held by the State Hermitage Museum. Nefertari and the Valley of the Queens from the Museo Egizio, Turin. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 376 pp. Ill. ISBN 978-5-93572-728-4 The Master’s Hand. Marking the Anniversary of André Lanskoy’s Book of Genesis. Exhibition The catalogue accompanies an exhibition from the Museo Egizio, Turin, which displayed 255 items catalogue. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, relating to the legendary tomb of Nefertari, the wife of Ramesses II, as well as finds reflecting royal ide- 2017. – 68 pp. Ill. (“The Artist and the Book” Series. Issue 4) ology and everyday life at the royal palace during the age of the New Kingdom. A special section is con- ISBN 978-5-93572-713-0 cerned with works by the masters who created royal tombs and resided in the of Deir el-­Medina. A catalogue of the exhibition marking the anniversary of the Book of Genesis by André Lanskoy (1902– Exhibition materials also encompassed late painted sarcophagi from secondary burials in the Valley 1976), published in 1966. Along with illustrations from Lanskoy’s book, the publication incorporated of the Queens as well as a number of funerary papyruses with the Book of the Dead and the Amduat. over 50 works setting a number of crucial contexts for its understanding (illustrations for the story of the Creation, twentieth-century “manuscript books”, books by abstract artists).

The Henkin Brothers: a Discovery. People of the 1920s – 30s Leningrad and Berlin. Exhibition catalogue. The State Hermitage Museum. St Petersburg, 2017. – 224 pp. Ill. Manolo Blahnik. The Art of Shoes. Exhibition catalogue. ISBN 978-5-93572-735-2 The State Hermitage Museum. St Petersburg: The State Catalogue for an eponymous exhibition organised by the State Her- Hermitage Publishers, 2017. – 164 pp. Ill. mitage Museum in partnership with the Henkin Brothers Archive ISBN 978-5-93572-717-8 Association. The exhibition became a first-time display of more than The catalogue introduces the reader to the works of contemporary 140 photographs by the Henkin Brothers derived from their unique shoes design and drawings from Manolo Blahnik’s archives. Execut- family archives. Photographs made by Yakov and Evgeny show the ed from 1972 to 2017, these shoes illustrate the development of his views of two cities, public events, scenes from everyday life and por- style and society’s tastes during that period. traits of family and friends.

Salon de musique and Other Paintings by Piero Pizzi Cannella. Exhibition catalogue. Rome: Porcelain Flowers by Vladimir Kanevsky. Exhibition catalogue. By Ekaterina Khmelnitskaya. Il Cigno GG Edizioni, 2017. – 111 pp. Ill. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 168 pp. Ill. ISBN 978-8878-313-736 ISBN 978-5-93572-707-9 The catalogue marks the exhibition “Salon de musique and Other Paintings by Piero Pizzi Cannella”, This publication accompanies an eponymous exhibition featuring over 50 floral compositions by the art- which displayed 28 canvases from the artist’s collection, largely dating back to the last decade of his ist. Vladimir Kanevsky generated his own technology for production of porcelain flowers and his own career. The book is provided with Russian and Italian texts. signature vision of the world of nature and its embodiment in his chosen material.

106 107 PUBLICATIONS PUBLICATIONS

The Hermitage Encyclopaedia of Textiles. Conservation. Exhibition catalogue. The State Hermitage “In Memoriam…” On the 300th Anniversary of the Russian and Novo-Nakhichevan Diocese Museum. St Petersburg: The State Hermitage Publishers, 2017. – 388 pp. Ill of the Armenian Apostolic Church. Exhibition catalogue. The State Hermitage Museum. ISBN 978-5-93572-733-8 St Petersburg: The State Hermitage Publishers, 2017. – 72 pp. Ill. This catalogue explores the conservation aspect of the exhibition “The Hermitage Encyclopaedia of Tex- ISBN 978-5-93572-747-5 tiles” and encompasses 162 exhibits from every museum’s department. The life of these pieces was more The catalogue delves into the milestones in the history of the St Petersburg Armenian Church as well than once lengthened due to conservation. The items include above all banners and standards, which as the history of the Hermitage collection of items previously owned by the Armenian St Catherine’s marked the starting point for textile conservation at the Hermitage, and decorative embroi- Church in Nevsky Prospekt. The catalogue features books, including those published by the first Arme- deries, vestments, military and secular clothing as well as memorial costumes of Russian emperors. nian printing office in St Petersburg, an icon, silver ornaments and lavishly decorated vestments. Of special interest is the history of conservation and restoration of archaeological fabrics.

Georg Friedrich Schmidt (1712–1775). The Royal Engraver. Exhibition catalogue. By Niele Masyulionite. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – The Hermitage in Photographs 2017. Exhibition catalogue. 200 pp. Ill. The State Hermitage Museum. St Petersburg: The State ISBN 978-5-93572-725-3 Hermitage Publishers, 2017. – 248 pp. Ill. The catalogue was prepared for a temporary exhibition dedicated to ISBN 978-5-93572-765-9 one of the most outstanding figures in the history of drawing in the The catalogue depicts a variety of manifold episodes from the 18th century, Georg Friedrich Schmidt, a court engraver for Fred- ­museum’s life. erick the Great, King of Prussia. The catalogue incorporates around 70 prints from the State Hermitage’s and the State Russian Muse- um’s holdings, the bulk of which feature portraits of Schmidt’s cel- ebrated contemporaries: emperors and empresses, politicians and priests, philosophers and thinkers, actresses and artists who once had a high profile in Europe.

Porcelain Metamorphosis of Inna Olevskaya. Exhibition catalogue. By Ekaterina Khmelnitskaya. The State Hermitage Museum. St Petersburg: Chisty List Publishers, 2017. – 224 pp. Ill. ISBN 978-5-90152-865-5 The book incorporated over 50 works by Inna Olevskaya, artist and sculptor of the Imperial Porcelain CATALOGUES OF THE HERMITAGE EXHIBITIONS ON LOAN Manufactory. Tradition and innovation, artistic legacy and contemporariness all form the cornerstones of her artistic method. ABROAD

1917 Romanovs & Revolution. The End of Monarchy. Nieuwe Kerk. , 2017. – “In the Land of Dilmun Where the Sun Rises…” Archaeological 200 p. Ill. Treasures from the Bahrain National Museum. 3rd – 1st Millen­ ISBN 978-90-78653-67-7 The State Hermitage Museum. St Petersburg: The State nia B.C. The catalogue was prepared for the exhibition organised at the Hermitage • Amsterdam Centre. Pro- Hermitage Publishers, 2017. – 108 pp. Ill. vided with texts both in English and Dutch, the catalogue comprises over 250 exhibits from the State ISBN 978-5-93572-769-7 Hermitage Museum, State Archive of the Russian Federation in Moscow and Artillery Museum in St Pe- The publication, timed to coincide with the eponymous exhibition, tersburg. Its articles flag the milestones related to the Russian revolution and narrate the fate of Nicho- comprises over 170 artefacts held by the Bahrain National Mu- las II’s family. seum, chiefly recovered during archaeological excavations across Bahrain over the last 60 years. The brochure introduces the reader to the cultural legacy of Bahrain, which was inhabited by Dilmun, one of the most developed civilisations in the Arabian Gulf over the 3rd – 1st millennia BC. Old Masters from the State Hermitage Museum. Mitsumura Printing Co., Ltd, 2017. – 260 pp. Ill. The catalogue was released for the exhibition “Old Masters from the State Hermitage Museum”, shown at three Japanese muse- Michelangelo Merisi Da Caravaggio. The Lute Player. On the Completion of Conservation. ums: Mori Arts Centre Gallery in Tokyo, Aichi Prefectural Museum The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 108 pp. Ill. of Art, Nagoya and the Hyogo Prefectural Museum of Art in Kobe. ISBN 978-5-93572-759-8 A total of 85 paintings dating back to the 16th – 19th centuries were The publication is devoted to one of the masterpieces from the State Hermitage collection, The Lute put on display. Player by Michelangelo Merisi da Caravaggio. It was prepared for the exhibition that marked the com- pletion of its restoration and conservation. The book acquaints the reader with the history behind the painting and special features of conservation treatment carried out in 2015–2017,­ which was accom- panied by an in-depth technical and technological study and the use of high-precision state-of-the-art equipment. 108 109 PUBLICATIONS PUBLICATIONS

Peter the Great, a Tsar in France. 1717. Palace of Versailles. Lienart, 2017. – 240 pp. Ill. IN RUSSIA ISBN 978-2-35906-222-9 English ISBN 978-2-35906-201-4 French Birds of Olympian Gods. European Decorative Arts from the 16th to 19th Century in the Collection The catalogue was prepared for the exhibition “Peter the Great, a Tsar in France. 1717” that unfolded of the State Hermitage Museum. Exhibition catalogue. St Petersburg: Slavia, 2017. – 108 pp. Ill. at the Palace of Versailles. It incorporates more than 180 exhibits from the collection of the State ISBN 978-5-9501-0283-7 Hermitage Museum. Among them are paintings, prints, tools and instruments commissioned or bought The catalogue accompanied the exhibition that took place at the Hermitage • Vyborg Centre and was by Peter the Great in France. The exhibition also includes Peter the Great’s costume and belongings that focused on the birds associated with the Olympian Gods. The exhibition displayed roughly 200 exhibits, he took along while travelling across Europe as well as exhibits that witnessed Peter the Great’s first all works of applied arts. Executed in the 16th – 19th centuries, they showcase a virtuoso craftsmanship European journey in 1697–1698. of applied artists from Italy, France, Germany and England. United by a single topic, they reflect the whole variety of its perception in a specific epoch.

East and West. Rare Antique Arms from the State Hermitage Museum Collection. Exhibition catalogue. St Petersburg: Slavia, An Encounter with Antiquity. A Red-Figure Krater with 2017. – 96 pp. Ill. an Oblational Scene. Exhibition of one masterpiece from the State Hermitage collection. By Elena Ananyich. Primorskaya State ISBN 978-5-9501-0293-6 Picture Gallery, 2017. Vladivostok: Russky Ostrov Publishers, 2017. A catalogue of the exhibition devoted to masterpieces of weapon- 32 pp. Coloured ill. ry from the State Hermitage collection. The exhibition presented around 70 pieces of weaponry, including battle, hunting and cer- ISBN 978-5-93577-147-8 emonial weapons from Turkey, Iran, India, Japan, France, Italy, This publication is dedicated to Primorye’s first exhibition of an arte- Germany, Spain and other countries worldwide. fact from Classical Antiquity, a Southern Italian vessel dating back to the 4th century BC. The book narrates the history of the mak- ing and development of ceramic production, special characteristics of major schools, features of painted decoration, with a special em- . The Trustees of the British Museum. London: Thames Scythians: Warriors of Ancient Siberia phasis on the artistic analysis of the work. and Hudson, 2017. – 364 pp. Ill. ISBN 978-0-500-02128-6 Under Transparent Ice of Glaze. St Petersburg Porcelain. Exhibition catalogue. St Petersburg: A catalogue for the exhibition mounted at the British Museum in London. Leading professionals from Slavia, 2017. 160 pp. Ill. the Hermitage and British Museum gave a detailed insight into different topics associated with the ISBN 978-5-9501-0272-1 Scythians. The book provides historical overviews, descriptions of archaeological artefacts from Central A catalogue for the exhibition mounted at the Hermitage • Kazan Centre. This large-scale exhibition Asia and South Siberia, accounts of the history of research and the life of Scythian collections, their incorporated around 500 works by artists active in Russia’s first porcelain manufactory in the 18th – military traditions and armament, everyday life, beliefs about life and death as well as unique art and 21st centuries from the State Hermitage’s and the Imperial Porcelain Manufactory’s holdings. Five contacts with the neighbours. sections of the exhibition look at masterpieces commissioned by the House of Romanov as well as Soviet- time and contemporary works. The items from the historical collection are thematically joined together with the author’s porcelain, illustrating the way traditions of the oldest porcelain manufactory remained Dutch Masters from the Hermitage. Hermitage • Amsterdam, untouched by the differences in the artistic language. 2017. – 252 p. Ill. ISBN 978-90-78653-691 English ISBN 978-90-78653-684 Dutch This catalogue in Dutch and English was produced for the exhibi- Seventeenth-Century Flemish Art from the State Hermitage tion “Dutch Masters from the Hermitage. Treasures of the Tsars” Museum Collection. Exhibition catalogue. St Petersburg: Slavia, hosted by the Hermitage • Amsterdam Centre. The exhibition and 2017. – 107 pp. Ill. the catalogue both feature the Hermitage Museum’s top-class col- ISBN 978-5-9501-0270-7 lection of artwork. This catalogue for the exhibition that unfolded at the Hermitage • Vyborg Centre is devoted to 17th-century Flemish art. It comprises 120 exhibits, among which are paintings, sculptures, applied art- work and weapons.

From Classicism to Impressionism. Three Centuries of the French Art. Masterpieces of the French Art of the XVII–XIX Centuries from the Collection of the Hermitage. 19 Dес. 2017 – 15 Apr. 2018. Special Exhibition. National Museum of Korea, Seoul The Stroganovs as Collectors. Exhibition catalogue. St Petersburg: ARS Publishers LLC, 2017. – ISBN 978-89-93518-45-0 160 pp. Ill. The catalogue was released for the exhibition “From Classicism to Impressionism. Three Centuries of the ISBN 978-5-900351-59-9 French Art. Masterpieces of the French Art of the XVII–XIX Centuries from the Collection of the Her- This catalogue for an exhibition held in Perm is concerned with the Stroganovs’ collections of artwork, mitage” held at the National Museum of Korea, Seoul. Not only does it introduce the viewer to spectacu- now held by the State Hermitage Museum and Tambov Regional Art Gallery. Some of the pieces origi- lar works from the Hermitage collection but also gives a broad overview of the development of French nate from Pavel Stroganov’s Palace in St Petersburg (designed by architect Ippolit Monighetti) and his artistic culture in the course of three hundred years. estate Znamenskoye in Tambov province. The catalogue features fine Western European and Russian paintings, drawings, sculptures and applied artwork as well as rare photographs from the mid-19th cen- tury. Introductions focus on the Stroganovs’ economic, cultural and educational activities. 110 111 PUBLICATIONS PUBLICATIONS

EXHIBITION BROCHURES TRANSACTIONS OF THE STATE HERMITAGE MUSEUM

The Fallen. The Dying Gaul and the Lesser Attalid Dedication. From the Museo Archeologico Transactions of the State Hermitage Museum. LXXXI. Materials and researches of the Numismatics Nazionale, Naples. By Anna Trofimova. The State Hermitage Museum. St Petersburg: Department. Based on the proceedings of the international conference “Two Centuries of Islamic The State Hermitage Publishers, 2017. – 32 pp. Ill. (“Masterpieces from the World’s Museums Numismatics in Russia. General Results and Prospects”. The State Hermitage Museum. in the Hermitage” Series) St Petersburg: The State Hermitage Publishers, 2017. – 260 pp. Ill. ISBN 979-5-93572-764-1 ISBN 978-5-93572-657-7 This publication is dedicated to the monument commemorating the victory over the Gauls, erected The publication draws upon the proceedings of the international conference hosted by the State Hermit- by King Attalus I of Pergamon on the Acropolis of Athens c. 200 BC. Analysing the artistic character- age Museum in 2012. It brings up a wide range of topics relating to Muslim numismatic items (including istics of this sculptural group, the author outlines contemporary interpretations of this Hellenic work from the Early Muslim period), hailing from Central Asia, the Near, the Middle and the Far East. of art, setting out innovative ideas of Pergamene masters that eternalised not just the might of the victor, but also the pathos of those defeated and the tragedy of torment and death.

Transactions of the State Hermitage Museum. LXXXIV. The State Hermitage Textile Collections. The State Hermitage Heraldry: Theory and Practice. Proceedings of the international Museum. St Petersburg: The State Hermitage Publishers, 2017. – conference held on 19–20 February 2016. The State Hermitage 64 pp. Ill. Museum. St Petersburg: The State Hermitage Publishers, 2017. – ISBN 978-5-93572-747-5 170 pp. Ill. Issued for the exhibition “The Hermitage Encyclopaedia of Textiles. ISBN 978-5-93572-711-6 History”, this brochure centres around the history of the Hermit- The publication features articles dealing with diverse aspects of her- age’s lavish textile collection. Embracing ancient textile samples, aldry studies in the Russian Federation. Among the issues covered European and Russian tapestries, fabrics, embroideries, costumes there is the history of the world’s and Russian heraldry as well as and banners, the collection provides an insight into the evolution practical application and special features of modern institutional of this industry throughout many centuries. and territorial heraldry. A substantial part of the materials is pre- sented to the scientific community for the first time.

REPORTS OF THE STATE HERMITAGE MUSEUM Transactions of the State Hermitage Museum. LXXXV. People and Books. To mark the 255th anniversary of the State Hermitage Research Library. The State Hermitage Museum. St Petersburg: Reports of the State Hermitage Museum. The State Hermitage Museum. St Petersburg: The State The State Hermitage Publishers, 2017. – 368 pp. Ill. Hermitage Publishers, 2017. Vol. LXXV. – 196 pp. Ill. (in Russian) ISBN 978-5-93572-716-1 ISBN 978-5-93572-754-3 The publication undertakes a study of book and archival collections of the State Hermitage Research Library, the history of collection studies and biographies of the library employees. The stress is on the development of artistic decoration of book bindings and their restoration, descriptions of incunables and Reports of the State Hermitage Museum. The State Hermitage early printed books held by the State Hermitage Library, attribution of publications and identification Museum. St Petersburg: The State Hermitage Publishers, 2017. of their owners as well as publication of cartographic materials and manuscripts. Vol. LXXIV. – 200 pp. Ill. (in English) ISBN 978-5-93572-699-7 Reports of the State Hermitage Museum are an annual publication delving into the latest achievements of the museum’s research, cu- Transactions of the State Hermitage Museum. LXXXVI. ratorial, conservation and exhibition activities. They include, in the Monumental Architecture of Ancient Rus and Eastern Europe first place, studies of individual works and the Hermitage collec- in the Middle Ages. Editor-in-chief Oleg Ioannisian, academic tions, publications of little-known artefacts and updated attribu- editor Denis Yolshin; The State Hermitage Museum. St Petersburg: tions, datings and interpretations. Special sections flag the muse- The State Hermitage Publishers, 2017. – 412 pp. Ill., 14 pages um’s most notable acquisitions over recent years, newly opened and of colour plates reconstructed exhibitions as well as new research on the Hermitage ISBN 978-5-93572-720-8 history. The Reports are published in Russian and in English. The publication contains proceedings of the conference dedicated to monumental architecture: churches and fortresses made of stone and brick and falling into the category of mediaeval stone archi- tecture (chronology, typology, decoration, construction technologies and materials).

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Transactions of the State Hermitage Museum. LXXXVII. Materials and researches CHRISTIAN EAST of the Numismatics Department. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 474 pp. Ill. Christian East. Journal of Studies in the Christian Culture of Asia and Africa. Volume 8 (XIV). ISBN 978-5-93572-724-6 The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 544 pp. Ill. The publication is premised on the proceedings of the State Hermitage’s readings in memoriam Ivan Spassky (1904–1990), a prominent Soviet scholar, Doctor of History and the chief curator of the State ISBN 978-5-93572-734-5 Hermitage’s Numismatics Department. The selection of topics illustrates the broad scope of Spassky’s This new volume of the international scholarly publication “Christian East” contains papers derived scholarly interest and focuses on Russian numismatics, to which he dedicated most of his life. from reports delivered at the conference “Christian East: Interaction with Other Traditions”, hosted by the State Hermitage Museum, as well as publications of new discoveries made by Russian and foreign researchers later on.

Transactions of the State Hermitage Museum. LXXXIX. Byzantium within the Context of the World Culture. Collection of research papers in memory of Alisa Bank (1906–1984). The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 546 pp. Ill. ISBN 978-5-93572-751-2 The publication incorporates articles based on the reports of the eponymous conference held at the State Hermitage Museum in 2015 COLLECTED ARTICLES as well as publications of new discoveries in Byzantine studies over the last two years. The book is made up of five sections: Byzantine Artistic Legacy; Byzantine Architecture and Town Planning. New Discoveries; Byzantium and Neighbouring Countries; Sphragistics, Museum and Problems of Cultural Tourism. Proceedings of the 15th round table at the State Numismatics, Written Records; Archival Records. Hermitage Museum. 6–7 April 2017. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 270 pp. Ill. The collection features proceedings of an annual round table concerned with cutting-edge innovative technologies and projects affecting the quality of museum and tourist programmes.

Transactions of the State Hermitage Museum. XC. Personalities from Peter the Great’s Time – 2017. Proceedings of the conference. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 328 pp. Ill. ISBN 978-5-93572-762-8 IN HOC SIGNO VINCES. Proceedings of vexillological This collection of proceedings of the annual scholarly conference taking place at the State Hermitage symposiums (21–22 May 2012 and 27–28 May 2015). The Menshikov Palace presents articles devoted to the personalities from the Russian history of the late State Hermitage Museum. St Petersburg: The State Hermitage 17th – first quarter of the 18th century whose life and activities produced an impact on different aspects Publishers, 2017. – 98 pp. Ill. of politics and culture. Many materials have not been published before. ISBN 978-5-93572-730-7 This collection incorporates proceedings of the international vexil- lological symposiums that took place at the State Hermitage Mu- seum. Among them are papers by leading experts on vexillology from across and Russia, banner curators from different mu- seums as well as restorers and developers of Russia’s current banner Transactions of the State Hermitage Museum. LXXXVIII. Periplous: from the Borysthenes to the Bosporus. Proceedings ­system. of anniversary conferences. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 392 pp. Ill. ISBN 978-5-93572-766-6 The publication features the proceedings of scholarly conferences marking the anniversaries of the State Hermitage’s archaeological expeditions searching for the Classical Antiquity artefacts in the Collection of articles. The State Hermitage Museum. St Petersburg: Northern Black Sea Area. The first part is formed by the proceed- Jewellery and Material Culture. The State Hermitage Publishers, 2017. – 208 pp. Ill. + 20 pages of colour plates ings of a scholarly conference marking the 50 years of the Hermit- age’s Berezan archaeological expedition. The second part incor- ISBN 978-5-93572-715-4 porates materials of the conference marking the 75th anniversary Delving into versatile aspects of the study of jewellery art, this new issue brings together materials of the of the State Hermitage Museum’s Nymphaion archaeological ex- eponymous conference held in March 2015. pedition and 85 years since the birth of Nonna Grach. The authors touch upon a wide range of issues related to the study and museumi- sation of archaeological artefacts.

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REVISIONS The Statue of Jupiter. By Ludmila Davydova. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 48 pp. Ill. (“Masterpieces from the Hermitage” Series) The Wisdom of Astraea. Freemasonry in the 18th and Middle of the 19th Century – Objects ISBN 978-5-93572-738-3 in the Hermitage Collection. The State Hermitage Museum. – 2nd edition, revised and extended. The book is centred upon the discovery of a unique ancient statue of Jupiter, bought in the 19th century StPetersburg: The State Hermitage Publishers, 2017. – 480 pp. Ill. in Italy, as well as the fate of its owner, marquis Giovanni Pietro Campana, and its installation at the Hermitage. ISBN 978-5-93572-678-2 This revision deals with freemasonry, a little-known and little-studied social and cultural movement that reaches back to the remote past. In 2013 the State Hermitage Museum housed an exhibition of freemasonry pieces from the 18th – first third of the 19th century. It aroused the interest of the audi- ence and agitated the scholarly community. This book is a revised, updated and extended edition.

Cultural Heritage of Uzbekistan in the World’s Collections. Vol. 8. The State Hermitage Collection. Part 1. , 2017. – 496 pp. Ill. ISBN 978-9943-4865-6-0 This new volume from the series dealing with the artefacts found on PEDAGOGICAL AND EDUCATIONAL EDITIONS the territory of what is now Uzbekistan presents ancient and medi- aeval objects from the Hermitage collection. Mediaeval Carved Ivory from Western Europe in the State Hermitage Collection. By Marta Kryzhanovskaya. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 112 pp. Ill. (“The Hermitage Collections” Series) ISBN 978-5-93572-658-4 The publication continues a series of brochures familiarising the wide audience with the State Hermit- age’s finest collections.

MONOGRAPHS

Power Plant, Boiler Room and Garage in the Winter Palace. By Sergey Matsenkov. The State Hermitage Museum. Painting Academician Fyodor Solntsev. 1801–1892. By Marina Evtushenko. The State Hermitage St Petersburg: The State Hermitage Publishers, 2017. – 152 pp. Ill. Museum. Moscow: Kuchkovo Pole Publishers, 2017. – 352 pp. Ill. (“The and Buildings” Series) ISBN 978-5-9950-0819-4 ISBN 978-5-93572-674-4 In the focus of the book is a 19th-century Russian painting master Fyodor Solntsev (1801–1892). This new book from the series is dedicated to three architectural fa- ­Having lived for almost a century, this historical painting academician made significant contributions cilities which were once located on the Hermitage premises (two out to different domains of arts and research. He is known as a painter of religious and historical scenes, of three are not extant and almost forgotten) and played an indis- icon-painter, illustrator of maps and religious books, professor and one of the pioneers of Russian con- pensable role in the Winter Palace. servation school. The publication embraces a study of Solntsev’s professional biography and his works which highlight many aspects of this vivid and many-sided creative personality.

The Treasure Gallery: Collection of European Artistic Jewellery. By Olga Kostyuk. The State Hermitage Museum. Moscow: Kuchkovo Pole Publishers, 2017. – 416 pp. Ill. Kolyvan Vase. By Natalia Mavrodina. The State Hermitage Museum. St Petersburg: The State ISBN 978-5-9950-0780-7 Hermitage Publishers, 2017. – 28 pp. Ill. (“Masterpieces from the Hermitage” Series) This publication traces the making of the Hermitage jewellery col- ISBN 978-5-93572-701-7 lection, from the foundation of Russia’s first collection of jewel- This new edition is devoted to a Russian carved stone work, the iconic Kolyvan vase. It narrates the story lery by Peter the Great (Kunstkamera) to present times. It looks of how a block of wavy green jasper of unique dimensions was found, reworked into a giant vase, trans- at the works of art created by European masters and painstakingly ported from the Altai to the capital of the Russian Empire and kept at the museum. Behind the story amassed from the collections of their Russian owners. Reflecting the is a multitude of literary and archival records. changes of the epochs and lifestyles, the pieces embody major trends and tastes of their time. The text comes along with colourful illus- trations and extensive bibliographical references.

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Ernest Karlovich Liphart on Spain and Spanish Painting. By Ludmila Kagane. The State Hermitage OTHER PUBLICATIONS Museum. St Petersburg: The State Hermitage Publishers, 2017. – 256 pp. Ill. ISBN 978-5-93572-742-0 Photographer of the Imperial Hermitage. By V. Marishkina. The State Hermitage Museum. The book is dedicated to Ernest Liphart, an artist and art historian who headed the Imperial Hermitage St Petersburg: The State Hermitage Publishers, 2017. – 140 pp. Ill. Picture Gallery in 1908–1917. The author draws upon manuscript memoirs to report about his journey ISBN 978-5-93572-732-1 to Spain, something never done before. The stress is placed on Liphart’s study of Spanish painting. This book constitutes the first attempt to restore professional biography of Faybel Leybovich Miko- The book utilises archival records, previously not used in literature, including letters from his foreign layevsky (1849–1917), an engraver, engineer, inventor and photographer, known in the artistic circles colleagues. of St Petersburg as Fyodor Lvovich Nikolayevsky. His photographic artwork ended up intimately linked to the Hermitage Museum. His professionalism was held in high esteem and brought him the title of “the Imperial Hermitage Photographer”, the first and only case in the museum’s history. The pub- lication draws upon records from archives, Mikolayevsky’s private holdings and visual materials kept by the State Hermitage Department of Manuscripts and Documents. Natter’s Museum Britannicum. British Gem Collections and Collectors of the Mid-Eighteenth Century. Oxford, United Kingdom: Archaeopress, 2017. – 304 p. Ill. ISBN 978-1-78491-727-2 The book is the first-time publication of a manuscript by Lorenz The Portrait of Blessed Xenia of St Petersburg in the State Natter, a celebrated carver, medallist and theoretician, discovered Hermitage Collection. By Dmitry Gusev. The State Hermitage in the Hermitage archives in the mid-1970s by the keeper of ancient Museum. St Petersburg: The State Hermitage Publishers, 2017. – gems Oleg Neverov. The publication was prepared by Julia Kagan, 20 pp. Ill. gem keeper at the State Hermitage Department of Western Euro- ISBN 978-5-93572-721-5 pean Applied Arts, in partnership with her British colleagues. This book marks the completion of the restoration treatment of a por- trait showing Blessed Xenia, patron saint of St Petersburg, and its open storage at the “Staraya Derevnya” Restoration, Conservation and Storage Centre.

ARCHAEOLOGICAL REPORTS

Report of Archaeological Studies of the Mediaeval Cembalo Fortress (Balaklava) in 2016. Materials of the Southern Crimean Archaeological Expedition. Issue 14. The State Hermitage Museum of the 21st Century: New Educational Strategies. Proceedings of the international Museum; Tauric Chersonesos State Historical and Archaeological Museum-Reserve. conference. 25–27 November 2015. The State Hermitage Museum. St Petersburg: The State St Petersburg, 2017. – 154 pp. Ill. Hermitage Publishers, 2017. – 284 pp. Ill., 48 pages of colour plates. ISBN 978-5-93572-709-3 This collection brings together proceedings of an annual international conference looking into the most topical issues of museum education targeting youth. The conference “Museum of the 21st Century: New Educational Strategies” centres around innovative projects in museum education. Report of Expedition Field Works in 2016. Materials of the Panjakent Archaeological Expedition. Issue 21. The State Hermitage Museum; A. Donish Institute of History, Archaeology and Ethnography of the Academy of Sciences of the Republic of Tajikistan. St Petersburg, 2017 – 246 pp. Ill.

Restored Masterpieces. Conservation in the Hermitage. 2017. The State Hermitage Museum. St Petersburg: The State Hermitage Publishers, 2017. – 128 pp. Ill. ISBN 978-5-93572-760-4 The book sets out the results of work of the Hermitage restorers.

118 119 ELECTRONIC EDITIONS AND MULTIMEDIA PROJECTS ELECTRONIC EDITIONS AND MULTIMEDIA PROJECTS

MULTIMEDIA CONTENT IN THE HERMITAGE MUSEUM’S PRACTICE

When integrated into the exhibition concept, video content enhances the perception of exhibits, en- riching the visitor’s experience. At the anniversary exhibition “The Winter Palace and the Hermitage in 1917”, visitors immersed themselves in the atmosphere of pre-revolutionary and revolutionary time by watching thematic video clips derived from cinematographic and photographic records and dedi- cated to the life of the last Russian emperor and events related to World War I, February and October revolutions. Video presentations of photographic albums uncovered highly valuable photographic re- cords from those times. To mark the exhibition, Sergei Eisenstein’s film October and a video tracing the location of the shootings at the Winter Palace were displayed. A large-scale exhibition “The Hermitage Encyclopaedia of Textiles. History” was accompanied by a video film called The History of Textile Con- servation at the State Hermitage Museum. The exhibition’s nine thematic sections were provided with video presentations showcasing conservation processes. A host of manifold video materials including interviews with curators, restorers, lectures and excur- sions that were uploaded on the museum’s website, “In Focus” web portal and other museum resources in social networks were aimed at introducing the user to the museum’s collections and activities. Video reports featuring the museum’s specialists were also released for tempoary exhibitions and other events of the General Staff Building and why as well as what “Marcel Proust’s dress” looks like and where that unfolded in 2017. Curator Andrey Bolshakov, for instance, gave a tour of the exhibition “Nefertari it is stored in the Hermitage Museum. and the Valley of the Queens. From the Museo Egizio, Turin”. Another video story, narrated by restorer Founded by Catherine the Great, the Hermitage celebrates its anniversary every 7 December, on St Cath- Viktor Korobov, was concerned with the conservation of Michelangelo Merisi da Caravaggio’s Lute- erine’s Day. The episode released in December 2017 narrated the story of not only the Hermitage Player. The history of the highest awards in the Russian Empire was told by Lydia Dobrovolskaya on the founder, but also her patron St Catherine of Alexandria and a remarkable collection of her icons in the occasion of finished conservation treatment of several items. Author’s video tours around permanent museum’s holdings. displays were given by curators Sergey Nilov (Peter the Great’s Winter Palace) and Ludmila Davydova In 2017 nineteen original film stories were released as part of “The Hermitage” series. Long-standing (Jupiter Hall), while Albert Kostenevich gave a lecture to shed light on new facts about the making friendship and fruitful cooperation between the State Hermitage Museum and “Kultura” TV channel of ’s The Dance. as well as an enormous interest of the audience resulted in a decision that episodes should premiere twice per week, including on Saturday during the most convenient viewing hours.

PREMIERE OF THE FILM THE HERMITAGE. IMMERSION INTO HISTORY

MIKHAIL PIOTROVSKY’S TV PROGRAMME “THE HERMITAGE” On 20 July 2017 the General Staff Building of the State Hermitage Museum housed the premiere ON THE “KULTURA” TV CHANNEL of the film The Hermitage. Immersion into History. Produced in the “360◦ virtual reality” format, the film creates an illusion of being present in a simu- lated environment. The viewer becomes a real member of the plot with the help of special eyewear. In 2017 Mikhail Piotrovsky’s programme “The Hermitage” helped “Kultura” channel viewers both The plot is premised on the mileposts in the Hermitage’s history from Catherine the Great’s times up in Russia and abroad to discover new facets of museum collections and the most seminal exhibitions to the present. Shooting locations included the museum’s rooms, the Hanging Garden, the roof of the of the year from the perspective of the Hermitage’s holdings. Winter Palace and Palace Square. The viewers are led through the plot by a mystical tour guide capable The narrative of the upcoming anniversary of the October revolution in “The Hermitage” series began of time and space travelling. The film starred one of the best known Russian theatre and cinema actors, with a rather unexpected topic, “Shatters of the Revolution”. The crew followed the lead of the pro- Konstantin Khabensky. gramme’s author and host Mikhail Piotrovsky around the museum’s halls and storage rooms in search of “shatters”, or artefacts linked to the revolutions that had shaken the world before the October revolution in Russia: from the widely known English and French revolutions to the almost forgotten Bavarian one. A large-scale exhibition “Anselm Kiefer, for Velimir Khlebnikov” was explained through a multitude PROJECT TO BUILD A VIRTUAL MODEL OF THE STATE HERMITAGE of museum associations. Owing to the TV format it became possible to unravel episodes related to the JUPITER HALL museum’s Egyptian collection that are associated with Khlebnikov’s passion for mythology and numer- ology of Ancient Egypt while the history of a painting dedicated to the Battle of Chesma that Jacob In 2017 the State Hermitage Museum and CROC Virtual Reality Centre presented a project to create Philipp Hackert was commissioned with by Catherine the Great gave new meaning to the name Chesma a virtual copy of the Hermitage’s Jupiter Hall. and the battle date so frequently found on Kiefer’s canvases. Using VR technology, viewers can put on special glasses to walk around the virtual Jupiter Hall. With “Kultura” viewers were also the only ones to witness the landmark winding of the clock in the Winter the help of a joystick, they can approach any exhibit of their choice, listen to information about the time Palace White Dining Room, stopped during the arrest of the Provisional Government led by Alexander and history of its creation, the author and artistic style. Kerensky a century ago. The key that brought this historical clockwork back to life was turned by the The virtual model is composed of 3D-digitised exhibits and interiors stored in the memory of a high- programme’s author and host, the State Hermitage Museum’s Director Mikhail Piotrovsky. capacity workstation. The image looks highly realistic due to a new method of photogrammetry-based All episodes in the series are notable for a fresh and original focus on museum collections. Viewers visualisation in the VR environment developed by CROC experts. Photogrammetric technology coupled can not only get an idea of what crusaders or pirates looked like from canvases, but also have a look with VR enables the viewer to examine the tiniest fragments of sculptures to evaluate the exquisite at their genuine armament, clothing and household items as part of an absorbing narrative presented craftsmanship of masters of the past. This new technological solution is supposed to be used in the by the host. The programme explains who the poet Nikolay Gumilyov came to visit in the Eastern Wing State Hermitage Museum’s exhibition centres and other museum projects. 120 121 CONFERENCES CONFERENCES

Official opening of the academic International Vexillological Seminar “In Hoc Signo Vinces” International Seminar “The Art of Conservation” conference “Heraldry: Theory and Practice” marking the 25th anniversary of the In Memory of Vladimir Lukonin Reports covered artistic features and production technologies of the items found during excavations; Heraldic Service in the Russian pieces produced in Russia, Western Europe and Oriental countries; as well as the evolution of museum Federation 25–26 January collections and the making of jewellery exhibitions. This annual conference is dedicated to different areas of Oriental studies. A wide chronological and geographical span of reports delivered at the conference showcased the content of the Hermitage Ori- Cultural Processes in the Circum-Baltic Region in the Early and Middle Holocene. ental Department’s collections and the scope of its research. To Mark the 70th Birth Anniversary of Vladimir Timofeyev In Memory of Jointly with the Institute for the History of Material Culture of the Russian Academy of Sciences 26–28 April 14 February The conference reviewed the Stone Age research and the man’s adaptation to ever-changing landscapes The variety of topics covered at this annual conference traditionally illustrated the many facets of the as well as communication networks that connected remote ancient communities in the Stone Age. Hermitage collections and a wide range of Boris Piotrovsky’s interests. Reports embraced the arts The conference was divided into several sessions: “Archaeological Sites and Disappeared Holocene of Europe and Oriental countries, Classical Antiquity and Byzantium, numismatics and the history Landscapes”, “Social Networks during the Mesolithic and Neolithic”, “Absolute Chronology Data Ar- of the Hermitage exhibitions. As usual, the focus was on Boris Piotrovsky’s key area of expertise: rays and Models of Neolithisation”, “Elshanian – Strumel – Ertebølle pottery – Parts of one Cultural ­archaeology and studies. Area or Cultures with Different Origins?”. Museum of the 21st Century and New Media Technologies: International Vexillological Seminar “In Hoc Signo Vinces” Limits of Freedom? 18–20 May 16–17 February This international symposium delves into the issues of vexillology, namely the study of flags, banners, This is the fourth conference in a series organised by the State Hermitage Youth Centre which articu- standards and other insignia, their development, role in culture and current use. Boasting a lavish lates the museum’s most relevant issues. This time discussions revolved around the role and importance collection of banners and a rich history of their research, the Hermitage became the host of this sym- of multimedia technologies in a museum. The programme was split into several thematic sessions. posium for the third time. The opening session “21st Century Museums and New Technologies: Pluses and Minuses” was con- cerned with diverse impacts of new technologies on museum activities. The second session “New Media International Seminar “The Art of Conservation” Technologies and Museum Education” voiced the way educational strategies were reshaped by the 30 May – 2 June progress of new technologies, the changes awaiting museums in the years to come and the applicability of traditional concepts and methods. Another question brought up at the conference was the integration This seminar addressed the issues related to the conservation of a wide range of cultural artefacts. of new media technologies into museum exhibitions. The conference ended with a session “Museum PR, Reports underscored a number of restoration cases, encapsulated the experience of using new ma- Social Networks and Museum Website as a Virtual Image of the Museum”. terials and technologies as well as physical and chemical analyses. The seminar is organised as part of a cooperation agreement between the State Hermitage Museum, Carl Zeiss Microscopy and OPTEC Heraldry: Theory and Practice. Conference Marking the 25th Anniversary Group. Among participants were leading experts in conservation, physics, chemistry, optics and state- of the Heraldic Service in the Russian Federation of-the-art technologies. 20-22 February Fashion and Design The conference discussed the history of heraldry research in Russia, over the last decades in particular. Jointly with the Russian Museum of Ethnography and St Petersburg State University A vast array of issues relating to heraldic studies in Russia and Europe was on the agenda. of Industrial Technologies and Design Jewellery and Material Culture 31 May 1–2 March The meeting took place under the auspices of an annual conference on fashion history. This year the stress was on checked and striped clothing in different countries and epochs from remote antiquity This regular conference brings together experts on jewellery of different epochs and civilisations. to the early 20th century. The geographical and chronological span of reports is traditionally overarching due to the very nature of jewellery, which has been highly valued and broadly used in all times and in every corner of the globe.

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10th International Peter the Great Congress “Russia and France: Cultural Dialogue CIETA Assembly in the Panorama of the Ages” Jointly with the Dmitry Likhachev Foundation 9–10 June This year the annual conference dedicated to the Petrine time emphasised cultural links between Russia and France over the first quarter of the 18th century.

St Petersburg Egyptology Readings 2017 Jointly with the Faculty of Asian and African Studies, St Petersburg State University 17–19 June This time the regular conference was tied to the opening of the exhibition “Nefertari and the Valley of the Queens” at the State Hermitage Museum. By tradition, the conference outlined many facets of Egyptological studies.

Methodology for the Study of Peatland Sites. Field Archaeological School Campsite of the State Hermitage North-Western Expedition in Smolensk Region July This international theoretical and practical field seminar was held within the framework of the North- Western Archaeological Expedition of the State Hermitage Museum in Smolensk Region.

Outsider Art and Inclusive Practices in the Museum 5–6 September This international conference is dedicated to a new museum movement, i.e. outsider art. The reports would handle legal, technological, vocabulary and ethical aspects of digital copying. A series of expert traced back its origins in different museums of the world, the relationship between outsider and tra- meetings across the globe was planned under the aegis of the project, with the Hermitage Museum ditional art and its development in Russia. The symposium included the following sessions: “Other as one of the venues. Ways of Understanding Arts and Art History”, “Building the Image of the Other as Part of Museums’ CIETA Assembly Inclusive and Educational Programmes” and “The Role of Institutes from the Standpoint of People with Mental Disabilities, Learning Difficulties and Autism”. The symposium coincided with the opening 25–27 September of the exhibition “Shinichi Sawada. Images from the Depths of the Mind”. In 2017 the State Hermitage Museum hosted another assembly of the Centre International d’Etude des Textiles Anciens (CIETA). CIETA’s mission is to explore and exchange on the history of textiles, fabric Museums through the Local Gaze. 2nd International Museum Conference restoration and conservation and promotion of textile collections. Held biennially, СIETA assemblies “Sustainable Dialogues” always take place on the premises of an institution holding a major textile collection. It is in view of the Jointly with ICOM Russia Hermitage’s lavish and multifaceted textile collection and variety of its unique exhibits that CIETA 7–8 September management requested it to organise the next assembly. In 2017 at the core of the conference was the topic of “Power, Rank and Status. Textiles and Representation”. The State Hermitage Museum also The conference consisted of sessions “Museums as Agents of Social Inclusion”, “Museum as Local prepared two exhibitions for the assembly: “The Hermitage Encyclopaedia of Textiles. History” and Economy Driver” and the plenary session “Museum as a Platform for Education and Mediation of So- “The Hermitage Encyclopaedia of Textiles. Conservation”. Participants were given an opportunity cial Relations”. Special attention was paid to providing access to museum collections and services to learn about the activities of the Laboratory for Scientific Restoration of Textiles and Water-Soluble to the widest possible audience, including people with disabilities, as well as the role of museums within Paintings, which handles any kind of materials, from the conservation of palace interiors to the micro- sustainable social and economic development of the regions. The plenary session underlined the role level treatment of archaeological artefacts. The conference joined together around two hundred ex- of a museum as a platform for dialogue between different social groups. The conference was organised perts from Russia, France, Switzerland, Belgium, Italy, Spain, Portugal, , Sweden, Finland, by the State Hermitage Museum, Russian National Committee of the International Council of Muse- UK, the Netherlands, Germany, Austria, , Croatia, USA, Canada and Japan. ums (ICOM Russia), Ministry for Culture of the Russian Federation, the State Russian Museum and Exhibition Centre ROSPHOTO, Dutch Culture Centre for International Cooperation and Amsterdam Christian East: Interaction with Other Traditions Museums Foundation (SAM). 28–29 September Copying as a Way of Preserving Cultural Heritage In the course of the last decade, the Christian East has been in the spotlight of the Hermitage research- ers. Hosted by the Hermitage for the third time already, the conference embraces a holistic study of ev- Jointly with the V&A and PERI Charitable Foundation ery aspect of Asian and African Christian culture: religion and worship, arts, linguistics, text studies 21 September and numismatics, from late antiquity (the advent of Christianity) to contemporary times. This time This international round table makes part of the project commemorating the 150th anniversary of the emphasis was laid on cultural links between the Christians and other peoples. first Convention for Promoting Universally Reproductions of Works of Art for the Benefits of Museums of All Countries, spearheaded in 1867 by Henry Cole, V&A’s founder and first director, and signed In Memory of Alisa Bank by most of the royal houses in Europe, including the Russian imperial house. Over the last 150 years 2–4 October and in the recent decades in particular, the emergence of digital copies drastically changed the land- This regular conference concerns various aspects of Byzantine studies: arts and culture, religion, scape of artwork reproduction. In light of this, the project is aimed at elaborating a new document that ­numismatics and sigillography, and written records.

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Museum and Revolution of 1917 in Russia: The Fate of People, Collections and Buildings Jointly with Yekaterinburg Museum of Fine Arts 15–17 November The conference was organised as part of a joint series of conferences “Museum and War”. Its keynote was the impact of revolutionary events of 1917 and their aftermath on culture and the country’s mu- seum life. The reports articulated new methods of museum activities after the revolution, museums’ operation under the burden of ideological pressure, new approaches to museum studies, the fates of mu- seums’ management, collection curators and employees during the revolution and changes to museums’ status as a result of the revolution and the Civil War. A multitude of reports dealt with the Hermitage history in 1917, the overhaul of the following years and its transformation from an imperial museum to a public one.

The Russian Guards as Part of the St Petersburg Cultural Code Round table as part of the 6th St Petersburg International Cultural Forum Conference “Christian East: Interaction with Other Traditions” Conference in Memory of Alisa Bank 16 November The recurrent theme of the round table was the role played by the Guards in everyday life, culture, symbolism and artistic image of St Petersburg. Its history goes hand in glove with the history, archi- 17th International Research and Practice Conference “Roerich Heritage” tecture and the place-names of the city. It was also an integral part of Russian classical literature and St Petersburg folklore. Jointly with the Roerich Family Museum and Institute 9 October Heraldry as a Means of Communication. European and Japanese Heraldry. This annual conference delves into relationships between the cultures of peoples from the Far East A Comparative Analysis and Russia. This year the conference was centred around the topics of “The Roerich Family in the East” Round table as part of the 6th St Petersburg International Cultural Forum and “The Roerichs and their Contemporaries in the Age of the Great Turn (1917–1927)”. 17 November The round table was chiefly focused on the origins and functioning of heraldic systems in Europe and PONTIFICES MAXIMI. Round Table Devoted to the 80th Anniversary of the Birth of Mark Japan, the latter being a special guest at the International Cultural Forum. Its major task was to ex- Shchukin and Dmitry Machinsky amine the parallel development of European and Japanese heraldic systems and identify their common 19–20 October principles of usage. Participants looked at the interpretation of emblems in different cultures, complex- This round table discussion commemorated prominent scholars and outstanding individuals who ities of the attribution of artwork showing heraldic symbols and comparative analysis of the depictions. greatly impacted the Hermitage archaeological activities and social life. The topics covered the scope Personalities from Peter the Great’s Time of scholarly interest of both researchers, with a major focus on the archaeology of Crimea and Russian South during the Hellenistic and Roman periods as well as theoretical issues concerning Eurasia’s ar- 21–22 November chaeology. New archaeological materials were presented for the first time. This annual conference reported on different aspects of Peter the Great’s epoch. The sessions provided a review of a wide range of issues: iconography of the images of Peter the Great, Alexander Menshikov The Fate of Book Collections in Russia before and after the Revolution of 1917 and their contemporaries; public symbols; domestic and foreign policy of the first quarter of the 18th cen­ tury; applied arts and architecture. 26–28 October The conference encompassed a wide array of issues linked to the history of Russian book collections and Archaeological Session library activities during the pre-revolutionary and revolutionary periods. One of its fundamental goals 27–29 November was to recreate the development of Russia’s library culture at the turn of different epochs and study An annual conference summarising another season of the State Hermitage archaeological expeditions. various aspects of the role played by books in the life of Russian society. The reports explored not just the stories behind large prominent book collections, but also behind the holdings of less known private, monastic, public and commercial libraries. Another topic concerned the reconstruction of book collec- The following meetings of the standing seminars took place: tions, dispersed during the revolutions. Heraldry Seminar In Memory of Vladimir Levinson-Lessing 15 March, 19 April, 17 May, 21 June, 4 October, 15 November 1–2 November This year the annual conference was given the title of “Quarenghi and his Time” and was tied to the Weaponry Seminar 200th death anniversary of this celebrated Italian architect whose career was part and parcel of St Pe- 26 January, 27 April, 25 May, 28 September, 19 October, 30 November tersburg and the Hermitage life. The reports flagged different aspects of his life and career, his relation- ships with contemporaries and the fate of his legacy. The conference became part of an international project commemorating Quarenghi’s death, which is aimed at promoting the research of his artwork; the major setting for the project was the architect’s native city of Bergamo. The conference was pre- pared in partnership with Osservatorio Quarenghi.

126 127 CONFERENCES DISSERTATIONS

MEETING OF THE ACADEMIC COUNCIL EKATERINA TYUTRINA

On 29 November 2017 the State Hermitage Academic Council gathered at a meeting which ap- proved the list of proposals submitted by the Hermitage Research Grant Committee to award grants DISTINGUISHING FEATURES OF THE DEVELOPMENT OF DUTCH PAINTING of the Vladimir Potanin Charitable Foundation to the employees involved in the museum’s top priority IN THE LATE 19TH – EARLY 20TH CENTURY. FROM SYMBOLISM TO NEOPLASTICISM projects. The major issue on the agenda included public and internal impressions from the Hermitage’s lat- For the degree of Candidate of Art History est temporary and permanent exhibitions. Since permanent displays form the cornerstone of every museum’s life, the State Hermitage Museum has been attaching high importance to reconstructing The dissertation delves into one of the periods of Dutch art history that has been so far underexplored the existing permanent displays and opening new ones. Displays are the backbone of every museum and in Russia. The works analysed included those by Jan Toorop (1858–1928), Jan Sluijters (1881–1957), the guarantee of its dynamism and timeliness. Temporary and permanent exhibitions foster research, Johan Thorn Prikker (1868–1932), Richard Roland Holst (1868–1938), Antoon Derkinderen (1859– scholarly and educational publications and the museum’s educational activities. Which impressions do 1925), Leo Gestel (1881–1941), Lodewijk Schelfhout (1881–1943), Conrad Kickert (1882–1965), Jan the Hermitage’s new displays give to their visitors, the museum’s employees and outside experts? What Wiegers (1893–1959), Jan Altink (1885–1971), Hendrik Werkman (1882–1945), Theo van Doesburg is the relationship between the display content and design and how should displays be designed? How is (1883–1931) and Piet Mondrian (1873–1944). The analysis revealed the evolution of the visual language it possible to strike a balance between the historical and architectural value of the Hermitage buildings in Dutch painting at the turn of the 20th century: from stylistic complexity and multiple symbolical and modern requirements to lighting the exhibits? How should be guided tours around unusual displays meaning to a strict and conceptually precise artistic system of neoplasticism. organised and what should be opinion poll methods? All these questions were subject to lively discus- By drawing parallels between various works of Dutch artists and their contemporaries in other European sions at the Academic Council’s meeting and paved the way for a dialogue that will continue for years countries, the author traces possible interrelations between representatives of different schools and ar- to come. tistic groups, establishing the pathways for Dutch arts. A special emphasis is laid on individual features of each particular artist, their plastic language, conceptual paradigm and artistic interpretation. Dutch painting of the late 19th – early 20th century makes an integral part of the overall history of the European art of those times, which was prone to a rapid change in visual forms. A diverse variety of styles evolved within just a relatively short period of time. A crucial role was played by many new artistic groups that emerged across several Dutch regions, among them The Plough, Bergen School and De Stijl. Closely related to the art of other European countries, Dutch art was exposed to the influence of major VISITING SESSION OF THE ROYAL SWEDISH ACADEMY OF LETTERS, trends of the epoch. Two centuries after the 17th-century golden age, Dutch artists did not only carve HISTORY AND ANTIQUITIES out a special niche in the general European context, but also paved the way towards contemporary art.

On 15 May 2017 the State Hermitage Museum hosted a visiting session of the Royal Swedish Academy of Letters, History and Antiquities. Founded in 1753, the Academy was envisaged to enhance research and set up links with scholarly institutions from other countries and international academic organisa- tions. The meeting was concerned with the Hermitage’s research activities. In his welcome speech Mikhail Piotrovsky compared the Hermitage to the legendary Alexandrian Museum in Egypt during the , which represented a fusion of a museum, library and research centre. Georgy Vilinbakhov, Deputy Director for Research, and Mariam Dandamayeva, Academic Secretary, outlined the Hermitage’s key areas of research and the work of the boards and committees in charge of its plan- ning and coordination. Natalia Kozlova, Head of the Oriental Department, and Andrey Kuznetsov, Academic Secretary at the Department of Classical Antiquity, gave overviews of their departments’ activities, in particular new permanent exhibitions and key temporary exhibitions opened over the last decade. Evgeny Platonov, head of the Hermitage Research Library, delivered a report on the library’s history and core activities. The meeting concluded with a discussion about the forms of cooperation be- tween the Hermitage Museum and other institutions, interaction between research departments within the museum’s structure, budget issues and the availability of museum and library collections on the museum’s website.

128 129 RESEARCH TRIPS RESEARCH TRIPS

In 2017 the State Hermitage Museum awarded travel grants Vladimir Kolosov, report: “Dynamics of Arrival of Amphoras Xiongnu Population’: Myth or Reality? (Based on the Materials In 2017 the following employees were given research grants for international conferences to the following employees: to the Cimmerian Bosporus in the 6th – 3rd Centuries BC, Based of a Funeral Rite)”. Ulan-Ude, Republic of Buryatia. of the Vladimir Potanin Charitable Foundation: on the Materials of Excavations in 2008–2016”. Anastasia Chizhova. 9th International Youth Archaeology FIRST HALF OF THE YEAR International Peter the Great Congress “European Voyages Konstantin Chugunov, report on recent archaeological excavations Conference, report: “Glasswork in the Archaeology and of Peter the Great (1701–1717). 300 Years of the Tsar’s Visit in Siberia. Ethnography of the North Caucasus”. Vardzia, . Igor Arsentyev. Work with the holdings and archives of the to France”, Paris, France Imperial Carriage Museum (Vienna, Austria) to prepare Anastasia Bukina. Conference in Honour of Sir John Boardman Konstantin Chugunov. International conference “Early a collection catalogue Carriages and Horse Tack of the Late 17th – Ekaterina Andreyeva, report: “Organisation of Faience Production “Greek Art in Motion”, report: “Pavlovsk Imperial Palace in Eastern Europe”, report: “Challenges of Dating Asian Materials Early 20th Century in the State Hermitage Collection. in Russia and Actions Taken by the Russian Government to Find and Its Collections: On the Initial Stage of Collecting Ancient of the Age of Early Nomads and their Synchronisation with Artemy Baranov. Study of Cologne museums’ educational out the Secret of European Porcelain Making as One of the Results and Archaeological Materials in Russia”. Lisbon, Portugal. Eastern European Antiquities”. Kiev, . of Peter the Great’s Second European Journey”. practices. Larisa Vorotinskaya. Seminar “Ceramics as the Main Source Ksenia Chugunova. 23rd Annual Meeting of the European Ekaterina Vasilieva. Study of materials of the Koban culture of the Tatiana Lekhovich, report: “‘ Work is Amazing Here’: of Knowledge about Cultural Changes in the Central European Association of Archaeologists. The Netherlands, Amsterdam. North Caucasus in the collection of the Natural History Museum Peter the Great’s Visit to the Gobelins Manufactory and Russian Barbaricum”, report: “Ceramics in Zarubintsy Burials Marina Shults. International programme “Design Connections”. (Naturhistorisches Museum) in Vienna. Textile Industry after May 1717”. of the Upper Dnieper Reaches”. Poznań, Poland. London, UK. Ludmila Davydova. Work with the holdings of the Uffizi Gallery Roksana Rebrova, report: “Russian-French Winemaking Trade Ekaterina Dolbunova. International conference “Socio- and the German Institute of Art History (Kunsthistorisches Links Based on the Example of St Petersburg Archaeological Environmental Dynamics over the Last 12,000 Years”, report: Holdings of the State Hermitage Museum”. Institut in Florenz), Florence, Italy, in order to study the history “The Use of Water Resources in the Early Neolithic: New Studies In 2017 the following Hermitage employees were sent for trips of acquisition of ancient artefacts in Italy in the 19th century, Nina Tarasova, report: “‘Assembly as the French Word’. Costumes, in the South of Russia (Rakushechny Yar)”. Kiel, Germany. to work at UK museums and research institutions by the UK gather archival records about the statue Hercules Fighting Feasts and Music at the Russian Court. 1717–1725”. Friends of the Hermitage: the Lion, bought by Mikhail Golitsyn in Florence. Marina Kozlovskaya. Conference on museology, report: “Collection and Exhibition: Challenges of Interpretation”. , Georgia. Irina Bagdasarova. Preparation of the exhibition Elena Dmitrieva. Work with the holdings of the Casanata Library 6th International Congress on Black Sea Antiquities “‘Believe not thine eyes.’ Trompe l’oeil in Art” (Rome; Italy) in order to attribute the collection of sealing Mark Kramarovsky. 17th World Congress of Jewish Studies, “The Greeks and Romans in the Black Sea Area and the wax casts of carved gems from the State Hermitage Museum, report: “Studies of the Jewish Solkhat–Crimea on the Basis Natalia Bakhareva. Preparation of the exhibition Importance of the Pontic Region for the Graeco-Roman World allegedly produced by a Roman workshop in the last quarter of the Archaeological Materials of the 13th to 14th Centuries”. “‘Believe not thine eyes.’ Trompe l’oeil in Art” (7th century BC – 5th century AD)”, Constanta, Romania of the 18th century. Jerusalem, Israel. Anna Kropina. Preparation of a series of lectures on the art Alexander Butyagin, report: “Myrmekion during and after Anna Eremeyeva. Study of the collection of ancient architectural Maria Menshikova. 2nd IASSRT Symposium “Dialogue with Silk of English furniture. Colonisation”. fragments and complexes in the British Museum and the British between Europe and Asia: History, Technology and Art”, report: Sophia Kudriavceva. Studies of educational programmes Library to find analogues to compare with the Hermitage collection Vladimir Kolosov, report: “Bosporan Ashy Mounds: Structure “Orthodox Priest’s Phelonion from c. 1700 Made of Chinese as part of contemporary art exhibitions at the museums of ancient architectural fragments discovered in the Northern and Materials”. Silk with Dragons of ‘a Disgusting Appearance’ – A Rule and galleries of London. Black Sea Area. or an Exception?”. Lyon, France. Nadezhda Novoselova, report: “New Excavations of a Hellenistic Andrey Kuznetsov. Preparation of the publication Mosaic from Kamilla Kalinina. Participation in a master class on the use Farmhouse on the Northern Coast of Chersonesos”. Olga Osharina. International conference “Textile Interrelationships Chersonesos as part of “The Antiquity at the Hermitage” series of pyrolysis–gas chromatography/mass spectrometry (PY/GC-MS) in the 1st Millennium: Egypt as a Textile Hub”, report: Dmitry Chistov, report: “Some Observations of Trade Dynamics and completion and preparation for printing of the catalogue and solid–phase microextraction (SPME) in order to identify “Hellenistic and Near Eastern Influence in Late Egyptian Fabrics in the Context of Amphora Transportation in a Settlement Etruscan Mirrors in the State Hermitage Collection by Evgeny organic materials of the cultural heritage sites. Lisbon, Portugal. from the State Hermitage Collection”. Antwerp, Belgium. on the Berezan Island”. Mavleyev. Mark Kramarovsky. Work with Mongolian museums and private Anna Petrakova. Conference “Greek Vases as Medium Ksenia Malich. Preparation of the exhibition “Study of Teaching collections in order to prepare the international exhibition of Communication”, report: “A Youth in a Bonnet in Attic 5th (21st) All-Russian Archaeological Congress, Methods at the Architectural Association in London and “The Gold of the Chingissids. Eurasia in the 13th – 15th Centuries”. Red-Figure Painting: New Case – New Sense?”. Vienna, Austria. Barnaul–Belokurikha the Heritage of the 1960s – 1980s”. Vyacheslav Kuleshov. Participation in the summer school of the Anna Savelyeva. Symposium “Exhibiting Japan: Renewal Alexander Butyagin, report: “New Studies of an Early Roman Dumbarton Oaks Research Library and Collection (Washington, and Renovation of Japanese Art Galleries”, report: “Japanese Art Mansion on the Myrmekion Site”. USA) on Byzantine numismatics and sphragistics in order to study Exhibitions at the State Hermitage Museum in 2009–2016”. In 2017 the following Hermitage employees took part in the joint the topic “Money, Economy and History of Eastern European M. Gromova, report: “Stoneware Vessels from the 17th – Fukuoka, Japan. exchange programme of the Hermitage and the Metropolitan Societies in the Middle Ages”. 19th Centuries Recovered during Excavations in St Petersburg”. Museum of Art Elena Starkova. International conference “Archaeological Studies Dmitry Lubin. Work at Ludwig Maximilian University Daria Hook, report: “Challenges of Using Information in Eastern Poland, Western Ukraine and Belarus in 2016”, report: Olga Kostyuk. Study of the Western European jewellery collection. of Munich (LMU Munich) and Central Institute for Art History Technologies for Study, Processing and Preservation of Scientific “Steppe Elements in the Cucuteni–Trypillia Culture: Addition (Zentralinstitut für Kunstgeschichte). Study of works by Alexander Data on Archaeological Expeditions and Collections”. to Discussions”. Lublin, Poland. von Kotzebue.

Irina Kalinina, report: “Ornamental Ceramic Traditions Natalia Sutyagina. International conference “Topical Issues Andrey Omelchenko. Work at the Metropolitan Museum of Art of the Advanced Neolithic of Eurasia’s Forest Area”. of Archaeology and Ethnology of Central Asia”, report: “’Average and the University of Pennsylvania Museum of Archeology

130 131 RESEARCH TRIPS and Anthropology. Study of the materials of the 8th – Nadezhda Novoselova. Work at the National Roman Museum, 15th centuries (ceramics, tiles, glass), including the collection library of the German Archaeological Institute in Rome and from the excavation site at Nishapur. New York, USA. Restoring Ancient Stabiae Foundation (RAS) in order to prepare the publication Fresco Paintings from the Archelaus House Olga Osharina. Work at the Coptic Museum in Cairo and libraries in Tauric Chersonesos. of the German and French archaeological centres. Study of archaeological textile items of the Late Antiquity in their historical Ksenia Ryzhova. Study at Lab Air Quality Camfil, visit to the Royal context in order to draw parallels with the Hermitage objects. Palace in Stockholm, study of modern methods of measuring air corrosiveness and contamination level in the museum environment. Yulia Semenova. Study of collections of Roman sculptural portraits in the Berlin State Museums (Staatliche Museen zu Berlin) Irina Frantsuzova. Study at Lab Air Quality Camfil, visit to the and Glyptothek Munich. Royal Palace in Stockholm, study of modern methods of measuring aerosol particle concentration in the museum environment. Natalia Sutyagina. Work at the Museum of Prehistory and Early History (Museum für Vor- und Frühgeschichte) of the Berlin Irina Khrustaleva. Work with archaeological materials and State Museums and at the Prussian Cultural Heritage Foundation archival records at the Institute for History of the National (Stiftung Preussischer Kulturbesitz). Continued study of a funeral Academy of Sciences of Belarus in order to study the topic rite of the elite Xiongnu burials. of “Recessed Structures in the Western Part of Eastern Europe’s Forest Area in the 7th – 4th Millennia BC”. Irina Terentyeva. Work at the Alinari National Museum of Photography (MNAF), Florence, and Photographic Archive, Ekaterina Yakovleva. Work at the library of the Max Planck Milan, for the purpose of treatment of the Hermitage collection Institute for Art History and the Raffaelli family archives of Western European photographs. in Vatican in order to study the development of Italian mosaics of the 16th – 19th centuries.

SECOND HALF OF THE YEAR

Alexey Akseshin. Work at Nigerian museums. Study of the practices of storage and conservation of African artwork.

Anna Egorova. Work at the University of the Utah Asia Center, USA, as part of an international project of the Japanese Association of Modern Arts and Crafts.

Natalia Krestyaninova. Research trip to the , Washington, to study preservation of cultural treasures from foreign collections as part of temporary exhibitions held in the USA as well as legal support of museum activities in the USA. Washington, USA.

Alexander Kulish. Work at the Afrasiab Museum of Samarkand and the State Museum of History and Culture of Uzbekistan, Samarkand, to study architectural decoration fragments from the 12th – 15th centuries in order to draw parallels with the Hermitage items.

Andrey Mazurkevich. Work at the Museum of the Earth, Museum of Archaeology and Ethnography and the Institute of Archaeology of Warsaw and Lodz, Poland, to study reference ceramic complexes of the Corded Ware and Trzciniec cultures from Poland; technical and morphological analysis of ceramics.

Andrey Nikolaev. Work at the Collège de France library (Paris, France) to prepare the publication of an ancient Egyptian sarcophagus of Na-na from the State Hermitage collection.

132 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

INTEGRATED ANTIQUE EXPEDITION ARCHAEOLOGICAL EXPEDITION FOR SMALL FORMS IN RELIGIOUS ARCHITECTURE

Head of Expedition: S.L. Solovyov Head of Expedition: V.B. Panchenko

The ancient town of Acra (Akra) located on the shore of the Kerch Strait is a unique submerged archaeo- The expedition studied religious complexes with stone crosses in Kingiseppsky and Volosovsky districts, logical site in the Northern Black Sea Area whose history hides many secrets. Our knowledge of the Leningradskaya Oblast (Region). site chronology, layout and fortification system is still very limited. The collaborative archaeological Works continued on the Starye Smolegovitsy 3 Site in Starye Smolegovitsy Village, Volosovsky District; expedition undertaken during the 2017 season by the Institute for the History of Material Culture (Rus- a planigraphic analysis of the site was completed. One important find was a 50 cm tall pivot stone dis- sian Academy of Sciences), State Hermitage Museum, Russian Geographical Society and Black Sea covered near cross 3 in the northern part of the previously unearthed boulder masonry. The masonries, Underwater Research Centre attempted to close these knowledge gaps. Subaquatic exploration was conducted on a residential quarter dating from the 4th – 3rd century BC with an area of c. 400 m2, where stone bases of house walls, remains of a stone pavement in the court- yard (possibly a square) and two household pits were uncovered. A 16 m2 underwater pit was started out- side the south-western defence wall to explore the site stratigraphy and the chronology of the wall con- struction. The excavations resulted in the finding of numerous sherds of amphora tare originating from various parts of the Black Sea and Mediterranean regions as well as fragmented table- and kitchenware, both locally produced and imported. Other finds include Bosporan copper coins and a wooden comb. Surface exploration activities in Acra commenced on 10 July; the archaeological team was composed of thirteen volunteers and three researchers of the Russian Geographical Society. A 25 m2 pit was sunk on the seashore near the defence wall in order to study the adjacent area outside the city boundaries. Archaeological excavations were performed to clarify the site stratigraphy and chronology. A cut-off levee made up of two rows of sandbags was constructed for this purpose on the shore horizon; however, even this robust structure suffered from the strong wave impact during the storm so that additional time was required for the levee restoration and reinforcement. It was established that despite its small size Acra had a well-developed fortification system with de- fence walls and towers of various designs, which places it on a par with well-known Bosporan sites such as Pantikapaion, Nymphaion, Myrmekion, Tyritáke and Porthmion. The 2 m wide defence wall of Acra Starye Smolegovitsy 3. unearthed during the 2017 season is a strong three-layer structure, with two outer layers (shells) com- Crosses 3 and 4, the visible part posed of large, coarsely chiselled stone slabs and an internal rubblework layer constructed from smaller of the boulder masonry and stones and clay. The works in Acra offer an excellent opportunity for investigating Bosporan fortification the chapel. North-western aspect methods. It was established that the defence wall, constructed in the early 4th century BC, underlay several cultural Voynosolovo Village, Kingisepp. strata. The wall was disrupted in some places with household pits dating from the 2nd century BC – The cross near St Catherine’s 3rd century AD, which suggests that by that period Acra may have lost its significance as an urban Cathedral centre and transformed into an average seaside village. The findings obtained from the submerged part aligned on the NS axis, reached 4.5 m in length. It was established of Acra, where the latest structures dated from the 3rd century BC, appear to confirm this hypothesis. that the stone had been intended for cross 4, the surviving lower The classical finds included multiple fragments of amphora tare, tableware and roof tiles, along with part of which was found near the road. The cross was installed in its copper coins, bronze and lead objects, sherds of black lacquer Attic vessels and parts of simple table- intended position. and kitchenware. In Voynosolovo Village, Kingiseppsky District, topographical works were performed, involving groups of stone crosses located on the Voynosolovo 2 Gravesite (currently the village cemetery) and inside the village. The stone cross found by the expedition on private land during the previous field season was removed from the discovery site for conservation purposes and installed near St Catherine’s Cathe- dral in Kingisepp next to the other crosses retrieved from the same village in the late 1950s. Further studies of archaeological sites in the west of Leningrad­skaya Oblast (Region) are scheduled for the forthcoming field season.

Underwater pit (Pit No.1) On-shore pit

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ARCHITECTURAL AND ARCHAEOLOGICAL EXPEDITION The О-West pit. 2017. Western aspect Head of Expedition: O.M. Ioannisian Room

In 2017 exploratory activities proceeded on the Church of Our Sav- Room SK iour’s Transfiguration in St Euphrosyne’s Convent, Polotsk. Built Room in the second quarter of the 12th century, the church is known as the only fully surviving ancient Russian building in Belarus. Exploratory P. Room P. works on the church had commenced in 2015 and resulted in the find-

ing of the remains of a gallery built at the same time as the Church SK SK of Our Saviour which has survived until the present. The works are Room conducted jointly with Polotsk State University in accordance with P. the Terms of Reference drawn up by OOO Belrestavratsia and ap- proved by the Belarus Ministry for Culture. Archaeological explo- ration of the Church of Our Saviour is required to obtain new data STREET about the site for restoration purposes. In the 2017 season excavation was undertaken in the southern part of the gallery and the Church of Our Saviour. A pit sized 15 × 4 m was excavated and found to contain the traverse stone walls of the extension perpendicular to the lesenes on the southern façade of the Segment-shaped cast coin church. It was established that the eastern wall of the gallery used (obverse and reverse); to be situated near the eastern lesene of the central section of the a lead letter wall. The apse in the wall indicates that the eastern room of the gallery may have had a side chapel, possibly intended for funer- Two circular half-dugouts (SK 75, 76) were discovered in the cen- ary services. A three-part tomb built from plinthiform bricks was tral part of the 2017 extension; the backfill materials dated to the found in the centre of the room below the floor level. Similarly to the last quarter – end of the 4th century BC. The complexes resulted body of the church, the masonry of the gallery was constructed from from the fires which had destroyed numerous buildings in the second plinthiform bricks and opus signinum using the “secret course” half of the 4th century BC, preceding the reconstruction of the resi- technique. dential facilities in the late 6th – 5th century BC. Another remark- A burial niche, or arcosolium, was unearthed at the second section able characteristic of the site was the presence of Roman household of the southern wall of the church counting from the west, which pits. In the western part of the extension, the cultural deposits were had initially faced the interior of the gallery. The niche was chiselled explored to the natural. The area has several features dating from in the masonry soon after the completion of the church. The burial 0 2 cm the first half of the 4th century BC: two half-dugouts, one round space (located below the floor level) was separated from the gallery (SK 77) and one rectangular (SK 78), as well as eight household pits with a low thin wall constructed from plinthiform bricks and opus dating from the same period were unearthed. signinum. The arch of the niche, hewn and filled in during the recon- struction of the church in the 18th century, used to be decorated with paintings. The backfill of the arcosolium was found to contain mul- tiple fragments of these paintings and one of the key finds of season, a lead stamp depicting Euphrosyne of Alexandria (possibly a copy of the stamp that belonged to St Euphrosyne of Polotsk, the founder of the convent).

BEREZAN (LOWER BUG) EXPEDITION BUKHARA EXPEDITION

Head of Expedition: D.E. Chistov Head of Expedition: A.V. Omelchenko

Systematic archaeological works proceeded on the archaic site on Berezan Island (О-Western pit). Excavations in Paikend, located in the south-west of the Bukhara oasis, continued in collaboration with An extension of c. 230 m2 was made in the northern part of the pit. Part of a residential quarter dat- the Institute of Archaeology, Uzbekistan Academy of Sciences. In the south of the citadel the works ing back to the second half of the 6th – first third of the 5th century BC and a section of a meridi- involved the structures surrounding the ancient entry to this part of the site. Remains of a late 3rd – onal street bounding the quarter in the west were unearthed. The ancient daylight surface in the area ­4th-century tower were unearthed; a system of ceramic sewer piper was discovered in the “corridor with was found to have had a significant slope in the direction of the present shoreline; the stone and adobe tall sufas” situated further north. The so-called botros pits were excavated in the lower floor east of the structures had been built in terraces with due account of the relief. One residential building unearthed “southern corridor” and found to be filled with ancient weapons of the Sarmatian type and munitions in 2017 had been destroyed by the fire in the second half of the 4th century BC and undergone subsequent (whole parts and fragments) made of iron, copper, silver, gold and bone. ­reconstruction. A rare segment-shaped cast copper coin with a fish head depicted on one side and a relief East of the citadel, the pavement in the palace courtyard (50 × 15 m) was uncovered. The pottery found of an arrow on the other was found in the fire debris layer. Another important find was a lead letter with among the backfill confirms the suggestion that the structure may have been re-inhabited in the early an inscription containing seven lines; the letter was recovered from one of the household pits dating back 12th century. to the third quarter of the 4th century BC. 136 137 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

Area in front of the citadel. ANCIENT RUSSIAN EXPEDITION Pit 3 (seen from the citadel) Head of Expedition: S.V. Tomsinsky

Archaeological works were undertaken on the ancient palace in Aleksandrovskaya Sloboda (Alexandrov Kremlin), focusing mainly on the area north-west of the Dormition Church and north–northeast of the 18th-century well chapel – the territory referred to in 15th-century wedding rites as the ’s Yard. The stone foundations of a palace dating from the early 16th century, most likely built by Italian masters, were discovered in the area. The 2017 excavations resulted in the finding of remains of walls forming the southern corner of a large stone palace (Structure 12) facing the square in front of the altar part of the Intercession (now Trinity) Cathedral, the main place of worship of the residence. The palace had a basement the entrance to which was located precisely on the axis of the passage mentioned above. The lower tier of the gallery connected the entrances to the basement of the unearthed palace and the palace in the Tsarina’s Yard. Judging by the technological features of the unearthed masonries, both structures can be confidently identified as originating from the same building tradition in the early 16th century. The palace was destroyed not later than the mid- to second quarter of the 16th century by a fire which 0 1 cm may have occurred during the second habitation period. Our analysis of the wedding rites of Tsar Ivan IV and Tsarevich Ivan Ivanovich suggests that the fire had occurred shortly before 1571 AD. The texts of the Plaque with a depiction of a griffin rites also suggest that the palace unearthed in 2017 used to form one of the main parts of the residence. (gold, lead; first centuries AD) Following an effort (possibly unsuccessful) to reconstruct the palace, which was undertaken immediately Twin towers with arrow slits facing the western entrance to the fortress were discovered; the entrance after the fire, the basements were backfilled with construction waste and sealed with several layers may have functioned in the 5th – 6th century (?) and had possibly been linked with the nearby Admin- of lime mortar. The walls were dismantled to the daylight surface. The masonries were disturbed again istrative Quarter. Another passage to the quarter (4th century) was discovered along the northern face in the subsequent period. Fragments of weapons (pieces of a coat of mail, plates from a body armour, near the north-western corner tower. Remains of a 1.3 m wide wooden gate had survived. arrowheads and arrows) were recovered from part of a courtyard adjacent to the wall of the palace; Further exploratory works were conducted on the street network and the building community (Pit 3) the circumstances under which the deposition of the objects occurred in the cultural layer is to be clari- dating from the 5th – early 9th centuries in the fortified area north of the citadel. The eastern entrance fied once a larger area of the site has been explored. to this part of Paikend was discovered which may have been operational during the Early Middle Ages. The structural features suggest that the early 16th century facilities were constructed in 1508–1513 0 1 cm One particularly noteworthy feature is a 52 m2 hypostyle hall. Judging by the coins and the ceramic by the same Italian masters that had taken part in the building of the Great Palace in the Kremlin. materials, including one sample with potassium-containing glaze, the hall may have dated from the Jamasp drachm. 498–499 AD. Silver; weight 3.28 g late 8th century. One rare Sassanian coin minted during the reign of king Jamasp (5th century) was set in a necklace. C. 100 m above the outer face of the southern fortress wall of Shahristan I, another two semi-circular towers measuring 6 m in width were outlined. In the Southern Suburb excavations on the complex of mosques situated near the eastern entrance to the residential quarter were completed. The latter is likely to date from the 10th century and originally featured a caravansary. A treasury of coins found under the lower floor indicates that the structure may have originated in the late 8th century.

UPPER DVINA EXPEDITION

Head of Expedition: B.S. Korotkevich

Excavation continued on the Anashkino Site in Kunyinsky District, Region. The works started in 2015 on Pit 8 (32 m2) on the north-eastern slope of the site were completed. The activities concentrated on the cultural deposits dating from the beginning of the Early Iron Age which contained remains of fortification structures at the edge of the internal moat. To clarify the configuration of the internal moat, previously explored areas in the 2014–2015 adjacent to Pit 8 (total area 12 m2) were revisited. On the south-eastern edge of the site a new plot measuring 20 m2 was explored to the natural (Pit 9). The deposits in Pit 9 dated from the early Iron Age (possibly 2nd century BC – 1st century AD) and early Middle Ages. The cultural layer yielded fragments of heterochronous pottery and a small number of individual metal, bone, horn, flint and clay objects, including decorations, tools and large clayware sherds.

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TRANSBAIKAL EXPEDITION

Head of Expedition: N.A. Sutyagina

Cheremukovaya Pad’ Gravesite. Mounds 17, 20, 30. General aspect following the clean-up

Meshoko ledge. Layer 6. Eastern aspect Meshoko ledge. Layer 6. Flint objects recovered from the site

shaped) found among the deposits in great abundance. A small number of sherds from high-quality pot- tery were also recovered. As yet, there are no known analogies to this complex. We may be dealing with an entirely new cultural phenomenon which can throw some light on the early stages of the Eneolithic culture in the North Caucasus.

Excavations continued in the western part of the Cheremukhova Pad’ Gravesite. The research activities mainly targeted Mound 8 and a group of mounds (17, 20, 30) excavated using a single pit. A wooden structure roofed with transverse half-beams was found under the embankment of Mound 8. Two large buckles with a prong attached to the frame and two large rectangular belt buckles were found among GOLDEN HORDE EXPEDITION the stones in the southern part of the mound. Head of Expedition: M.G. Kramarovsky Exploratory works on mounds 17, 20 and 30 have offered more clarity on the relative chronology of the burials. A log cage and the tomb of an adult male were discovered at a small depth in Mound 30. Cheremukovaya Pad’ Gravesite. The works of the 2017 season focused on three sites: the madrasah and Uzbek mosque (Pit 45) and the Burial in Mound 30 The burial had been robbed in antiquity. presumed structure in the southern sector of the site (Pit 46а). Additionally, Dmitry Sadofeyev invento- ried the epigraphic monuments discovered on the site, which are currently being decoded. Pit 45. The area of the northern and southern ayvans of the madrasah was explored. In the northern TRANSKUBAN EXPEDITION ­ayvan, a mosque dating from 1314 with the name Uzbek on the portal was built (reconstructed from components) in the late 15th century near the northern wall of the madrasah. Its mihrab was hewn in the Head of Expedition: S.M. Ostashinsky northern wall of the madrasah ayvan; a rectangular protrusion (1.5 m in width and 0.65 m in thickness) was added to the south of the madrasah. The area measured 5.25 × 6.2 m. A floor surface covered Field research continued on the Meshoko rocky ledge situated in the with lime and sandstone slabs was traced. The southern ayvan contained a platform (1.13–1.17 m wide; sub-mountain region of the North-West Caucasus in Maikop Dis- 3.8 m long) made of stones and lime mortar. An oven which may have served for working with metal trict, Adyg Republic. The previous studies had shown that the site in- objects such as iron braces or building tools was discovered 0.5 m from the foundations of the northern cluded at least five layers, the most distinctive of which was Layer 5, wall of the ayvan. The oven consisted of two parts (extension and furnace). The mouth of the oven faced dating from the early 4th millennium BC (Bronze Age). The works west and was constructed from plinthiform bricks measuring 20.5 × 20.7 × 4.5 cm. in the 2017 season were conducted in the eastern part of the pit Pit 46. Exploration works commenced on a self-standing structure on the southern slope of the spur (­total area 24 m2), where deposits were uncovered in the lower part of Maly Agarmysh Mountain. A household pit made in the natural layer was found. The stratigraphic of layer 5. The finds included multiple pottery fragments and a few situation was similar in all parts of the pit: the vegetable layer overlay greyish-brown clay loam, varying flint objects. The washing of cultural deposits resulted in the finding from 0.2 to 1.3 m in thickness and resting on a rocky natural surface with inclusions of sterile light- of small stone and bone beads, stone seed beads and grains of do- brown clay loam. mesticated cereals (barley and wheat). Many finds were recovered from the vegetable layer, mostly sherds of tare pottery (spherical-conic ves- Layer 6, red from numerous pits filed with ochre, was found under- sels, fragmented amphorae and tare pitchers, less often pieces of table- and kitchenware). The large neath the Eneolithic deposits. The materials recovered from layer 6 number of finds makes the pit a highly promising area for further research. differ markedly from those found among the overlying strata. Most of the finds were flint objects. The flint industry displays microlithic features, with fragments of flint plates and microplates, as well Meshoko ledge. Nothern aspect as microscrapes and geometric microliths (segment- and diamond-

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KITEON EXPEDITION Lead letter. 4th century BC

Head of Expedition: A.V. Katsova

Works continued on the ancient town of Kiteon (Kitey / Citea) in the south-east of Kerch Peninsula, mainly focusing on the ash mound in the central part of the site. The pit currently measures 195 m2 in area; the explored strata now reach 1.0–1.20 m in thickness. Redeposited layers dating from World War II were present in the northern part of the pit. Previously unearthed individual fight- ing bays were discovered along the southern side of the pit. Layers of brown sand clay and masonry 2 (unearthed during the 2016 sea- son) were studied in the eastern sector of the pit. Ash deposits represented by yellow-brown clay loam with some shells and numerous ash streaks were studied in most parts of the pit. Excavation yielded agglomerates of hard (baked) clay, pot- tery, mussel shells, patches of yellow clay loam and streaks of ash. Three dog skeletons and an accumulation of animal vertebrae and skulls were found; three pits were unearthed. The recovered materi- General aspect of the pit als included numerous pottery sherds, pieces of vessels with graffiti Burial of an infant in the Samos and dipinti, coins, fragmented terracottas, moulded lamps, spindle amphora. Second half of the whorls and pyramid-shaped loom weights as well as objects made 4th century BC of bone, stone, metal and glass. One special find was a portrait me- dallion at the bottom of an open red-lacquer vessel and a bone cover plate with a low relief depicting half of a male face. The studied layers of yellow-brown clay loam may date from the second half of the 1st century BC – 1st century AD. Diversity of the finds and rare buildings are common for the archaeological sites of this type.

0 3 cm

Portrait medallion at the bottom of the open red-lacquer vessel

MYRMEKION EXPEDITION

Head of Expedition: A.M. Butyagin

Works continued in the central and western part of Myrmekion on the northern side of the Kerch Bay. In the central part archaic and clas- sical strata were studied on Unit I, where several pits as well as part of a half-dugout dating from the second half of the 4th century BC were discovered. Excavation works were completed on a rectangu- culture. A second Bronze Age burial was discovered on the site; the burial contained two moulded pots. lar pit dating from the 4th century BC and faced with a thick layer Farther south, backfill dating from the World War II was removed to obtain access to the medieval of adobe bricks. A new extension was added to the north of the pit. deposits. A gold plaque and two crumpled pieces of gold foil (possibly thrown away by robbers that had In the western part of Myrmekion manor houses of the 1st – 3rd cen- raided the neighbouring tomb of a Bosporan king) were found nearby. turies BC were further explored near the rock of the ancient acropo- In 2017 works commenced on Unit M abutting to the wall which had bounded the ancient city in the east. lis (Unit TS). The building periods of the structures were studied The works were conducted within the limits of the 1960s pit. A severely damaged winery and a group and numerous pits unearthed. One noteworthy find was a fragment of heterochronous pits were re-unearthed. The uncovering of a new sector of the Myrmekion graveyard of a millefiori glass cup. Earlier deposits were discovered in the east- dating from the second half of the 4th century BC (the earliest known part of the site) is one of the key ern part of the site underlying the Roman strata. Numerous bone outcomes of the season. This area of the gravesite contained three child burials in amphorae, two crouch- and horn fragments with traces of processing (possibly the waste ing burials in pits and part of a standard burial in the supine position. Exploratory efforts will continue from a bone carving workshop) were retrieved from the stratum in the following field season on all the three sites. dating back to the 4th century BC. Found among them was a let- ter on a lead plate, the first letter ever to be discovered on the site. Fragment of a millefiori cup. 1st – 2nd century BC The letter contained data on local trade and incorporated a message for another addressee – a unique phenomenon for Ancient Greek 142 143 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

LOWER DON EXPEDITION

Head of Expedition: E.V. Dolbunova

Decorations and tools made from Unio shells Ornamented flat-bottomed bowl, recovered from the lower stratum (recovered from Rakushenchny Yar) in the waterside area

The 2017 exploratory efforts resulted in the finding of undisturbed cultural strata, with the earliest deposits apparently dating back to the beginning of the 7th millennium BC. These had formerly been inaccessible due to the high water level in the Don. The available radio-carbon dates indicate that indi- Nymphaion. Site M. Aerial photo vidual parts of the site and cultural strata are chronologically diverse. The site had remained inhabited for a long time, judging by uncovered cultural deposits reaching several metres in thickness. Cultural strata were found below the aquifers, accounting for the excellent state of preservation of organic ob- 2nd centuries BC, however, isolated fragments of amphorae, red-lacquer pottery and glassware dating jects such as wooden and bone artefacts and coprolites (the first to be recovered from this region). Areas from the 1st and 2nd centuries AD suggest that these complexes date back to the first centuries AD. located near the ancient river shore may have performed specialised functions relating to the use of wa- A skeleton of a male aged 20–30 years at the time of death (height 166.7–171.6 cm) was discovered ter resources. Recoveries made over the 2017 season indicate that the site had served for fishing and at the bottom of Pit 76. The bones of the skeleton showed signs of disease and injury, including Kashin– processing of fish and Unio shells. Miscellaneous parts of fish and fish bones preserved in the anatomical Beck joint disease, Paget’s disease of bone (bone deformity), osteochondroma (a benign tumour of a left order were discovered in some parts of the site. Judging by the animal remains, the local inhabitants had rib), a metastasising malign tumour of the sacrum resulting in deformity and disability as well as a chop used environmental resources of several types, including forests, water bodies and steppes. The bones wound of a rib without traces of recovery, indicating that the wound may have caused the man’s death. 0 3 cm of domestic animals retrieved from the lower strata suggest an even more complex organisation of the The diagnosis was established by D.Yu. Ponomarev, Expert of the Crimean Republican Medical Forensic ancient community. Further studies are required to identify the time of their domestication in the area Office. Slate axe and describe other features of this Neolithic community, the oldest in Eastern Europe. The first col- The washing of the ground from several pits resulted in the finding of plant seeds; three dog burials were laborative studies conducted jointly with Lodz University and Krakow University have made it possible excavated. to reconstruct the landscape at this site as of the 7th millennium BC.

Nymphaion. Handle of a red-lacquer vessel in the shape of a Silenus NYMPHAION EXPEDITION PAZYRYK EXPEDITION Head of Expedition: O.Yu. Sokolova Head of Expedition: E.V. Stepanova Field research proceeded on the Bosporan city of Nymphaion, focusing on the 2010 extension on Unit M situated on the southern slope of the Nymphaion plateau. Terracing and soil removal continued on the In July 2017 investigatory activities were conducted for museumification purposes on the Pazyryk western side of the pit in the extension in order to fully unearth the ancient amphitheatre. The stud- Gravesite in Ulagansky District, Altai Republic, in conjunction with Gorno-Altaisk State University. ies involved the area of c. 300 m2. The recovered material dated predominantly from the Hellenistic A detailed plan of the gravesite was compiled with features of the Scythian, Hun-Sarmatian and Tur- period and the 5th – 4th century BC, with some pottery sherds manufactured in the first centuries AD. kic periods. Petroglyphs spanning the period from the Bronze Age to the Turkic times were discovered It should be noted that black-lacquer and red-figure pottery from the 5th – 4th century BC was mainly in the area of the gravesite. found in the southern part of the site, where outcrops of natural clay are located. Ten household pits Additional structural information was obtained as a result of the works on the northern margin were unearthed, some of which contained multiple stones of various sizes among the backfill, ranging of Mound 5; a crepidoma, a fence constructed from vertical slabs, stoneworks radiating from them from rubble to large blocks and slabs. The objects recovered from the pits mostly date back to the 4th – and fire pits along the perimeter of the fence were unearthed. One of the fire pits contained fragments 144 145 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

Khisorak. Painting imitating polychrome silk

1 2 3 Mounds 5 and 7 in Pazyryk: 1) before the 2017 excavation, of iron slag – an unprecedented find for Pazyryk. The fragments may have originated from the iron 2) during the excavation, melting furnaces on the fringe of Balyktyiul Village located 3 km from the gravesite; the furnaces will 3) after the excavation be explored in the following field season. The northern pit started in 1949 by S.I. Rudenko’s expedition was reopened to evaluate the dimensions of the ice lens. At present no ice can be located underneath the mound. The trench contained marked bones of two horses (Nos 1, 3). Mound 7 was fully excavated and its embankment explored (in 1949 a pit was started in a robbery trench; the embankment was not removed). The refuse dumps and backfill of the pits were found to com- prise fragmented bones of a child, an adult and a horse as well as pieces of two moulded vessels, which In Citadel II (Khisorak) the research efforts involved the lower floor of vaulted Room 10, from which considerably supplements the materials obtained by S.I. Rudenko. Upon completion of the works, numerous organic finds and decorative bricks were recovered, as well as the eastern courtyard of the the embankment was recultivated. complex with a monumental passage and a sally-port. In Citadel I a near-square Room 9 with wall paintings was explored. A throne covered in silk was depicted in the south-eastern corner; the painting PANJAKENT EXPEDITION in the aisle may represent a priest in front of the altar.

Head of Expedition: P.B. Lourje

The expedition conducted exploratory works on the Panjakent site, spending ten days on the Khisorak NORTH-WESTERN EXPEDITION citadels. In Panjakent excavation works were resumed on Feature (Block) VI, where the most famous Head of Expedition: A.N. Mazurkevich paintings were discovered in the 1950s. On Feature XI, a vaulted room, an unusually shaped ramp with a wooden top and two rooms of unusual architecture with traces of paintings were unearthed; the his- Works continued on Serteya II, a pile village dating back to the late 4th – 3rd millennium BC. The land tory of the northern city wall was studied. In Kaynar an early intramural corridor was explored and and subaquatic excavations focused on the remains of two pile structures; household pits were unearthed; paintings depicting tulips were copied from the walls of Feature XX. Built-up areas dating back to the diverse wooden parts of houses were found. In the western part of the site exploratory activities proceed- 9th – 11th centuries were unearthed on the modern territory of the city. Exploration activities started ed on the open-air and roofed sites possibly intended for wintertime household works; the open-air sites on Feature XXX in the north-western part of the site. The area had been severely affected by fire; a dam- may have served for animal carcass processing. Early Eneolithic pottery and bone tools as well as flint aged chapel and a homochronic ceramic complex with 55 whole vessels were found among the debris. objects and a 20 cm bone tip tentatively dating from the Mesolithic period were recovered from the same Panjakent. Whole pottery items

Serteya II. View of the excavation pit Serteya II. Heap of shells near Pile Structure 3. Underwater photo

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SLAVIC-SARMATIAN EXPEDITION

Head of Expedition: S.V. Voronyatov

0 3 cm 0 5 cm

Serteya II. Amber jewels, 3rd millennium BC Serteya II. Mesolithic bone tip

part of the site among the deposits overlying the natural. The key finds included fragments of Neolithic vessel, various flint tools, amber pendants, wooden household utensils and a fragment of a small cylin- drical birch bark container (tuesok). Exploration works on the pile village were conducted jointly with Paris University of Paris I Panthéon-Sorbonne, Paris Х and University of Bern. Palaeogeographical ex- plorations were conducted jointly with Lodz University and St Petersburg Polytechnic University named 0 1 cm after Herzen. The 3rd international workshop “Approach to Exploring Peatland Archaeological Sites” was conducted during the expedition. Basement of a 12th – 13th-century house Fragments of glass bracelets from the basement of a house

NORTH-CAUCASIAN EXPEDITION The expedition continued excavation works in Glazhevo Village, situated on the right side of the Navlya River in Navlinsky District, Bryansk Region. A total of 108.4 m2 was explored. The cultural layer had Head of Expedition: Yu.V. Marchenko been destroyed by ploughing, with settlement facilities only found on the natural. The vast majority of the pottery sherds recovered from the stratum dated back to the Ancient Russian The works during the 2017 field season focused on a Koban culture gravesite in the area of the land- period (12th – 13th century), as did a number of isolated finds including biconical spindle whorls made 2 slide in Verkhny Kurkuzhin Village, Baksansky District, Kabardino-Balkaria. The 216 m site was found of Ovruch slate, fragments of glass and bronze bracelets and forge nails. A basement of an Ancient to comprise 21 burial structures (sixteen stone boxes and five ground pits) with a total of nineteen bod- Russian residential building was discovered among the household pits on the natural. The backfill of the ies. Six of the burials did not contain any bones; two burials were of couples, one yielded the remains excavation pit was saturated with sherds of wheel-thrown pottery and bones of domestic animals and of three people. The explored section of the gravesite contained the remains of eight children, seven men birds. Other finds included fragments of glass bracelets of various colours, a bronze ornamented lamel- and four women. The grave goods were composed of arrowheads, knives with curved backs, pins, some- lar ring, a lead weight and an iron knife. times fixed together with fine chains, and beads made of glass (including paste), amber and ceramics. The Late Roman layer, severely damaged in the Middle Ages, had not survived in the area studied during Other finds included pincers and fragments of bridles and psalia. Pottery is represented by ewers, bowls the 2017 field season. The displaced moulded pottery sherds recovered from the ploughed stratum had and goblets. The gravesite was in use from the 7th to the 6th century BC. originated from the Kievan culture (3rd – 4th century), as had the ceramic complex in one of the Late Roman pits which comprised pieces of a glazed table bowl and several coarse moulded vessels. The disturbed cultural stratum also contained several Bronze Age flint tools and pottery fragments indi- cating that the site had been inhabited during that period.

STABIAN EXPEDITION

Head of Expedition: A.M. Butyagin

In 2017 excavation works started on a new feature on the territory of the Ariadne Villa, situated on the Varano plateau near Castellammare-di-Stabii, Italy. The works concentrated on the cryptoporticus (a wide corridor with small narrow windows) which served for household purposes. The corridor had been previously excavated in the 18th century, after which it was filled in again. The northern part of the corridor had been studied by Italian archaeologists in the 2000s but later covered with soil dis- placed by the rains and wind. The corridor measured 3.5 m in width; the northern part was unearthed down to ca. 13.5 m. The northern sector of the site was filled with displaced soil containing almost two dozen plastic trays with finds, possibly resulting from earlier works. Further south, a layer filled with fragments of frescoes, pottery, mosaic tesserae (marble cubes) as well as remains of mosaics was dis- covered. The area is likely to have contained a refuse dump for materials which presented no interest Verkhny Kurkuzhin Gravesite. Pit II. Aerial view. (The 2016 and 2017 Set of arrowheads from burial 27. Outline for ­18th-century robbers. pits are outlined on the photo with green and red lines respectively)

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Ariadne Villa. Cryptoporticus. Collapsed plaster from the ceiling Red lacquer lamp. 1st century AD

Underlying the stratum relating to 18th-century works and in the area further south was a layer of plas- In Kazakhstan excavations were conducted on the Boka-Tobe Site. It was established that the central ter which had collapsed to the floor from the ceiling and walls; the layer measured nearly 20 m2 in area. castle (square on the plan) had hollow towers on the corners. Remains of the keep (two vaulted rooms) Below the plaster, several objects including fragments of crushed pottery and piles of limestone and were discovered in the centre of the castle. A large pottery collection dating from the first quarter of the tuff were found in situ on the floor where they had been transferred as a result of the Vesuvius eruption. 1st millennium AD was recovered. One of the entry burials was found to contain a 13th – 14th-century The site may have contained a storage space with building materials intended for repairing the villa silver bracelet and a silver earring. damaged by the earthquake in 62 AD. The multiple finds included an amphora with lime mortar for building works, blocks of plaster painted white and black (a unique and not wholly comprehensible find), pieces of architectural terracotta and sherds of red-lacquer lamps. THEODOSIAN EXPEDITION Head of Expedition: M.A. Akhmadeyeva

The expedition started systematic exploration works on the ancient polis of Theodosia and archaeological survey on the northern slope of the Tepe-Oba mountain range, focusing on the territory adjacent TIEN-SHAN EXPEDITION to the site in the south. Preceding studies suggest that the Theodosian Head of Expedition: A.I. Torgoev necropolis may have been located on the site in Antiquity. As a result of the continuous survey on an area measuring over 100 ha, frag- The expedition continued exploratory efforts in its traditional work locations in Kyrgyzstan and ments of several masonries were discovered along with large blocks Kazakh­stan. (most likely originating from the structures and displaced during The excavations in Kyrgyzstan were conducted on several sites. In Krasnaya Rechka the core site inves- the construction of transmission towers) and some outcrops of the tigated by the expedition, the lower strata were explored. Additional evidence was obtained for the hy- cultural layer. The features are concentrated in the western part pothesis that the earliest strata on the site might date from the 8th century. In the 2017 season outcrops of the area being studied and are accompanied by sparse recovery near Kenbulun Village were excavated to obtain a clearer picture of the Krasnaya Rechka environs. material dating back to the classical and Hellenistic periods. One It was established that the site had originated in the second half of the 10th century at the earliest. area in the eastern part of the site was found to be saturated with Early nomad sites were studied in the Kyzyl-Suu Gorge. Four gravesites were unearthed, one most likely 14th – 15th century materials, possibly resulting from a destroyed dating from the Late Bronze Age, the others to the early Iron Age. A stone mound measuring 20 m in di- medieval structure. Geodetic works were performed to compile ameter was explored on the Kok-Zhar 1 Gravesite. The mound cromlech had two entries; a ring-shaped Theodosian expedition. 2017. Survey works (western site). a detailed topographical plan of c. 1 ha of the site; a network of ref- “road” free from stones was found between the cromlech and the embankment. The central burial struc- South-western aspect erence markers was constructed. The key outcomes of the expedition ture was a round stone cist with a false vault constructed from large stones. The cist contained a 1.2 m were the identification of the most likely areas for potential explora- deep grave aligned on the EW axis and, unfortunately, completely robbed. Judging by the structural tion and the geodetic preparation of these areas. features, the mound dates back to the -Wusun period (5th century BC – 1st century AD).

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CHERSONESOS EXPEDITION by ­robbers. The grave goods and bones were absent from the coffin. The back- fill of the grave, however, included small semi-spherical tops from several riv- Head of Expedition: N.Yu. Novoselova ets or nails, a fragment of an iron object, several stone beads, a bronze earring and isolated human bones. It appears that the mound had been not just robbed Exploratory activities continued on Quarter ХХ of Tauric Cher- but desecrated. One may suggest that following the collapse of the Xiongnu sonesos. The main focus of the 2017 season was Archelaus’s House, state the conquered tribes vented their anger and hate for the invaders on the founded in the early Hellenistic period and fully reconstructed dead. Further investigations are required to confirm or refute this hypothesis. in the mid-2nd century BC. The name “Archelaus’s House” is as- sociated with a Greek graffito retrieved during the 2016 excava- tions. The graffito had been left on the wall of a Colchis amphora, possibly by the owner of the house. Judging by the inscription which follows the canons of the time, Archelaus was an educated man. His large house in Chersonesos was built to a typical Greek design, SOUTH-EASTERN CRIMEAN EXPEDITION with a square or rectangular patio surrounded with small rooms, some of which had basements cut in the rock. Judging by the inven- Head of Expedition: V.D. Gukin tory, the house was fairly rich and may have had wall paintings and, possibly, a mosaic floor. Exploration works on the house have Archaeological works were conducted in Sudak on Pit 10 in the area of the Graffito with the name of Archelaus been ongoing for several years. In 2017 it was established that the seaport. The field works resulted in the unearthing of a monastery with me- house had undergone several reconstructions during the Hellenis- dieval churches and the adjacent gravesite. The ruins are remains of a large tic period. The expedition team unearthed Basement 2-2, which single-nave church with side chapels. The surviving parts included fragments may be the earliest part of the house. The basement measured just of apses, pillars and remains of vaulted structures, the altar part, the naos, 3.5 × 2 m in area and c. 1.2 m in depth. During the reconstruction, the narthex, the gallery, partitions, a niche and passages between parts of the the basement had been filled with soil, which contained high-quality building. The territory of the monastery and church accommodated ancient Hellenistic black lacquer pottery dating from the late 3rd century ossuaries and tombs. The studied area also featured earlier structures which BC and painted table pottery. The finds made in the basement in- had existed on the site of the church. cluded fragments of sculptures, indigo paint and sherds of pottery The excavations resulted in the finding of polychrome frescoes and church and Hellenistic amphorae. ware made from clay, metal, glass and stone. The site contained some pot- tery items with sub-glazing painting. The excavation efforts have also The 2017 field works also involved the unbuilt part of Quarter ХХ Orgoyton Gravesite, Mound 7. Burial structure. helped to obtain additional numismatic materials dating from the 13th – located outside the north-western boundary of the house. The area Southern aspect was found to contain a thick layer of backfill made up of Byzantine 15th centuries. roof tiles (early 11th century). Pit 10 in the area of the seaport in Sudak. 2 The total excavated area measured c. 300 m , with the pit reaching South-eastern aspect 4 m in depth for Archelaus’s House and c. 0.8 m for the unbuilt sec- tor of Quarter ХХ. The explored part of Archelaus’s House. General aspect. Stairway from Basement 2

CENTRAL ASIAN EXPEDITION

Head of Expedition: N.N. Nikolayev

Exploration works continued on the Asian Hun (Xiongnu) Gravesite of Orgoyton situated on the left side of the Selenga River in Dzhidinsky District, Buryatia, with a focus on the eastern part of the site. A pit of c. 1,000 m2 was excavated, where eight ruined surface structures relating to stone mounds as well as several fire and pillar pits were found. The size and location of the mounds indicate that the status of the interred was markedly different from that of the male buried in the large princely mound which was situated north-west of the newly found graves (the mound had been explored by the expedition dur- ing the previous field seasons). Two small groups of stones were discovered in the central part of the pit; dark spots of ground with in- clusions of baked soil were found among the stones. Two child burials (one destroyed, one disturbed but in a relatively good state of preservation) were studied. The grave contained the remains of an infant; no grave goods were found. Mound 7, severely damaged by robbers, was excavated to the south-east of the child burials. A burial structure composed of a log cage with a coffin inside was located inside the mound at the depth of over 2 m. The northern part of the structure had been significantly damaged

152 153 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

SOUTHERN BELARUS EXPEDITION SOUTHERN KUBAN EXPEDITION

Head of Expedition: L.S. Vorotinskaya Head of Expedition: T.V. Ryabkova

Investigation continued on the Zarubinets Gravesite originating at the turn of our era The expedition continued systematic works on the Tarasova Bal- near Goroshkov Village, Gomel Region, Belarus, and commenced in Kursk Region. ka Site near Severny Khutor, Mostovsky District, Krasnodar In Goroshkov thirteen cremation burials (55–67) were studied on an 800 m2 ground Krai. The total area of the uncovered cultural deposits amounted gravesite. Several complexes are of particular interest. Burial 55 was found to con- to 144 m2. The pit in the northern part of the site extends the ter- tain a moulded glazed ribbed bowl and a spearhead with prints of fabric on the shaft ritory studied over 2014–2016. The hypothesis about the presence and tip. Our studies of Burial 64 may throw some light on the relative chronology of a ground gravesite in this part of the settlement is yet to be con- of the Zarubinets culture to the Milograd culture; the latter precedes the Zarubinets firmed. The thick, highly saturated cultural stratum in this part culture in the Upper Dnieper Region. The burial contained a round-bottomed moulded of the site originated from the discharge of household waste: iso- bowl with Zarubinets-type fibulae (Middle La Tène design). lated chopped human bones, body armour plates, pieces of psalia In Kursk Region survey works began in the middle reaches of the Seym River in Glush­ and bridles, arrows and arrowheads, spindle whorls, bone objects kovsky District on the Belarus-Ukrainian border with the aim to identify pre-Roman and workpieces were discovered among pottery fragments, plaster Fragments of painted Ionian sites of the Kharyevka type. The sites exist in Sumy Region, Ukraine, yet are complete- and animal bones. Sherds of ancient vessels made up 1.6% of the pottery fragments retrieved: along vessels ly absent from Russia. The survey resulted in the discovery of twenty sites originating with numerous pieces of Klazomenian amphorae, the finds included pieces of painted oenochoes dating in various periods, from the Bronze Age to the Middle Ages, and helped to expand to c. the first quarter of the 4th century BC. the archaeological map of Kursk Region. Of special note are the archaeological sites A pit in the central part of the site was excavated in order to convey the geomagnetic survey data: dating back to the early Iron Age which were discovered by expedition near Mar- the positive geomagnetic signal suggested the presence of some structures. Remains of a ruined surface 0 5 cm kovo Village on the right side of the Seym River, including the Kharyevka-type Site structure were found and partly studied. One of the walls measured c. 3 m in length; the location of the Markovo-3. plaster fragments indicate that the structure used to be plastered on the outside and was composed of half-beams and branches. The function of the structure is still to be established; apart from pot- Bowl and spearhead. tery sherds, the finds included jaws of a dog and a colt. Numerous objects made from processed bone Goroshkov Gravesite. Burial 55 (punching tools, a chip-shaped plate and a peg), iron knives of various shapes, arrowheads and iron hooks were recovered in the immediate proximity to the structure. One of the most unusual finds was a flint arrowhead. Sherds of classical vessels on this part of the site accounted for just 0.3% of all finds; however, these included profile fragments of Klazomenian amphorae, of a painted oenochoe and of a Lesbos amphora dating back to c. mid-4th century BC. Further investigatory works on the site will significantly expand our understanding of the culture of the Trans-Kuban Region during the Early Scythian period. SOUTHERN CRIMEAN EXPEDITION

Head of Expedition: S.B. Adaksina

The expedition, acting in conjunction with the Tauric Chersonesos State Historical and Archaeological SOUTHERN SIBERIAN EXPEDITION Museum-Reserve, continued research on the internal urban buildings and the defence system of the medieval fortress of Cembalo. The works targeted two sites, namely Pit 2 and the interior of Tower 5. Head of Expedition: K.V. Chugunov Pit 2. A road was unearthed on the lower terrace. Above the road wall foundations of five rooms were discovered on two terraces; rooms 2, 3 and 5 were fully explored. Two of the rooms (rooms 2 and 3) dat- Excavation continued on the Chinge-Tey I funerary complex in the Tyva Republic (the project was initi- ing from the Genoese period showed traces of the 1475 fire. ated in 2008), where the western and southern sector of the site between the wall and the cromlech Tower 5. This fortification structure was first explored in 2013 by the collaborative expedition of the of the mound were explored. Sherds of a large Early Scythian ceramic vessel and a horn arrowhead were Tauric Chersonesos Reserve and Kharkov National University named after V.N. Karazin (the expedition recovered from the stone fence. In the southern sector sherds of an ornamented flat-bottom ceramic ves- was led by N.A. Alekseyenko and S.V. Dyachkov). The deposits inside Tower 5 were found to contain sel dating back to the Bronze Age were retrieved inside the cromlech, parts of which had been discovered abundant iron objects. A total of 8,360 fragmented and whole plates from a Latin brigandine-type in 2016. It was established that cromlech fragments underlay a structure dating from the early Scythian body armour, 1,655 fragmented and whole crossbow bolts and 507 Turkish arrowheads were recovered. period. A small stretch of a moat in the southern part of the complex was studied and shown to reach Of particular interest are the 49 forge iron cannonballs from 15th-century bombards. The finds indicate 2.80 m in depth; a structure made up of branches which was markedly different from the features exca- that Tower 5 served as an arsenal where crossbows with bolts, protective body armour for arbalest- vated in the other parts of the site was found at the bottom under layers of sludge. ers and iron cannonballs used to be stored. Having captured the Cembalo fortress in 1475, the Turks A special team of the expedition headed by N.A. Zhogova conducted excavations on Zhelvak-5, a site preserved the arsenal, replenishing it with bows and arrows. However, the archaic weapons remained located on the southern slope of the Kurtushibinsky Range and unearthed in 2014. The 2014 excavations unused and were buried under the stone debris in the cistern after the ceiling on the second floor had resulted in the finding of a ground burial structure which had been captured by a small survey pit. of the ­tower collapsed. In the 2017 season this pit was extended and the grave explored. The burial, originating from the Kokel The available written records suggest that the tower was constructed by the Genoese in 1425. culture (first half of the 1st millennium), contained multiple iron objects, including a cauldron, arrow- heads, knives and parts of a belt. An ornamented earring and a cover plate, both made of yellow metal, were found under the head of the deceased. The pit also contained bone and ceramic material dating back to a period from the Bronze Age in the lower layers to the early Middle Ages in the upper horizons. 0 1 cm The layers are interspersed with sterile streaks.

Ornamented earring

154 155 RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS

RESTORATION OF THE HALL OF CARVED STONES AND THE HALL OF VASES The treatment of the Hall of Vases, which is decorated with coloured artificial marble, encompassed the WITH A PERMANENT DISPLAY OF THE DEPARTMENT OF CLASSICAL ANTIQUITY following works: the stone surface was cleared of dirt, cracks injected, later cement insets removed, lost and detached fragments of decoration and small chips restored, mouldings aligned and protective wax coating applied during the renovation of wall covering and door and window decoration. The year 2017 saw the completion of a set of major repair and res- The granite columns, marble windowsills and column bases were cleansed and renovated; stone toration works in two rooms located on the ground floor of the New chips filled with mastic; marble ground, polished and covered with a micro-crystal wax coating for Hermitage and built in the mid-19th century after design draw- protection. ings by Leo von Klenze. For 40 years they were accommodating The doors to the halls were restored while the lost veneer elements made of Karelian birch and nutwood, the repository and offices of the Department of Classical Antiquity their decorations and original door and window fittings made of gilt ferrous and non-ferrous metals were staff. Currently a collection of carved stones is housed there (Room reproduced. 120), with a collection of ancient vases still to come (Room 118). During the treatment of artistic parquet with an inlay of different valuable and exotic types of wood, The scope of work covered restoration of the rooms’ artistic decora- the bearing capacity of parquet blocks was increased, several worn-out and lost fragments of the decora- tion, reinforcement of the bearing structures and full replacement tive inlay replaced and protective coating applied. of engineering systems and equipment. According to design solutions, all engineering networks were replaced, including heating, low-current The Hall of Carved Stones is one of the few rooms in the building and electric power systems. with the vaults and walls entirely covered by ornamental painting. The lighting system was reinstalled (all the wiring and equipment was installed by EMIR LLC). Histori- Numerous cracks in the vaults and walls, both constructive ones cal ventilation ducts were cleaned, their sealed outlets opened, old brass grills restored and the miss- in the brickwork and superficial ones in the layers of plaster and ing ones set in. The of the basement floor located below the Hall of Carved Stones were also decorative finish, were consolidated via injection. Tempera and reinforced. glue painting was strengthened and cleaned, with later overpaint- The works were carried out by the company Muzeynye Tekhnologii, in accordance with the approved ings removed. The lost painting fragments were recreated using design and methodology, based on the results of studies undertaken by the employees of the Depart- the ­author’s technique and background areas exposed in accordance ment of Examination and Authentication of Works of Art (headed by Alexander Kosolapov). Technical with the cleaning of the initial coat of paint. supervision of the works was provided by Asya Okulova, senior engineer at the Restoration and Repairs Department. Architectural and methodological supervision was offered by Valery Lukin, Chief Architect of the State Hermitage Museum, and Marina Ilyina, senior researcher at the Department of History and Restoration of Architectural Monuments.

WORKS IN THE STOCK EXCHANGE BUILDING

A comprehensive study carried out by the State Hermitage Museum revealed that the Stock Exchange building was in a bad technical condition. Defects in the foundation were identified. According to monitoring findings, non-uniform settlement caused cracks in the brickwork of the walls and vaults. All of this required immediate action. In 2017 primary works were undertaken to underpin the foundation and create a monolithic slab with stabilised soil on the borderline where the foundation and soil make contact. Fifty-mm diameter holes were drilled at different angles to cover the whole area of the foundation and later injected with a solution under a pressure of 0.25 MPa. Cement-lime mortar was injected into the foundation

body and a cement solution with calcium chloride (CaCl2) to ac- celerate the setting was used in the contact area. Geotechnical monitoring of the building’s state was provided during and after the underpinning works. No critical deformations were detected. Monitoring services were rendered by PI Georekonstruktsiya LLC. Underpinning works were carried out by the company Renaissance- Restavratsiya under the technical supervision of the Restoration and Repairs Department and method- ological supervision of the State Hermitage Department of History and Restoration of Architectural Monuments.

156 157 RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS

CONSTRUCTION OF THE THIRD PHASE OF THE CENTRE FOR RESTORATION, CONSERVATION AND STORAGE

In 2017 the second stage of construction of the engineering and laboratory building, a third-phase facil- ity as part of the State Hermitage Museum Centre for Restoration, Conservation and Storage, was con- tinued. Underground parking was completed, reinforced concrete frame of the building erected, internal partition walls and façade structures installed. The building was connected to external heat supply net- works so that interior works could continue through the winter season. Finishing works and installation of internal engineering and external networks are currently under way. The works are performed by EtalonPromstroy LLC under technical supervision of the State Hermitage Museum’s Capital Construction Department. The engineering and laboratory building is planned to be Image showing the Winter Palace finished in 2018. It will house eight scientific laboratories (for restoration of easel painting, sculpture and reconstructed Grand Gates as of semi-precious stones, tempera painting, graphic works, time pieces and musical mechanisms, objects­ the second half of the 18th century made of organic materials, archaeological and precious metals), a scientific research centre, a and tapestry washing facility as well as utility and auxiliary rooms. The building will be equipped with one freight and three passenger lifts.

Gates leading to the Great Church Courtyard, allegedly designed by Yury Velten

The new metal gates, crowned with gilt double-headed eagles, lasted for slightly more than 30 years. After the revolution of 1917 the birds were removed and irretrievably lost. The idea of bringing back the historical appearance of the Winter Palace gates germinated in the second half of the 20th century. In the 1980s reproduction of the lost sculptures from the Main Gates was initiated. Based on icono- graphic material, sculptor S. Lebedeva modelled the lost gate decoration in clay. Her models were then used to cast zinc moulds. Eagles were raised out of copper sheet by the State Hermitage Museum’s art- RESTORATION OF GILT DECORATION OF THE MAIN GATES OF THE WINTER PALACE ist and restorer A. Gerasimov. The eagles were then gilded, mounted on frames made of strong Izhora steel and then returned to their place. Different parts and mechanisms of the gates were restored and their lost decorative elements reproduced in ferrous and non-ferrous metal, among them rosettes as well In August 2017 finial sculptures of double-headed eagles returned to the Main Gates of the Winter as palm and laurel branches. Crowns and missing imperial monograms were also made of raised copper ­Palace after conservation. sheet. The works were supervised by Vladimir Efimov, Deputy Chief Architect of the State Hermitage The first mentions of the gates located in the passage leading to the Great Courtyard of the Winter Museum. Restoration of the gates in the Great Courtyard of the Winter Palace marked the completion Palace date back to 1771, when the first wooden panelled gates were erected based on architect Yury of the programme “The New Entrance to the State Hermitage”. In 2003 the gates revealed their origi- Velten’s design. It is most likely that similar wooden gates were also placed at the entrance to the Kitch- nal appearance. en and Church Courtyards. Sadovnikov’s View of the Winter Palace from the Admiralty. Changing of the In 2016 the Restoration Council of the State Hermitage Museum resolved to remove the eagles from Guards shows a wooden door of the Saltykov Entrance, painted in the same white colour as stuccowork the Main Gates of the Winter Palace in order to restore the lost gilding. Restoration works were car- and window sash bars. The same white door can be also spotted in The View of the Winter Palace from ried out by the company Muzeynye Tekhnologii under the architectural and methodological supervision the Admiralty by Ferdinand Victor Perrot. Apart from iconographic materials, there is documentary of Tatiana Prazdnikova, senior researcher from the Department of History and Restoration of Architec- proof that during Catherine the Great’s reign, Velten’s wooden gates had been initially coloured in white tural Monuments. In the course of restoration, deformed fragments of copper casings were realigned. oil. During Paul I’s reign, new gates were produced: this time without panels and coloured in black and All the figures and monograms were regilded. According to the decision of the Restoration Council, the white alternating stripes with thin dividing lines in red. sphere of the central figure retained a fragment of previous gilding with engraved names of the restor- The wooden gates of the Winter Palace, which did not survive the fire of 1837, were reproduced using Museumised old gilt fragment ers who had reproduced the lost sculptures for the 300th anniversary of St Petersburg. Sketch reproducing the lost the same material and coloured in the chevron pattern during restoration works in 1838−1839. on the sphere of the central figure decorative finial composition In 1884 the need to replace wooden gates with metal ones became evident. Nikolay Gornostayev, from the Main Gates the royal architect, drew up designs of big and small gates, which were approved by Emperor Alexan- der III. After that, full-sized wooden models with stucco decoration were produced at Fyodor Meltzer’s studio. They were first installed in the manège of the Anichkov Palace for display and later moved to the manège of the Winter Palace. Massive openwork wrought iron gates with decorative overlays of ferrous and non-ferrous metal were executed at San-Galli’s iron foundry in St Petersburg. 158 159 STRUCTURE OF VISITS TO THE STATE HERMITAGE IN 2017 EDUCATIONAL EVENTS

Total number of visitors 4,220,133 In 2017 the State Hermitage organized and conducted 32,820 guided tours Including Including Free admissions* 1,359,538 General tours of the museum 19,746 Full-price admissions 2,126,394 Tours of Treasure Gallery I 6,738 Concessions Tours of Treasure Gallery II 4,690 (nationals of Russia and Belarus) 461,903 Tours of the Winter Palace of Peter I 814 Internet ticket holders 194,800 Tours of the Imperial Porcelain Manufactory 190 Free admissions for specialists and group Tours of the General Staff Building 642 guides 77,498 392 educational programmes were implemented

Official website visits 2,120,373 The Hermitage held Topic-based classes and lectures for school students, including lecture series 9,890 Topic-based classes and lectures for adults 3,107 Classes for children and parents 615 Classes for school clubs 618 Classes for the Art Studio pupils 174 Classes for disabled children 279 Classes and lectures at the Student Club 521

Lectures delivered 548 Including At the Hermitage Lecture Centre 408 At the Kazan Lecture Centre 72

* The State Hermitage offers free admission to its permanent exhibitions for children, school/university students (regardless of citizenship), senior citizens of Russia and a number of other categories of Russian nationals entitled to special benefits. 160 161 EDUCATIONAL EVENTS EDUCATIONAL EVENTS

JJ HERMITAGE LECTURE CENTRE SPECIAL PROGRAMMES

NEW PROGRAMMES OFFERED BY THE METHODOLOGY SECTOR Our special programmes involve continuous experimentation with subjects, formats and methods of presentation, and even advertising techniques. In 2017 the Special Programmes Unit of the Her- In 2017 the Hermitage continued to expand its educational activities. The traditional programmes mitage’s Methodology Sector participated in the programme “Dialogues about Art” developed by the of topic-based guided tours for organised groups and individual visitors enjoyed great popularity with Great Hall of the St Petersburg Philharmonic Society. The programme combined a series of concerts art lovers. Eight new tour series were created, including authorial programmes on Flemish and Spanish with introductory talks by Hermitage experts on artworks held by the museum. To avoid the risk painting, the culture of Ancient Egypt and the art of ceramics. of great paintings turning into mere illustrations to music, the lecturers looked for conceptual links The programme “Artist of the Month”, launched in 2016, won over new audiences with its semi-monthly between the art objects and musical pieces. This complex search resulted in a constellation of thrill- talks about some of the greatest names in art history. In 2017 the programme paid tribute to Leonardo ing lectures (“From the Romantic Landscape to the Music of Machines” by Sophia Kudriavceva, da Vinci, , , Paul Cézanne and Henri Matisse. The meetings in March com- “Italian Impressions” by Victoria Snegovskaya and Ludmila Torshina’s “Images of Paris”, among memorated the 215th anniversary of architect Andrey Stackenschneider. many others) delivered in 2017 by the staff of the Hermitage Lecture Centre in collaboration with the Educational efforts accompanied nearly all major exhibitions mounted at the Hermitage. The historical St Petersburg Philharmonic Society. A similar programme of concerts and lectures was presented exhibition “The Winter Palace and the Hermitage in 1917. History was Made Here” generated par- by the Samara Philharmonic and warmly received by the audience as well as the musicians. ticular interest (115 tours); other obvious hits included “Nefertari and the Valley of the Queens. From the Museo Egizio, Turin” (107 tours) and “Perfection in Details. The Art of Japan in the Meiji Period (1868–1912)” (95 tours) as well as the applied art exhibitions “From the Dinner-Service Storerooms. Decorating the Russian Imperial Table in the Eighteenth to Early Twentieth Centuries” (77 tours), and “The Hermitage Encyclopaedia of Textiles. History” (55 tours). Several lecture programmes were ­delivered in connection with the temporary exhibitions. In 2017 the enormously popular Hermitage Lecture Centre presented 79 programmes with a total of 334 lectures, which were attended by 46,153 visitors. The lectures proved so successful that they had to be broadcast in the museum lobby as even the Lecture Centre’s great auditorium was unable to seat all those who wished to attend. The Lecture Centre’s programme was supplemented by 24 new lecture series, notably “Impressionism and the Impressionists” by Natalia Brodskaya, “In Venice, Everything is the Perfection of Beauty…” by Nadezhda Zabolotskaya and “’For the Respite of the Caesars’: Impe- rial Villas of Italy” by Alexander Butyagin. The new additions to the well-received Oriental Classes included lectures on Chinese and . The series “In Memoriam” (twelve lectures); “Stories by Hermitage Curators” (eight lectures); “­Famous Collectors” (three lectures), and “The Hermitage. Selected Works” with its five programmes (ten lectures) never cease to fascinate the audience. The Lecture Centre at the “Staraya Derevnya” Res- toration, Conservation and Storage Centre, where 66 lectures were delivered, offered a greater selection of educational activities as well as showed a significant growth in attendance in 2017. Several members of the Methodology Sector took part in the “Curator” programme developed jointly by the Hermitage and Diletant Media; methodologists Natalia Brodskaya, Olga Makho, Yulia Denisova Presentation by Irina Voytsekhovskaya. Concert “Great Names, Presentation by Ludmila Torshina. Concert “Pictures of Provence”. and Pavel Azbelev appeared on live online shows. Great Works”. Rembrandt van Rijn. The Return of the Prodigal Son. Paul Cézanne. Samara Philharmonic. November 2017 Samara Philharmonic. September 2017 The Methodology Sector of the Education Department spreads knowledge on the history of the Hermit- age and its collections among diverse audiences across Russia and abroad. Several lectures were deliv- ered in Paris (“St Petersburg Meetings in France”) and in the Pushkin House in London. The Hermitage continued its collaboration with Yale University; a number of Yale students were invited NEW EDUCATIONAL PROGRAMMES FOR YOUNG VISITORS to take part in a summer internship scheme at the Hermitage and introduced to the Hermitage collec- tions as part of a specially developed syllabus. The Hermitage also organised classes for students of Vas- A new club “Art Masterpieces: Restorer’s View” opened doors at the School Centre in 2017. The club sar College during the 2017 autumn term. introduced high school students to the subtle points of art restoration and invited the young attendees to visit the museum’s restoration workshops normally closed to the public. The School Centre launched the programme “Weekend Master Class” for parents with children of early and junior school age. The programme comprises a series of topic-based interactive tours of the museum ranging from the art of Classical Antiquity to , as well as master classes introducing younger audiences to the di- versity of techniques and media used in applied arts. The School Centre in conjunction with the Volunteer Sector conducted the already traditional computer graphics and animation competitions for secondary school students. The first contest, titled “Tour de France 1717. The Grand Journey of Peter the Great”, celebrated Peter I’s visit to Europe in 1717. The competition in autumn 2017 was held in commemoration of the 100th anniversary of the October revolution. The contestants submitted works in several nomina- tions, including Multimedia Performance, Computer Painting and Graphics and Video and Animation. Art classes in the run-up to the competitions were delivered in the exhibition spaces of Peter I’s Win- ter Palace and the Hermitage by methodologists of the School Centre and the museum research staff. In December 2017 the Hermitage invited young visitors to the festival “The Vibrant Colours of Stained Glass” held in the newly-refurbished premises of the School Centre’s Methodology Department. The ­festival culminated in the unveiling of a large stained glass panel composed of replicas of ­14th-century 162 163 EDUCATIONAL EVENTS EDUCATIONAL EVENTS

Children’s festival “The Vibrant Colours of Stained Glass” Special programme “My Holland”

stained glass elements coming from St Mary’s Church in Frankfurt am Oder. The replicas had been cre- The festival was attended by 40 students of Boarding School No. 33 for children with hearing loss. ated for academic purposes in 2002 by the Hermitage’s Laboratory for Scientific Restoration of Applied The programme explored the art and culture of Holland and Dutch heritage in St Petersburg. The par- Art Objects during their work on the original compositions. Present among the guests at the festival ticipants presented a colourful dance show as well as several sign songs and tableaux vivants; the chil- were students of School No. 210, who had participated in a special programme on medieval art and dren thanked the School Centre workers with hand-crafted presents. The festival was completed with culture offered by the Hermitage. One of the highlights of the festival was a concert prepared by child a master class “3D Pictures by Lesser Dutchmen” and a game themed on the Dutch still life and Dutch musicians from the Rostropovich School of Arts. The young guests took part in a museum treasure trail national costumes, which was held in Peter I’s Winter Palace. and a jigsaw game “Piece Together a Stained Glass Window”. The festival also included a master class “Basics of Stained Glass Art”, where the children created coloured glass compositions inspired by panel with copies of the designs from St Mary’s Church.

JJ YOUTH CENTRE

CHRONICLE OF 2017 EVENTS

Jan Fabre. Reincarnations October 2016 – April 2017 The Youth Centre public education programme was designed jointly with the Department of Modern Art within the framework of the exhibition “Jan Fabre: Knight of Despair / Warrior of Beauty”. PROGRAMMES FOR VISITORS WITH LIMITED ABILITIES The programme included lectures and media presentations on various aspects of Jan Fabre’s work; it also featured guided tours and discussions in the exhibition spaces, work on the performance “Intermedia: In 2017 the Education Department continued to expand its selection of activities aimed at visitors with Circles on the Water”, the New Year carnival of the Student Club and a meeting with the artist. special needs, including a number of collaborative programmes which had run for several years. Round- the-year classes in museum rooms were delivered for the Anima Society; seven special lectures were Architecture and Urbanism presented in the Kolomna Society for People with Visual Impairments; four art therapy sessions were conducted in the museum’s exhibition spaces in January and February for a group of patients of Mental 19 January, 2 February, 16 February, 2 March, 23 March, 30 March, 20 April, 28 April Hospital No. 9 undergoing rehabilitation at the hospital’s day care centre. The series of lectures and discussions developed by Anna Sirro focuses on the development of the modern In September 2017 the Hermitage entered a partnership with LLC Languages Without Borders. architectural environment in urban centres. The Methodology Sector of the Education Department developed a study module and ran classes as part of the course “Training Hearing-Impaired Guides Using Russian Sign Language for St Petersburg Art&Science: Science. Art. Museum Museum Spaces”, providing students with the background required for conducting guided tours in the 21 January, 18 February, 18 March, 17 June Hermitage. This interdisciplinary workshop is a collaborative project launched by the State Hermitage Museum In December 2017 four members of the Education Department attended an advanced professional train- and the St Petersburg National Research University of Information Technologies, Mechanics and Optics ing programme “Museum Services for Disabled Visitors” offered by the Institute for Professional Reha- (ITMO). The workshop explores the intersections between modern science and art as well as looks at how bilitation and Personnel Training of the Rehakomp National Blind Association, Moscow. research and development efforts can be applied in the art world and museum practice. A special programme “My Holland” aimed at deaf and hard-of-hearing children was organised as part of the governmental initiative “Accessible Environment for People with Limited Abilities” in Peter I’s Anatomy of Music Winter Palace in May 2017; the programme was designed by methodologists of the School Centre 25 January, 8 February, 22 February, 22 March, 29 March, 12 April, 26 April, 10 May, (Methodology Sector) in collaboration with Elena Logacheva, member of the Education Department 31 May, 7 June and head of special programmes for deaf and hearing-impaired children. A series of lectures and discussions by composer Sergey Yevtushenko.

164 165 EDUCATIONAL EVENTS EDUCATIONAL EVENTS

Meeting with Jan Fabre. Presentation of the “Jan Fabre: Knight of Despair / Warrior of Beauty” exhibition catalogue

Workshop programme “Art&Science: Science. Art. Museum” Screenings of documentaries by Ila Bêka and Louise Lemoine

Performance “A Duel” 14 March The staged performance represented a battle of two shamans, with the third one acting as the witness, co-participant and arbiter. Rather than competing to establish the winner, the shamans were involved in a dispute about the ways of the world.

Cave Painting in the Digital Age. Lecture by Geneviève Pinçon (France) Cyberfest 10 10 April 26 January – 2 February Geneviève Pinçon, Director of Centre National de Préhistoire, France, introduced the young audience In 2017 the Cyberfest media art festival was held on several venues, with a video art retrospective staged to modern methods and technologies used for studying pre-historic art and conserving cultural heritage. at the Hermitage’s Youth Centre. The event was organised in collaboration with Institut Français, St Petersburg.

A Winter Night in the Hermitage Students participate in the programme “Days of Classical Art” 1 February 27 April Students and staff of the Methodology Sector embarked on their traditional “journey” across Students of the Art Studio led by Natalia Kruglova conducted master classes for children. The participants the museum spaces, inaugurating a new academic term at the Youth Centre’s Student Club. tried their hand at plate painting with motifs inspired by antique pottery and learned to make theatre masks from paper. The classes opened a painting marathon which was held in the Hermitage’s rooms Meeting with Programme Director Jean-Marie Gallais, Centre Pompidou-Metz of Ancient Greek and and joined by students of St Petersburg art schools. 4 February Programme Director Jean-Marie Gallais informed St Petersburg art lovers about the work of the Centre Grand Model “Devolution” Pompidou-Metz, a branch of the Centre Pompidou of Paris. 11 May The one-day project of the Contemporary Processes in Art Unit (led by Ladomir Zelinsky) presents Scratchboard an interpretation of philosopher Ivan Chtcheglov’s work Formulary for a New Urbanism, which had 8–13 February deep impact on the 1968 events. St Petersburg artist Kirill Gorodetsky presented his works and gave a talk on the history and applica- Monsters and Hybrids tions of the scratchboard art technique. 12 May Documentary screenings with Institut Français A video broadcast from Ca’Foscari University in Venice, Italy, covering the launch of the “Monsters 11 February, 25 February and Hybrids” exhibition by CYLAND Media Art Laboratory. Institut Français in St Petersburg and the Hermitage’s Youth Centre hosted screenings of documentaries Programmes associated with the exhibition “The Henkin Brothers: A Discovery. People directed by Ila Bêka and Louise Lemoine. Koolhaas Houselife (2008) of the Living Architectures series of the 1920s – 30s Leningrad and Berlin” follows the story of the building designed by Rem Koolhaas in Bordeaux. 24 heures sur place (2014) is an attempt to recreate Louis Malle’s experience by describing the life of Paris via interviews with Amateur Photography: Contemporary Research. Lecture by Gil Pasternak (UK) its residents filmed on Place de la République. 23 May The event inaugurated the educational programme associated with the temporary exhibition Masterpieces of Classical Art “The Henkin Brothers: A Discovery. People of the 1920s – 30s Leningrad and Berlin”. 15 February, 15 March, 5 April, 19 April, 29 November, 13 December Dr Pasternak, Senior Researcher and Senior Lecturer at De Montfort University (Leicester, UK), A series of lectures and discussions, developed by Ludmila Davydova from the Department of Classical reviewed modern approaches to studying non-professional photography, drawing on the examples Antiquity, State Hermitage Museum. of amateur snapshots taken with a Kodak camera between 1913 and 1932. 166 167 EDUCATIONAL EVENTS EDUCATIONAL EVENTS

History in Photographs: Germany and the USSR. 1920s – 1930s: The Henkin Brothers’ Archive 13 June The discussion on exploring the history of everyday life through photographs formed part of the educational­ programme associated with the exhibition “The Henkin Brothers: A Discovery. People of the 1920s – 30s Leningrad and Berlin”. With contributions from historians Alisa Klotz (European­ University) and Konstantin Kotelnikov (St Petersburg State University). Meeting with photographer Dmitry Konrad, expert and discoverer of the Henkin brothers’ archive 28 June Meeting with Olga Maslova-Walter, owner of the Henkin collection, and Daria Panaiotti, curator of the exhibition “The Henkin Brothers: A Discovery. People of the 1920s – 30s Leningrad and Berlin” Meeting with Alisa Klotz and Konstantin Kotelnikov. International student project “Interpretation 2017. 29 June “History in Photographs: Germany and the USSR. 1920s – 1930s”: The Photograph as a Document” Meeting and discussion at the exhibition “The Henkin Brothers: A Discovery. People The Henkin Brothers’ Archive” of the 1920s – 30s Leningrad and Berlin” 14 July Anselm Kiefer, for Velimir Khlebnikov Review: The History of Photography through Printing Techniques. Lecturer: Alexey Kosolapov (State Hermitage) May–August 18 July The public educational programme “Kiefer’s Cosmogony”, composed of seven lectures, was designed by the State Hermitage’s Youth Centre and Department of Modern Art in association with the exhibition The Rhetoric of the Documentary Image. Lecturer: Daria Panaiotti “Anselm Kiefer, for Velimir Khlebnikov”. 18 August Interpretation 2017. The Photograph as a Document Storing of Family Photos and Museum Photographic Materials. Lecturer: Tatiana Sayatina, 16 June Head of the Laboratory for Scientific Restoration of Photos (State Hermitage) International student photographic project of the Hermitage’s Youth Centre and Parsons School 25 August of Design (New York) Deletion of “Enemies of the People” from Group Photographs in the 1930s. Lecturer: Concept Creation in Commercial Photography Denis Skopin 17 June 2 September Lecture by Thomas Werner, Parsons School of Design (New York). History of the Urban Photographer. From Early Photographs of the 19th Century to Google Street Views. Lecturer: Irina Chmyreva Art Marathon: Kiefer and Khlebnikov 13 September 1 July (18:00) – 2 July (3:00) The focal point of the public and educational programme prepared in conjunction with the Kiefer The Photograph as a Document and Art Object. Discussion and presentation exhibition, the Art Marathon aimed to demonstrate that the synaesthesia of painting, literature and of the catalogue “The Henkin Brothers: A Discovery. People of the 1920s – 30s Leningrad music which shaped much of early 20th-century art retains its impact and appeal today – a thesis well and Berlin” illustrated by works of Velimir Khlebnikov and Anselm Kiefer. The marathon was attended by prominent 25 September artists and culture professionals, and included art discussions, performances, lectures, exhibition projects, live music recitals and documentary screenings. Closing of the Student Club season 24 May Anatoly Garanin, Famous and Unknown The 2016/17 season closed with the traditional intellectual quiz, held in the General Staff Building. 5 July The music, video and blitz questions designed by Student Club teachers and attendees tested the A lecture by photographer Ksenia Nikolskaya about Anatoly Garanin’s photographic collection preserved participants’ knowledge, creative thinking, cultural awareness and grasp of the dialogue between arts. in the archives of the Russian State News Agency RIA Novosti.

Participation of the Youth Centre programme “Circles on the Water” Contemporaries / Born in 1945 in Intermuseum 2017 (Central Manege, Moscow) 30 August 25–29 May The final project in the educational programme associated with the “Anselm Kiefer, for Velimir The programme won the Intermuseum award for museum education. Khlebnikov” exhibition presented the legacy of Leningrad artists of the post-war generation.

A dialogue with Anselm Kiefer and Dimitri Ozerkov prior to the opening of the exhibition Liquefaction and of the Museum: Sokurov and Shnurov. A lecture by Dragan “Anselm Kiefer, for Velimir Khlebnikov” Kujundžić (University of Florida, USA) 27 May 16 September Discussion at the Hermitage Theatre. In conjunction with the documentary festival “Message to Man”. 168 169 EDUCATIONAL EVENTS EDUCATIONAL EVENTS

The Battle of Chile: Struggle of a People Without Arms (Patricio Guzmán, 1975–1979) 19 September Documentary screening and discussion moderated by Mikhail Trofimenkov and Alexey Artamonov, cura- tors of the special programme of the festival “Message to Man”. Round table: Recomposition: New Spaces, Music and Art 27 September The round table addressed issues of the cultural heritage of St Petersburg in the late 1980s and early 1990s. But You are Not an Artist! September–November A programme presented at the festival “Children’s Days in St Petersburg”. Students’ Day in the Hermitage 1 October The opening of the Youth Centre’s 2017/18 academic season at the Hermitage Theatre. The event Intellectual marathon “All Power to Museums?!” “Cultural Revolutions!” New Year party of the Youth Centre showcased different units of the Student Club as well as collaborative and authorial lecture series, with the curators of the exhibition “The Winter Palace and the Hermitage in 1917. History was Made Here” appearing as the keynote speakers. The Day of Yamal Anatomy of Music 10 December 11 October, 25 October, 8 November, 22 November, 6 December, 20 December Audiovisual promenade performance “Voice of the Hermitage” staged by the Youth Centre jointly with A series of lectures and discussions by composer Sergey Yevtushenko. the Representative Office of the Yamalo-Nenets Autonomous Okrug in St Petersburg. Cultural Revolutions! New Year party at the Youth Centre Architecture and Urbanism 23 December 27 October, 10 November, 24 November, 1 December, 8 December, 22 December Themed on the hotly debated subject of cultural upheavals, the Student Club carnival invited visitors The workshop by Anna Sirro and Anton Smirnov looked at the interaction between politics to take part in the intellectual quiz and create their own revolutionary slogans and costumes. and architecture, ranging from the history of urban civilisation to contemporary city development. Over the year 2017 the Student Club members were offered the following lecture series: Creative Architecture: Urban Focal Points – Revolutions! Art in the Time of Great Upheavals (concept by Sophia Kudriavceva); 1–4 November – Germany. 20th Century (by Pavel Deyneka); The project brought together young St Petersburg architects, who presented their most recent works – Soviet Design (by Ekaterina Bychkova); and identified the current trends in architecture. – Art&Science in Russia and the World: Origins, Reality and Prospects (by Alexander Kiryutin); – authorial lecture series “Cinema: The New Weapon” (by Alexandra Generalova). Interpretation: The Best (Archangelsk) 4–20 November The Archangelsk Museum of Fine Arts showed the best works submitted for the annual programme “Interpretation” from 2009 to 2017 by students of the Art Photography Section of the Student Club, INTELLECTUAL MARATHON “ALL POWER TO MUSEUMS?!” and the Photography Department of Parsons School of Design (New York). On 16 November 2017 the General Staff Building of the State Hermitage hosted the intellectual mara- Understanding the Unthinkable. Project by Donato Piccolo thon “All Power to Museums?!” under the auspices of the 6th St Petersburg International Cultural 7–12 November Forum. The marathon comprised two important discussions which brought together managers and staff The project was presented as part of the “Contemporary Art” programme with the support of the North- workers of the country’s greatest museums and members of the art community. West Branch of ROSIZO, CYLAND media laboratory and Mario Mazzoli Gallery (Modena, Italy / Berlin, In his opening presentation Mikhail Piotrovsky, touching upon the serious challenges facing museums Germany). and other major cultural institutions today, said “the world we are living in today is characterised by the dark triad of universal mistrust, the atmosphere of hatred sparking ‘memory wars’ and inappropriate Museum Festivals: Amsterdam Experience. A lecture by Bjorn Stenvers (Netherlands) response to words and actions”. The marathon addressed some of the burning questions shifting to the 12 November foreground of public debate and conflict. The lecture by Bjorn Stenvers, Executive Director of International Museum Council (ICOM) Endowment The lively opinion exchange between the participants of the first discussion titled “Museums and Society. Fund, focused on the multiple aspects of museum marketing. The Limits of Liberty” focused on the root causes of disagreements between cultural institutions and governmental structures, shared their vision on institutional collaboration in the area of interdisciplin- Intellectual marathon: All Power to Museums?! ary programmes and on the methods of interacting with sponsors as well as presented some of the most 16 November interesting art projects outside museum spaces. Held as part of the 6th St Petersburg International Cultural Forum. The discussion was chaired by Dimitri Ozerkov, Head of the Department of Modern Art at the State Hermitage, and Elena Kolovskaya, Director of the PRO ARTE Foundation. Joining the discussions were International photographic project: I Live Here Marina Loshak, Director of the Pushkin State Museum of Fine Arts; Olga Sviblova, Director of the 22 November Moscow Multimedia Art Museum; Alexander Borovsky, Head of Contemporary Art at the State Rus- Held as part of the 12th International Young Journalists’ Forum “Dialogue of Cultures”, the exhibition sian Museum; Pavel Prigara, Director of the Manege Central Exhibition Hall; architect Oleg Yavein, presented 200 works by aspiring photographers from 30 countries across Europe and Asia. Professor of the Moscow Architectural Institute; Gleb Ershov, Associate Professor of the Department 170 171 EDUCATIONAL EVENTS SPECIAL EVENTS

JJ COMMEMORATIVE DATES AND EVENTS

CELEBRATION OF THE 73TH ANNIVERSARY OF THE COMPLETE LIFTING OF LENINGRAD’S SIEGE

On 27 January 2017 the State Hermitage Museum hosted events marking the anniversary of the full liberation of Leningrad from the siege. A concert of songs and poetry from the war years was given in the Hermitage Theatre. Also dedicated to the anniversary was an exhibition of works by pupils of the “Clay Mask” Ceramics Studio at the “Sta- raya Derevnya” Restoration, Conservation and Storage Centre. The exhibition was contributed to by Ok- sana Zheleznyak who had survived the siege. The studio established under the auspices of the Psycho- neurologic Dispensary No. 10 is headed by Vadim Lebedev, an artist-restorer of the Hermitage Museum. A gala evening took place at the Official Hotel of the Hermitage Museum. This is the third year that the Hermitage Museum is holding such an event collaboratively with the hotel and the Worldwide Club of Petersburgers. The celebration was attended by veterans who survived the siege, combat veterans who defended Leningrad at the front, cultural workers who stayed in the besieged city and children of the besieged Leningrad.

of Interdisciplinary Studies and Practices in the Field of Arts, St Petersburg State University, and art historian Yulia Demidenko. The second discussion, “Real and Virtual Museums. Strategies for Coexistence”, moderated by Mikhail THE DAY OF CAUCASIAN CULTURE IN THE STATE HERMITAGE MUSEUM. CELEBRATING Yakovenko, Deputy CEO for Information Technologies at the State Polytechnic Museum, and Vladimir THE 130TH ANNIVERSARY OF THE BIRTH OF ACADEMICIAN JOSEPH ORBELI Opredelenov, Deputy Director for IT, Pushkin State Museum of Fine Arts, featured an equally exciting mix of guest speakers including Olga Sviblova, Director of the Moscow Multimedia Art Museum; Olga In the year 2017 the programme of the Day of Caucasian Culture was dedicated to the memory of Aca- Shishko, Head of Cinema and Media Art at the Pushkin State Museum of Fine Arts; Tatiana Nikolayeva, demician Joseph Orbeli, a famous expert of the Orient and legendary director of the Hermitage Museum Head of Multimedia and Internet Projects of the State Tretyakov Gallery; Alexey Boyko, Leading Meth- between 1934 and 1951. odologist for Educational Activities of the State Russian Museum; Anna Mikhaylova, Curator of Digital The date of 8 March 2017 marked the 130th anniversary of the birth of Joseph Orbeli. He gave a major Educational Projects of the State Historical Museum; artist Pavel Ignatyev; Alexander Lavrov, CEO part of his life to the study of culture of the peoples living in the Middle East and Caucasus and played an of Vizerra; Georgy Molodtsov, Vice-President of the Russian Documentary Film and Television Guild important role in the life and history of the Hermitage Museum in the hard years after the 1917 revolu- and curator of the project “Russian VR Seasons”; Sergey Zakharov and Mikhail Antykov, heads of the tion and the World War II. project “The Hermitage. Immersing in History”. The Day of Caucasian Culture in the Hermitage Museum was opened by Mikhail Piotrovsky in the Her- Sophia Kudriavceva mitage Theatre. Yury Piotrovsky, Deputy Head of the Department of Archaeology of Eastern Europe and Siberia, spoke about important and decisive events in the biography of Joseph Orbeli, about excavations he carried out and the establishment of the Department of the Orient in 1920. Elena Solomakha, Deputy Head of the Department of Manuscripts and Documents, gave a talk on the events of the 1930s, purges PERFORMANCE “CIRCLES ON THE WATER”: A DOCUMENTARY DRAMA in the museum and contribution of Orbeli to rescuing people from political repressions. TO MARK THE CLOSING OF THE JAN FABRE EXHIBITION IN THE HERMITAGE The evening ended with a performance of the ensemble of traditional Armenian music “Duduk Band” accompanied by a biographical film about Academician Joseph Orbeli. A special tour “The Hermitage The staged performance “Circles on the Water”, created by a group of students under the guidance Museum of Academician Joseph Orbeli” was held as part of the Day of Caucasian Culture. of Hermitage staff workers and guest experts, gave a rousing finale to the public programme offered by the Youth Centre in connection with Jan Fabre’s exhibition “Knight of Despair / Warrior of Beauty”. The interactive programme combined traditional lectures and guided tours with modern formats such as project activities, art mediation and storytelling. The attendees of the Hermitage programme, led 15TH ROUND TABLE “MUSEUM AND PROBLEMS OF CULTURAL TOURISM” by dramatist Natalia Borenko and theatre director Maria Kolosova of the Vmeste (Together) project, set out to study the viewers’ response to the Jan Fabre art show. The material for the performance On 6 and 7 April 2017 the State Hermitage Museum for the fifteenth time gathered representatives was obtained with techniques employed by documentary theatre (verbatim collection, document of cultural institutions, higher education institutions and tourist industry for a round table “Museum and analysis, and observation); quotes from the museum’s guestbook and comments on social media Problems of Cultural Tourism”, to discuss topical issues of interaction of museums with visiting tourists were also used. and tourist companies. The project participants watched museum visitors in the exhibition spaces, recorded phrases from ac- A particular attention at the 15th Round Table was paid to the activity of the Hermitage centres, new tual dialogues and noticed any unusual reactions. These materials created the texture of the script forms of work with the visitors and issues of the changing tourist market. and the final performance. The visitors’ opinions, the attitudes of the Hermitage staff and provocative This year the number of participants of the Round Table reached 160, 45 of whom gave presentations. comments are compared to circles on the water created by the Jan Fabre art exhibit in the Hermitage. Among the guests from distant foreign countries were representatives of professional communities Project curator: Daria Boldinova, Methodologist of the Youth Centre, Education Department, State of Belgium and Thailand. Hermitage. 172 173 SPECIAL EVENTS SPECIAL EVENTS

MAECENAS DAY 2017 IN THE STATE HERMITAGE MUSEUM ensemble “Soloists of Catherine the Great” headed by Andrey Reshetin. In the course of an open-storage tour participants of the Museum Night saw an original carriage, as well as French caftans and other On 13 April 2017 the Hermitage Theatre was the venue for the regular Maecenas Day held this year costumes of Peter the Great. for the twelfth time. This celebration for benefactors and socially responsible companies was organised by the Hermitage Museum together with the Russky Metsenat (Russian Maecenas) almanac of social partnership and the Journalistic Centre for International Collaboration, a St Petersburg-based public INTERNATIONAL INTERMUSEUM FESTIVAL organisation. Mikhail Piotrovsky, General Director of the Hermitage Museum, opened the formal ceremony in the On 25–29 May 2017 the 19th International Intermuseum Festival was held in the Manege Central Exhi- Hermitage Theatre. Various charity and socially significant projects implemented in 2017, as well bition Hall in Moscow. This year the festival addressed the topic “Museum of the Future”. as benefactors themselves, were presented in the celebration. The main programme of the Hermitage Museum was dedicated to the “Staraya Derevnya” Restoration, A number of donations were made in the course of the event and put on display in the Foyer of the Her- Conservation and Storage Centre, one of the most innovative museum centres not only in Russia but mitage Theatre. Among them were a set of furniture made at the Liseret Brothers Factory in 1883 and also worldwide. Visitors to the Hermitage stand could learn more about the storage facility in Staraya donated to the Hermitage Museum by Yury Abramov; items from the archives of the Orlov pre- Derevnya, get to know the work of restoration laboratories and make a virtual tour along an open- sented to the Hermitage Museum by Maurice Baruch (Paris); a recently published monograph “The Bul- storage route. la’s Dynasty of Photo-Reporters: Karl, Alexander…”, given by the Historical Photography The festival presented a film The Hermitage. Immersion in History starring Konstantin Khabensky. Also, Foundation; a Safavid ’alam (banner finial) from the second half of the 17th century and an album new parts of the “Point of Presence” project dedicated to the restoration laboratories on the “Staraya containing watercolour depictions of the front and back sides of the jubilee standard of the 13th Hus- Derevnya” Restoration, Conservation and Storage Centre had been prepared specifically for the In- sars Narva Regiment donated by Sergey Slipchenko. In keeping with the tradition, special thanks was termuseum Festival. Another technology of the future, creation of 3D models of museum exhibits, was expressed to Mark Bashmakov whose assistance helped the museum to obtain a copy of the Bible with demonstrated by the AstraReality application, which helps users to obtain virtual views of Hermitage illustrations (105 prints) by Marc Chagall, and to Sergey Girdin whose donations make up a consider- sculptures from all angles. able part of the Hermitage’s collection of African art. The project “Tour de France 1717 – Peter the Great’s Grand Journey” dedicated to the 300th anniver- sary of the journey of Peter the Great to France and the French culture of the early 18th century, offered the visitors to the Hermitage stand to play a number of table-top and computer games. In addition to the ST PETERSBURG INTERNATIONAL LEGAL FORUM work on the stand, the Hermitage staff took part in the business programme of the festival and held master classes and games for children. On 17–20 May 2017 the General Staff Building of the Hermitage Museum was the venue for the 7th St Pe- tersburg International Legal Forum, which gathered more than 3,000 guests from 80 countries all around the world. The highlight of the forum was the plenary meeting “Law in the Global Context”. 25 YEARS OF THE EXHIBITION “THE WINTER PALACE OF PETER I” One of participants of this meeting was, according to the tradition, the Chairman of the Government of the Russian Federation . 9 June 2017 was the 25th anniversary of the opening of the memorial display “The Winter Palace of Pe- On the first day of the forum the Lecture Hall of the General Staff Building hosted a discussion session ter I”. There are only six surviving stone buildings from the reign of Peter the Great in St Petersburg, under the aegis of the Hermitage Museum on the subject “Exchange of Cultural Valuables between Rus- among them the Winter Palace of the tsar. sia and the USA. Resumed?” The Hermitage General Director Mikhail Piotrovsky acted as a moderator On the date of birth of Peter the Great the Head of the Winter Palace of Peter I Sector Sergey Nilov held of the discussion. Other participants of the discussion were Berndt Arell, Director General of the Nation- a special tour for the journalists of the Hermitage pool. He told about the history of archaeological exca- almuseum in Stockholm, Vadim Volkov, Vice-Rector for Innovations at the European University, David vations in the course of which the palace was discovered, about its construction history, as well as about W. Bowker, a partner at WilmerHale, and Marina Tsyguleva, Head of the State Hermitage Museum’s interests, tastes and habits of Peter the Great. Legal Service. On 10 June 2017 the Winter Palace of Peter I was the venue for a festive evening marking the 25th an- The experts discussed special aspects of the exchange of cultural valuables between Russia and the Unit- niversary of the opening of the memorial display. Among the participants of the event were Deputy ed States under the Foreign Cultural Exchange Jurisdictional Immunity Clarification Act, which was ad- General Director of the State Hermitage Museum Georgy Vilinbakhov, Head of the Department of the opted in December 2016 in an effort to eliminate ambiguities with regard to the exchange of temporary History of Russian Culture Viacheslav Fedorov and staff members of the department Sergey Nilov and exhibitions between the two countries and exclude the possibility of seizure of cultural valuables loaned Nina Tarasova. They told about the history of the display’s creation, about artefacts, which have found for the temporary exhibitions. Summing up the results of the discussion, Mikhail Piotrovsky emphasised their permanent place in the Palace of Peter I, and items from the wardrobe of the first Russian emperor. the necessity to work towards resumption of exhibition activities between the two countries and organ- At the closure of the festive evening there was a concert performed by the St Petersburg Opera Theatre, isation of highly qualified legal support for the exhibitions travelling from Russia to the USA, taking into the Youth Chamber Choir of the Philharmonic Society of St Petersburg and pupils of the Vaganova account, among other things, the political situation. Academy of Russian Ballet.

MUSEUM NIGHT IN THE HERMITAGE THE HERMITAGE MUSEUM AT THE VKONTAKTE FEST 2017

On 20 May 2017 the Hermitage Museum once again took part in the Museum Night. A special pro- On 15 and 16 July 2017 the Hermitage Museum for the third time took part in the VKontakte Festival, gramme dedicated to the 300th anniversary of the journey of Peter the Great to France and the French which was traditionally held outdoors, in the Park of the 300th Anniversary of St Petersburg. culture of the early 18th century was held at two sites: at the Winter Palace of Peter I and at the “Staraya In the course of two days a large number of master classes was held, telling about the museum as a whole Derevnya” Restoration, Conservation and Storage Centre. planet. Staff of the Laboratory for Scientific Restoration of Oriental Painting prepared an extensive pro- The Winter Palace offered its visitors costume tours including survey of the rooms of Peter the Great gramme: they told about peculiarities of their work and about fascinating art of Japan, China and Tibet, and introduction to the daily life and culture of that period. An even more comprehensive and diverse introduced the public to the exciting process of creation of kites, Japanese paper lanterns, Chinese masks programme awaited visitors at the “Staraya Derevnya” Restoration, Conservation and Storage Cen- and fans. Guests of the Festival were among the first people who saw the unique film The ­Hermitage. tre. The guests heard arias from the opera of Charles-Hubert Gervais Hypermnestre, which had been Immersion in History. presented to Peter the Great in Palais Royal in 1717, and works of French composers, including Jean- As part of the event, Mikhail Piotrovsky answered questions asked by users of the social network service Baptiste Lully, Jean-Philippe Rameau and Comte de Saint Germain, performed by the baroque music VKontakte.

174 175 SPECIAL EVENTS SPECIAL EVENTS

3RD INTERNATIONAL FESTIVAL “DISCOVER YOUR EUROPE Questions of state support for inclusive projects in Russia, practice of their implementation in the field IN THE HERMITAGE MUSEUM” of culture and fine arts, problems of employment for young people with disabilities were discussed by participants of the session of the working group of the Commission on Affairs of Persons with Dis- abilities under the President of the Russian Federation “Cultural Dialogue of the State and Society: On 23 September 2017 the General Staff Building was the venue for the 3rd International Festival Creation of Conditions for Creative Development of Personality” in the General Staff Building. The ses- “Discover Your Europe in the Hermitage Museum”, held under the aegis of the 6th St Petersburg Inter- sion was chaired by Alexandra Levitskaya, Counsellor to the President of the Russian Federation, Chair national Cultural Forum and organised on the initiative of the Hermitage Museum and the Delegation of the Commission on Affairs of Persons with Disabilities under the President of the Russian Federation. of the European Union in the Russian Federation. The staff member of the Directorate of the Hermitage Museum Ilya Ermolayev told about Hermitage Eighteen participating countries prepared a lot of fascinating creative classes for the guests: more than projects of work with people with special needs. Prior to the session of the working group Mikhail Pi- ten master classes, lectures and meetings, fourteen language lessons, eleven exhibitions, seven film otrovsky held a discussion with Alexandra Levitskaya, focused on current projects on work with disabled screenings, musical performances, quizzes with prizes and a “green” clean-up event. persons and perspectives of their development, as well as on the necessity to combine specialised pro- The guests of the festival attended master classes on Cypriot vase painting, Finnish lacemaking and grammes with inclusion development in the museum. colouring of Latvian national patterns, mastered the basics of Estonian handicrafts, visited a German One of the highlights of the forum was an intellectual marathon under the motto “All Power to Mu- online university, got acquainted with Swedish and Dutch literature, played Maliban (a game with balls, seums!” Two important discussions, “Museum and Society. Boundaries of Freedom” and “Real and similar to billiards) and showed their imagination in a LEGO master class. Virtual Museums. Strategies of Coexistence” gathered directors and staff members of major Russian museums and representatives of artistic community. As has become a tradition with this marathon, its creative programme included projects united by a common topic “Contemporary Art in the Museum. CONCERT “MAESTRO’S CHOICE” WITHIN THE FRAMEWORK New Technologies”. OF “THE MIKHAILOVSKY THEATRE’S HERMITAGE EVENINGS” PROJECT

On 4 November 2017 a concert from the cycle “The Mikhailovsky Theatre’s Hermitage Evenings” was “DIALOGUE OF CULTURES”: 12TH INTERNATIONAL FORUM held in the Hermitage Museum. Works of Johann Sebastian Bach and Felix Mendelssohn were played FOR YOUNG JOURNALISTS in the Large Italian Skylight Hall of the New Hermitage. The programme of the concert was developed in the dialogue of conductors and leading musicians On 21–23 November 2017 the Hermitage Museum was the venue for the 12th “Dialogue of Cultures” of the Mikhailovsky Theatre. Its authors were conductors Igor Tomashevsky and Valentin Bogdanov – ­International Media Forum for Young Journalists, which gathered about 300 journalists from 40 re- the latter directed the musical performance on that evening, – together with concertmaster Vladimir gions of Russia and 30 countries worldwide, including Germany, Spain, Italy, the Netherlands, Pakistan, Pogoretsky. Among participants of the concert were soloists of the theatre’s opera troupe Natalia as well as the League of Arab States. Mironova and Yury Monchak. Plenary sessions were dedicated to the topics “Dialogue of Cultures in the Eurasian Media Space” and “Intercultural Communication and Digital Media”. Discussions were held on the topic “Prerequisites for the Eurasian Media Dialogue on the Practical Level. Presentation of Joint Transboundary Projects”. THE HERMITAGE MUSEUM AT THE 6TH ST PETERSBURG INTERNATIONAL As part of the forum, the badge of honour “For a Strong Contribution to the Dialogue of Cultures” was awarded to Mikhail Piotrovsky, the authors of “The Day of Good Deeds” project broadcast on the TV CULTURAL FORUM Channel 5, the Ogoniok magazine and Johan Vanderplaetse, Chairman of the Russian-Belgian Business Council. The nominees had been chosen by the journalists themselves. On 16–18 November 2017 the 6th St Petersburg International Cultural Forum was held in St Peters- burg. Its main venue was the General Staff Building. Among the participants of the forum were Olga Golodets, Deputy Chair of the Government of the Russian Federation, , Minister for Culture of the Russian Federation, Valentina Matviyenko, Chair of the Federation Council of the Federal INTERNATIONAL VOLUNTEER DAY IN THE HERMITAGE MUSEUM Assembly of the Russian Federation, Georgy Poltavchenko, Governor of St Petersburg, Irina Bokova, Secretary General of UNESCO. The international Volunteer Day (5 December) introduced on the initiative of the UN in 1985 has been All in all, 450 events were held within the framework of the forum, with more than 34,000 participants, celebrated in the Hermitage Museum since 2003, the year of creation of the Volunteer Service in the among them 12,000 in the professional flow. The main sessions of the professional flow took place museum. For over fifteen years, hundreds of volunteers from different countries of the world have been in the General Staff Building. The “Museums and Exhibition Projects” section was chaired by Mikhail helping the Hermitage to work with visitors and hold various events, participating in various projects Piotrovsky, General Director of the Hermitage Museum. The work of the section was aimed at discuss- and of course getting acquainted with the collections of one of the greatest museums in the world. ing various aspects of museum activities related to collecting, storing and publishing cultural valuables. The Volunteer Day has long become a traditional event of the Hermitage Days. This year it was held As part of the joint session “Preservation of Cultural Heritage Objects in the Areas of Armed Con- at the General Staff Building where a formal ceremony honoured the museum helpers. Specifically flicts” of the sections “Museums and Exhibition Projects” and “Preservation of Cultural Heritage”, for this day the volunteers prepared a theatrical performance based on the famous painting of Antoine a ­ceremony of handover of an electronic version of 3D model of the UNESCO cultural heritage object Watteau, The Shop Sign of Gersaint. “Archaeological Monuments of ” in its current condition was held and a Cooperation Agree- ment between the State Hermitage Museum and the Aga Khan Trust for Culture was signed. This year’s special guest of the International Cultural Forum was Japan. Questions of origins and func- tioning of heraldic systems in Europe and Japan became the primary focus of the round table “Heraldry as a Means of Communication. Heraldry of Europe and Japan. A Comparative Analysis”, which was chaired by Deputy Director of the State Hermitage Museum Georgy Vilinbakhov. In the “Staraya Derevnya” Restoration, Conservation and Storage Centre the Laboratory for Climate Control and the Laboratory for Biological Control organised a round table discussion on the topic “Pre- ventive Conservation in the Museum”. At the same venue another round table was held, “Museum for Everybody: Future or Reality”, dedicated to the issues of social inclusion.

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JJ EVENTS FOR CHILDREN FESTIVAL “CHILDREN’S DAYS IN ST PETERSBURG” IN THE HERMITAGE MUSEUM

“THE PAST AT YOUR FINGERTIPS” PROGRAMME GRADUATION PARTY On 28 October – 7 November 2017 about 2,000 children with their parents came to the Hermitage Museum in the framework of this festival. The route of the quest had been developed by the staff of the On 20 and 22 April 2017 the “Staraya Derevnya” Restoration, Conservation and Storage Centre was Hermitage School Centre for children aged nine to eleven. Participants of the festival had the opportu- the venue for graduation parties for the “Past at Your Fingertips” project. This year 64 pupils of St Pe- nity to get acquainted with the permanent display of the museum, while playing. The quest aimed to find tersburg’s residential schools for blind and visually impaired children completed a three-year study “intentional mistakes”, which were made by some architects, sculptors and painters in their works. course in the Hermitage archaeology class. In a formal setting the graduates were presented with per- The route allowed the children to find these “mistakes” and try to understand what was their purpose. sonal certificates signed by the Hermitage General Director Mikhail Piotrovsky and leaflets “Archae- Upon completion of the route the children who passed the quest received diplomas and token prizes. ologist” containing summaries of the classes. The leaflets had been developed by the Hermitage staff and printed in both flat and relief-dot versions. In keeping with tradition, the graduates showed some performances; the evening ended with dances. PARTY FOR CHILDREN WITH INTELLECTUAL DISABILITIES “1717. GRAND JOURNEY OF PETER I” DAYS OF CLASSICS On 1 December 2017 on the eve of the International Day of People with Disabilities the rooms of the Her- On 20–27 April 2017 the annual Days of Classics Festival was held in the halls of the New Hermitage. mitage School Centre became the venue for a party for children with intellectual disabilities from remedial­ The festival was organised by the staff of the Department of Classical Antiquity, Department of Scientific schools Nos 34, 370 and 522, who regularly visit the museum in the framework of the “Our Hermitage” Restoration and Conservation and the Hermitage Youth Centre and offered author’s tours in the rooms programme. of permanent display of ancient art in the New Hermitage and in the Laboratory for Scientific Restora- The party was dedicated to the 300th anniversary of the European journey of Peter I and gave the tion of Applied Art Objects at the “Staraya Derevnya” Restoration, Conservation and Storage Centre, children an opportunity to learn about historical events and culture of the early 18th century. The chil- as well as various master classes. During the sessions children together with restorers created ancient dren heard about details of of the Russian tsar to France and saw costumes made according masks, ceramic objects and paintings based on classical images represented in the rooms of ancient art. to the European fashion of that time. Games and master classes introduced the participants of the event The festival was attended by children from the Hermitage School Centre and pupils of the residential to the art of interior decoration in the early 18th century and symbolism used in tapestries. school No. 33 for children with hearing impairments. It ended with an award ceremony and opening of an exhibition featuring the works of winners in the drawing contest “The World of Classics in Colours”. NEW YEAR PARTY FOR SPECIAL NEEDS CHILDREN IN THE HERMITAGE MUSEUM DAY OF THE HERMITAGE CAT On 15 December 2017 the museum hosted the Hermitage New Year Party for physically disabled chil- On 13 May 2017 the Hermitage Museum celebrated the Day of the Hermitage Cat, which began with dren, participants of the “Our Hermitage” programme. Pupils of special needs schools began a series an award ceremony for the winners in the children’s drawing contest “Journey of the Hermitage Cat of seasonal events in the Hermitage Theatre with their theatrical performances. to the Orient”. All ten winning works were honoured to be displayed in the Jordan Gallery of the Winter The stage of the oldest theatre in St Petersburg once again, as in previous years, became the setting for Palace with labels identical to the ones accompanying all Hermitage exhibits. Over 500 works of other a show of pupils of special needs schools Nos 34 and 370. This year among participants were also pupils participants were displayed in the Basement of the Winter Palace adjacent to the Cat’s House. On that of the school No. 33 for children with hearing impairments who take classes in the Hermitage Museum day visitors to the Hermitage Museum had an opportunity to see the basements of the Winter Palace under the programme “We Hear the World. Exploring the World and Human Being by Means of Fine where the cats live and participate in an educational game around the museum rooms under the title Arts”. “Reading Ovid, or a Journey with the Hermitage Cat”, which led to the exhibition-event “Bad is the Cat that Doesn’t Want to Become a Tiger”. It showed a Chinese nianhua mass-production coloured print Boys with a Cat in a Tiger Mask. The “My Hermitage Cat” competition in the Great Courtyard of the Winter Palace, in keeping with tradition, gathered children and adults who under the guidance “THE FAIRY-TALE HERMITAGE”. AN EVENING DEDICATED of the famous artist Dmitry Shagin, head of the Mitki arts movement, painted wooden cats. TO THE YEAR OF BALLET

On 18 December 2017 the Hermitage Theatre was the setting for an evening devoted to the upcoming Year of Ballet and results of the nationwide competition for the best New Year tree decoration organised EVENT FOR CHILDREN WITH HEARING IMPAIRMENTS “MY HOLLAND” by the State Hermitage Museum and the Ayra company. On the Theatre Staircase the guests were welcomed by young dancers dressed in the costumes of char- On 19 May 2017 the Winter Palace of Peter I was the venue for the “My Holland” project, a spe- acters from well-known fairy-tale ballets. This theme was also a dominant feature in the decoration cial programme for hearing-impaired children. The event had been prepared by the Hermitage School of New Year trees in the Great Courtyard of the Winter Palace, on the staircase and in the Foyer of the Centre and the staff member of the Education Department Elena Logacheva, supervisor of the special Hermitage Theatre: everywhere were elegant toys in the form of ballet shoes, little figures of ballet- programme for children with hearing impairments “I Hear, I Speak, I Explore the World and Create dancers, nutcrackers and other fairy-tale characters. The Hanging Garden had undergone an amazing in the Hermitage Museum”, and was held as part of the state-run programme “Accessible Environment transformation. Its magical atmosphere was created by the Sugar Plum Fairy from The Nutcracker bal- for People with Disabilities”. let dancing on the fountain and scattering sparkling candies all over the place. Specifically for the guests The event was attended by 40 pupils of the residential school No. 33 for children with hearing impair- the famous Peacock Clock was wound up in the Pavilion Hall of the Small Hermitage. ments. The children themselves made theatrical costumes and stage sets for the event. They performed A formal award ceremony for the winners in the competition was held in the Hermitage Theatre. Deputy colourful dances and gave a show with sign singing and tableaux vivants. Then a quest was held in the Director of the State Hermitage Museum Svetlana Adaksina greeted the audience. The evening ended setting of the Winter Palace of Peter I, focused on the Dutch still life and specific features of Dutch dress. with a concert of pupils of the Vaganova Academy of Russian Ballet. 178 179 AGREEMENTS SIGNED AGREEMENTS SIGNED

AGREEMENT OF COOPERATION SIGNED BETWEEN THE STATE HERMITAGE MUSEUM AGREEMENT OF COOPERATION BETWEEN THE STATE HERMITAGE MUSEUM AND REGGIA DI CASERTA, ITALY AND THE ITALIAN REGION OF PIEDMONT

On 31 January 2017 the Hermitage General Director Mikhail Piotrovsky and Mauro Felicori, Director On 14 June 2017 the Hermitage General Director Mikhail Piotrovsky and the Councillor for Culture of the Royal Palace of Caserta (Reggia di Caserta), Italy, signed a cooperation agreement. for the Piedmont Region Antonella Parigi signed a cooperation agreement. The agreement for a period The programme of cooperation envisages a wide range of joint activities in many fields: of four years, concluded through the agency of Villaggio Globale International, will lead to the fruitful – exchange of experience between research fellows and specialists; cooperation between the Hermitage Museum and three highly important cultural institutions in Pied- – holding scholarly conferences and seminars dedicated to the issues of art history, architecture, ­museum mont. The programme under the agreement envisages study and promotion of world cultural heritage studies, conservation and restoration; kept in the State Hermitage Museum and the museums of Piedmont, in particular the Castle of Rivoli, – solving issues related to the use of innovative systems and technologies with reference to cultural which houses the Museum of Contemporary Art, the Royal Palace of Venaria and the Venaria Reale ­heritage (digitising, archiving, applying of augmented reality technologies and multimedia); Conservation and Restoration Centre. Joint exhibitions and events will refer to three major fields: – study and consideration of new approaches and forms of dissemination of knowledge, including a multi­ ­contemporary art, royal and imperial residencies and restoration activities. disciplinary approach to art and new communication methods; – organisation of events and exhibitions, including those presenting results of scholarly research projects. Signing of the agreement with Reggia di Caserta is a further step in the development of cooperation of the PROTOCOL OF INTENTIONS AND TERMS OF COOPERATION FOR PREPARATION State Hermitage Museum with museums and cultural institutions of the Apennine (Italian) Peninsula. AND IMPLEMENTATION OF PROGRAMMES OF THE HERMITAGE • CHINA CENTRE

On 30 June 2017 the State Hermitage Museum and Red 19 TV Limited, Hong Kong, China, signed AGREEMENT OF COOPERATION SIGNED BETWEEN THE STATE HERMITAGE MUSEUM a protocol of intentions and main terms of cooperation. The protocol was signed by the Hermitage Direc- AND THE COMMUNE OF TREVISO tor Mikhail Piotrovsky and the Director of Red 19 TV Limited Ying Li Hon. The parties confirmed their interest in signing a memorandum of preparation and implementation On 2 February 2017 the State Hermitage Museum and the Commune of Treviso signed a cooperation of cultural programmes of the Hermitage Museum in China, relying on the perspectives of developing agreement. cultural projects of the museum in China and taking into consideration support for the proposal to estab- The agreement was signed by the Hermitage General Director Mikhail Piotrovsky and the Mayor lish a Hermitage Centre in China on the part of municipal authorities of the People’s Republic of China. of the city of Treviso Giovanni Manildo. The parties agreed to expand bilateral cultural and scholarly The parties have agreed, that the project of establishing a Hermitage • China Centre in China is to be ties and to carry out joint activities related to the work of the Hermitage • Italy Centre. implemented in two steps: the first stage includes preparation and development of technical projects, Particular significance within the cooperation is given to the sphere of restoration. Considering the ex- the second stage focuses on organisation and carrying out of exhibitions. tremely high standard of both Italian and Russian schools of restoration, the parties intend to develop cooperation along the lines of comparing technical methods, having joint work in laboratories and car- rying out seminars and scientific research projects. AGREEMENT ON THE ESTABLISHMENT OF ARTISTIC AND CULTURAL TIES SIGNED BETWEEN THE STATE HERMITAGE MUSEUM AND THE MUNICIPALITY OF SEOUL, REPUBLIC OF KOREA MEMORANDUM OF INTENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM On 1 July 2017 the Hermitage General Director Mikhail Piotrovsky and the Mayor of Seoul Park Won- AND THE NATIONAL GALLERY OF SLOVENIA soon signed an agreement on the Establishment of Artistic and Cultural Ties between the State Hermit- age Museum and the Municipality of Seoul, the capital of the Republic of Korea. On 11 February 2017, as part of the visit of the President of the Republic of Slovenia Borut Pahor, The agreement envisages holding of business meetings to discuss issues of construction, administration a memorandum of intent was signed between the State Hermitage Museum and the National Gallery and maintenance of museums, organisation of thematic exhibitions and implementation of joint projects of Slovenia. in the sphere of culture and exhibition exchange. The parties also undertake to provide each other with The memorandum was signed by Mikhail Borisovich Piotrovsky, General Director of the State Hermit- advisory and methodological assistance in the organisation of events, pursuance of research and imple- age, and Barbara Jaki, Director of the National Gallery of Slovenia. mentation of projects dedicated to restoration of artworks. The parties expressed their consent to proceed in the course of the year 2017 to drawing up and signing a separate agreement on the expansion of cultural and scholarly ties that would define a programme of cooperation in 2018–2019, as well as content and form of cultural events. Of particular significance MEMORANDUM OF UNDERSTANDING BETWEEN THE STATE HERMITAGE MUSEUM are the 100th anniversary of the National Gallery to be celebrated in 2018 and the 255th anniversary of the Hermitage Museum in 2019. AND UNESCO ON THE ISSUES OF PROTECTION AND RESTORATION OF CULTURAL TREASURES IN CONFLICT ZONES

AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM AND ASSOCIATION On 9 October 2017, at UNESCO headquarters in Paris, the Secretary General of UNESCO Irina Bokova OF PARENTS OF CHILDREN AND ADULTS WITH DYSLEXIA and the Hermitage General Director Mikhail Piotrovsky signed the Memorandum of Understanding between the State Hermitage Museum and UNESCO on the Issues of Protection and Restoration of Cul- On 19 May 2017 the State Hermitage Museum and the Association of Parents of Children and Adults tural Treasures in Conflict Zones, in Particular in the Middle East. with Dyslexia signed an agreement. The memorandum indicates official inclusion of the Hermitage Museum as a participant into the inter- The agreement was signed by the Hermitage General Director Mikhail Piotrovsky and the Director national campaign for preservation and restoration of cultural monuments in Syria and other countries. of the Association Marina Khodakova. It also envisages internships for Syrian restorers in the Hermitage Museum and master classes to be giv- Within the framework of the signed agreement a three-year (2017–2019) programme is planned, en by Russian restorers in Syria, as well as development of the project of revival of Syrian museums, first ­including development of inclusive and specialised lessons for children with dyslexia, organisation and of all the Palmyra Museum. It is expected to conclude special agreements with the Directorate General carrying out of joint cultural events, including exhibitions, and creation of favourable environment in the of Antiquities of the Syrian Arab Republic and with archaeological and cultural organisations from museum. Specialists of the association will participate in developing guidelines of work with the children various countries, in particular with the Aga Khan Trust for Culture and the Prussian Cultural Heritage with dyslexia and providing training to the staff of the State Hermitage Museum. Foundation. 180 181 AGREEMENTS SIGNED AGREEMENTS SIGNED

AGREEMENT OF COOPERATION SIGNED BETWEEN THE STATE HERMITAGE MUSEUM SUPPLEMENTARY AGREEMENT IS SIGNED TO ESTABLISH THE HERMITAGE • URALS CENTRE AND THE STATE HISTORICAL MUSEUM On 16 November 2017, as part of the 6th St Petersburg International Cultural Forum, a ceremony was On 15 November 2017, as part of the 6th St Petersburg International Cultural Forum, the Hermitage held to mark the signing of a supplementary agreement for the Agreement of Intent to Create the Her- General Director Mikhail Piotrovsky and the Director of the State Historical Museum Alexey Levykin mitage • Urals Cultural and Educational Centre. signed a cooperation agreement in the sphere of museum work, scholarly research, protection, study The agreement was signed by Mikhail Piotrovsky, General Director of the Hermitage Museum, Svet- and promotion of historical and cultural heritage. lana Uchaikina, Minister for Culture of the Sverdlovsk Region, and Tatiana Yaroshevskaya, Head of the Cooperation under terms of the agreement that will remain in force until 31 December 2023 will Culture Directorate of the Yekaterinburg Municipal Administration. The agreement is complementary be ­carried out along the following lines: to the document signed in 2014 and extends the cooperation period until 30 July 2020. – prepare and hold joint and exchange exhibitions; – exchange information in the fields of history, culture, museum work and protection of historical and cultural heritage; MEMORANDUM OF INTENT ON SCHOLARLY AND CULTURAL COOPERATION SIGNED – organise research conferences, seminars and round tables on issues of museum work and regional BETWEEN THE STATE HERMITAGE MUSEUM AND THE RESEARCH INSTITUTE FOR CULTURAL studies; HERITAGE AND TOURISM OF THE ISLAMIC REPUBLIC OF IRAN – carry out publishing activities; – establish and promote professional contacts, organise internships for museum specialists; On 18 November 2017, as part of the 6th St Petersburg International Cultural Forum, a memorandum – participate in the development and implementation of joint academic and educational, learning of intent was signed between the State Hermitage Museum and the Research Institute for Cultural Heri- and cultural programmes and projects, as well as conduct joint scholarly research; tage and Tourism of the Islamic Republic of Iran. The memorandum was signed by Mikhail Piotrovsky, – solve issues related to the use of innovative systems and technologies with reference to cultural General Director of the Hermitage, and Seyed Mohammad Beheshti, Director of the Research Institute ­heritage (digitising, archiving, applying of augmented reality technologies and multimedia); for Cultural Heritage and Tourism of the Islamic Republic of Iran. The memorandum aims to create – study and discuss new approaches and forms of dissemination of knowledge, including a multidisci- necessary conditions for effective humanitarian and scholarly cooperation in the fields of archaeology, plinary approach to art and new communication methods; history, restoration and study of written monuments, as well as for training academic staff and experi- – provide informational support for joint events. ence exchange.

AGREEMENT OF COOPERATION SIGNED BETWEEN THE RUSSIAN COMMITTEE MEMORANDUM OF COOPERATION SIGNED BETWEEN THE STATE HERMITAGE MUSEUM OF THE INTERNATIONAL COUNCIL OF MUSEUMS (ICOM) AND THE UNION AND THE AGA KHAN TRUST FOR CULTURE OF MUSEUMS OF RUSSIA On 18 November 2017, as part of the 6th St Petersburg International Cultural Forum, during a round- On 15 November 2017, as part of the 6th St Petersburg International Cultural Forum, the Hermit- table session addressing the issue of preservation of monuments in conflict zones, a memorandum of co- age General Director, President of the Union of Museums of Russia Mikhail Piotrovsky and the Vice- operation was signed between the Hermitage Museum and the Aga Khan Trust for Culture. The memo- President of the Russian Committee of the International Council of Museums (ICOM) Vasily Pankratov randum of cooperation was signed by Mikhail Piotrovsky, General Director of the Hermitage Museum, signed a cooperation agreement. The agreement aims to provide comprehensive assistance in develop- and Luis Monreal, General Director of the Development Network of the Aga Khan Trust for Culture. ment of museums and museum work in Russia, including the sphere of legislation, exchange of experi- Cooperation of the Hermitage Museum and the Aga Khan Trust for Culture aims to assist in the develop- ence between Russian and foreign experts and promotion of cultural and natural heritage, both in Russia ment of museum studies, support scholarly research, restoration and conservation of monuments and and abroad. further development of archaeology. The parties agreed to consolidate their efforts to preserve the cultur- al heritage of Syria working together with the Ministry for Culture of Syria and the Syrian Trust for De- velopment in different museums all over the country, with a particular emphasis on Palmyra, Damascus MEMORANDUM OF COOPERATION SIGNED BETWEEN THE STATE HERMITAGE MUSEUM, and Aleppo. The activities of the parties will focus on providing support for the development of museum and scholarly programmes for the Ministry for Culture of Syria, the Syrian Trust for Development and THE OUTSIDER ART MUSEUM, THE HERMITAGE ON THE AMSTEL FOUNDATION other Syrian institutions. As part of implementation of the projects in Palmyra and historical quarters AND THE HERMITAGE XXI CENTURY FOUNDATION of Aleppo and Damascus, it is planned to develop joint programmes of experience exchange with Syrian colleagues in the national museums, thus opening new perspectives and possibilities for both parties. On 15 November 2017, as part of the 6th St Petersburg International Cultural Forum, a ceremony was held to mark the signing of a quadripartite memorandum of cooperation between the State Hermit- age Museum, the Outsider Art Museum (Amsterdam, the Netherlands), the Hermitage on the Amstel AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM, Foundation and the Hermitage XXI Century Foundation. The memorandum was signed by the Hermit- THE ROSTELECOM COMPANY AND THE ERICSSON COMPANY age General Director Mikhail Piotrovsky, Director of the Outsider Art Museum Hans Looijen, Deputy TO ESTABLISH A PILOT 5G ZONE OF NEW GENERATION Director of the Hermitage on the Amstel Foundation Paul Mosterd and the Chair of the Hermitage XXI Century Foundation Zorina Myskova. On 22 November 2017 the Hermitage Museum, the Rostelecom Company and the Ericsson Compa- The parties agreed on cooperation based on the necessity to support the socially disadvantaged sections ny concluded an agreement to establish an experimental zone of 5G network on the territory of the of the community and taking into account the intention of the Hermitage Museum to create a favour- museum. The document was signed by the Hermitage General Director Mikhail Piotrovsky, President able environment in the museum and develop a comprehensive framework for the engagement of people of PAO (Public Company) Rostelecom Mikhail Oseyevsky and the General Director of Ericsson Russia with special needs in the cultural sphere of the society, the intention of the Hermitage on the Amstel Sebastian Tolstoy. In the framework of the agreement the parties shall provide deployment of an ex- Foundation and Outsider Art Museum to provide support to the projects dedicated to the development perimental telecommunication 5G network of the fifth generation. The Rostelecom Company will act of accessible environment, as well as the intention of the Hermitage XXI Century Foundation to provide as a telecommunication operator of the project – it will provide the necessary radio frequencies and net- assistance to the Hermitage Museum in the implementation of these goals. work infrastructure to establish a 5G network. The Ericsson Company will supply the necessary pack- age of technical solutions, their implementation and integration. The Hermitage Museum will provide its territory for the testing of the network. 182 183 INTERNATIONAL ADVISORY BOARD OF THE STATE HERMITAGE MUSEUM

INTERNATIONAL ADVISORY BOARD OF THE STATE HERMITAGE MUSEUM INTERNATIONAL ADVISORY BOARD OF THE STATE HERMITAGE MUSEUM

23RD MEETING OF THE STATE HERMITAGE MUSEUM INTERNATIONAL ADVISORY BOARD Henri Loyrette Ancien président directeur général, Louvre, Paris Neil MacGregor, Former Director, British Museum, London The 23rd meeting of the State Hermitage Museum International Advisory Board, established back Chairman in 1994 under the aegis of the Hermitage UNESCO Development Project, was held in St Petersburg on 1 and 2 September 2017. Traditionally, the discussions dealt with most pressing issues of the muse- Alfred Pacquement Ancien directeur du musée national d’art moderne um’s development. As usually, themes for discussion were developed by the General Director of the State Centre Georges Pompidou, Paris Hermitage Museum Prof. Mikhail Piotrovsky. This year the topics were as follows: Digital Database Hermann Parzinger President, Stiftung Preussischer Kulturbesitz, Berlin and the Museum Website; Funding and Endowment; Restitution, Immunity from Seizure and Lawsuits; Dictate of Society and Censorship; Contemporary Art; Working with Visitors with Special Needs. Annamaria Petrioli Tofani Former Director, Uffizi, Florence Members of the Advisory Board visited the exhibitions “Anselm Kiefer, for Velimir Khlebnikov”, Svetlana Philippova Secretary to the International Advisory Board “The Hermitage Encyclopaedia of Textiles. History” and “The Hermitage Encyclopaedia of Textiles. Head, International Hermitage Friends’ Club Conservation”; storages and restoration laboratories in the “Reserve Palace” (30 Palace Embank- ment); the Great Church of the Winter Palace and the new displays in the General Staff Building. Mikhail Piotrovsky General Director, State Hermitage Museum, St Petersburs As part of the cultural programme, Board Members visited St Isaac’s Cathedral, the Cruiser Aurora and the State Museum of the Political .

RETIRED MEMBERS

Reinhold Baumstark Director, Bayerische Staatsgemäldesammlungen, Munich Irène Bizot Ancien Administrateur général, Réunion des Musées Nationaux, Paris J. Carter Brown Director Emeritus, National Gallery of Art, Washington, DC Wim Crouwel Former Director, Museum Boymans van Beuningen, Amsterdam Wolf-Dieter Dube Former Director, Staatliche Museen zu Berlin Preussischer Kulturbesitz, Berlin 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 Johann Georg General Director, Bayerische Staatsgemäldesammlungen, Munich Prinz von Hohenzollern Michel Laclotte Directeur honoré du Musée du Louvre, Paris Ronald de Leeuw Director, Rijksmuseum, Amsterdam Henk van Os Former Director, Rijksmuseum, Amsterdam MEMBERS OF THE INTERNATIONAL ADVISORY BOARD Edmund Pillsbury Former Director, Kimbell Museum, Fort Worth Marion Ackermann Director General, Staatliche Kunstsammlungen, Dresden Françoise Rivière Assistant Director-General for Culture, UNESCO, Paris Mounir Bouchenaki Former Assistant Director-General for Culture, UNESCO, Paris Alberto Ronchey Former Minister for Culture of Italy, Rome Michael Brand Director, Art Gallery of New South Wales, Sydney Paolo Viti Direttore Activita Culturale, Palazzo Grassi, Venice Michael Conforti Former Director, Sterling and Francine Clark Art Institute, Williamstown Stefano De Caro Director-General, ICCROM, Rome Taco Dibbits General Director, Rijksmuseum, Amsterdam Gabriele Finaldi Director, National Gallery, London Stuart Gibson Secretary to the International Advisory Board Former Director, Hermitage UNESCO Development Project Director, Fine Arts Museums of San Francisco

184 185 GUESTS OF THE HERMITAGE GUESTS OF THE HERMITAGE

11 February Visit by President of the Republic of Slovenia Borut Pahor 2 June Visit by Prime Minister of the Republic of India Narendra Modi 3 June Visit by Prime Minister of Mongolia Jargaltulgyn Erdenebat 1 July Visit by President of the Socialist Republic of Vietnam Trầan Đại Quang (with his wife) 7 October Visit by Her Royal Princess Maha Chakri Sirindhorn of Thailand 20 October Visit by President of the Republic of Croatia Kolinda Grabar-Kitarović

Visit by President of the Republic of Slovenia Borut Pahor Visit by Prime Minister of the Republic of India Narendra Modi Visit by Prime Minister of Mongolia Jargaltulgyn Erdenebat 186 187 GUESTS OF THE HERMITAGE GUESTS OF THE HERMITAGE

Visit by President of the Socialist Republic of Vietnam Traần Đại Visit by Her Royal Highness Princess Maha Chakri Sirindhorn Visit by President of the Republic of Croatia Kolinda Quang (with his wife) of Thailand Grabar-Kitarović 188 189 GUESTS OF THE HERMITAGE GUESTS OF THE HERMITAGE

12TH GALA RECEPTION AT THE WINTER PALACE

On 30 June 2017 the State Hermitage Museum hosted the 12th Charity Gala Reception. This year it was centred on two seminal exhibitions: “Nefertari and the Valley of the Queens” from the Museo Egizio, Turin, one of the most impressive collections of Egyptian artifacts outside Egypt, and “Anselm Kiefer, for Velimir Khlebnikov”, an exhibition designed specially for the Hermitage by one of the most outstand- ing contemporary artists. Among the guests was Dorrit Romanova, members of the State Hermitage Board of Trustees and the Hermitage Endowment Fund for the Development of the State Hermitage, namely Dean Gilfillan, Pierre de Labouchere, Yury Lubimov, Alexander Sokurov, David Yakobashvili, Larissa Zelkova; direc- tors of influential Russian museums, including Marina Loshak, Zelfira Tregulova, Olga Taratynova, Olga Sviblova, Ekaterina Mtsituridze; the world-famous actor Ralph Fiennes and other members of the global elite. The theatrical musical programme of the evening involved ballet dancers and the opera soloist for the Irina Matayeva and the Taurida International Symphony Orchestra headed by Mikhail Golikov. Guests were given a chance to become the first-time viewers of the documentary-fiction film The Hermit- age VR. Immersion into History based on the virtual reality technology and starring the celebrated actor Konstantin Khabensky and Mikhail Piotrovsky. The gala dinner was served in the Jordan Gallery of the Winter Palace. The ball in the Field Marshals’ Hall featured Natalia and Alexander Berezhny, Russia’s champions in the Argentinian tango. By tradition, a diamond prize “To the most graceful lady” was awarded at the ball. The event ended with a farewell cocktail offered as “one for the road”. The donations will be channelled to the Endowment Fund Management for the Development of the State Hermitage Museum, Russia’s largest museum endowment fund.

190 191 GUESTS OF THE HERMITAGE GUESTS OF THE HERMITAGE

192 193 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

FRIENDS’ EVENTS 2017 At the exhibition “Anselm Kiefer, for Velimir Khlebnikov”

Ceremony of donating sakura blossoms to the State Hermitage 10 May Museum The exhibition “Manolo Blahnik. The Art of Shoes” opened in the General Staff Building. The Hermit- age Friends were granted the exclusive right to visit the exhibition after its official opening on the first 6 March day of display. Presentation of sakura blossoms donated to the State Hermitage Museum by the JA SYONAY MIDORI 28 May Agricultural Cooperative Association of Yamagata Prefecture, Japan. The ceremony took place in the Manège of the Small Hermitage. After the official ceremony the guests visited the exhibition “Perfec- The exhibition “Anselm Kiefer, for Velimir Khlebnikov” opened in the Nicholas Hall of the Winter Palace. tion in Details. The Art of Japan in the Meiji Period”. The Hermitage Friends were granted the exclusive right to visit the exhibition after its official opening on the first day of display. 30 March 23 June Meeting of the Hermitage Friends Club entitled “Saving Time” in the “Staraya Derevnya” Restoration, Conservation and Storage Centre was dedicated to the museum restoration laboratories. The Friends Visit of the Italian Friends’ delegation. A special programme was organised for them that included visited the laboratories of restoration of easel painting, mural painting, timepieces and musical mecha- a guided tour of the museum with a visit to the Treasure Galleries and the General Staff Building. nisms, photographs, furniture, as well as works of applied art – archaeological metal, modern metal, 27 June stained glass, ceramics, porcelain and glass. In the main vestibule the guests participated in restoration Meeting of the Hermitage Friends workshops on book binding, conservation of works of graphic art, making and restoring mosaics made Final event of the season 2016/2017 in the Hermitage Friends’ Club. The last meeting of the anniversary Final event of the season Club “Saving Time” in the from lapis lazuli and malachite, and were shown how to “draw with light”. 20th season featured the introduction of the temporary exhibition “Nefertari and the Valley of the Queens. 2016/2017 in the Hermitage “Staraya Derevnya” Restoration, From the Museo Egizio, Turin”. The evening, entitled “Meeting Ancient Egypt”, opened in the Manège Friends’ Club. The last meeting Conservation and Storage Centre of the anniversary 20th season

194 195 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

Group of yacht owners – participants of the International Sailing Rally in St Petersburg join the Hermitage Friends’ Club

Official ceremony of presenting the highest honours of the Russian Empire after their restoration 7 November Opening of the 2017/2018 season in the Hermitage Friends’ Club. The first meeting of the 21st season was dedicated to the exhibition “The Winter Palace and the Hermitage in 1917. History was Made Here” that opened to commemorate the 100th anniversary of the revolution in Russia. The evening began in the Jordan Gallery with a word of welcome by Svetlana Adaksina, Deputy Director of the State Hermitage Museum. Exhibition curators Vyacheslav Fedorov and Elena Solomakha told the Friends about this unique exhibition project. of the Small Hermitage with the word of welcome by Prof. Mikhail Piotrovsky. The Head of the Oriental Department Natalia Kozlova introduced to the Friends the newly-opened temporary exhibition. The exhi- 9 November bition curator Prof. Andrey Bolshakov delivered a lecture “Nefertari, the King’s Great Wife”. Presentation of the joint project of the State Hermitage Museum and “Baker & Mackenzie” company 28 July marking the end of the conservation of The Lute Player, a painting by Caravaggio. Baroque music was playing in the evening halls: Jacob Arkadelta’s madrigal “Voi sapete ch’io vi amo”, the music text Following a good tradition, during the International Sailing Rally in St Petersburg a group of yacht own- of which is depicted in the painting, was performed by the Dutch lutenist Jozef van Wissem. ers visited the State Hermitage Museum and joined the Hermitage Friends’ Club. 14 November 29 September Joint event of the State Hermitage Museum and House of , dedicated to the completion of the One day after the official opening, the Hermitage Friends were offered an exclusive opportunity joint project: restoration of a 17th-century Indian rose water sprinkler from the Treasury of the Great to individually view the exhibitions “‘In Memoriam’… On the 300th Anniversary of the Russian and Moguls. ­Novo-Nakhichevan Diocese of the Armenian Apostolic Church” and “Orthodoxy in the Holy Land. ­Alpha & Omega”. 30 November Joint event of the State Hermitage Official ceremony of presenting the highest honours of the Russian Empire: the Order of St Andrew the Museum and House of Cartier, First-Called and the Order of St Catherine after their restoration in the War Gallery of 1812. The resto- dedicated to the completion ration of the eight objects of 18th – 19th-century Russian applied art was carried out with the support of the joint project: restoration of Smolensk Diamonds Jewellery Group, a long-time partner of the State Hermitage Museum. of a 17th-century Indian rose water sprinkler from the Treasury 4 December of the Great Moguls Meeting of the Corporate Friends of the museum within the programme of the Hermitage Days cel- ebrations in the “Staraya Derevnya” Restoration, Conservation and Storage Centre. Guests were given a unique opportunity to visit a new open storage Costume Gallery before its official opening, and were invited to see items donated to the State Hermitage Museum for the future “Centre of Costume and Fashion”. The evening proceeded in the storage of ceremonial carriages and coaches with a word of wel- come from Prof. Piotrovsky addressed to the museum patrons. The head of the History of Russian Cul- ture Department, Vyacheslav Fedorov talked on the new and unique open storage of costumes at the “Staraya Derevnya” Centre. The official part of the event ended with a ceremony of awarding honorary diplomas to patrons of the State Hermitage Museum for their support in 2017.

8–9 December Visits of the international delegations of the Hermitage Friends who had specially arrived to participate in the celebrations of the International Hermitage Friends’ Day. As part of these visits, each Friends’ delegation was offered a special museum programme with tours of the permanent and temporary ­exhibitions.

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Celebration of the International Hermitage Friends’ Day

Celebration of the International Hermitage Friends’ Day

8 December Celebration of the International Hermitage Friends’ Day in the “Staraya Derevnya” Restoration, Con- servation and Storage Centre. The museum welcomed all Hermitage Friends coming from around the world for this traditional annual event. Following a good tradition, according to which the Friends of the Hermitage are always among the first to see the new premises and facilities of the State Hermit- age Museum, that evening the guests were introduced to the new museum spaces: open storages of his- toric showcases and of Russian costumes and textiles. The official part of the evening began with the word of welcome from Prof. Mikhail Piotrovsky who told the Friends about the main events of the past year in the State Hermitage Museum, introduced the Hermitage Friends’ delegations from Italy, Finland, the UK, the Netherlands and the USA who had Presentation to the Friends of new museum spaces: open storages come for the celebration of the International Hermitage Friends’ Day and expressed his gratitude to the of historic showcases and of Russian costumes and textiles Friends and Donors who supported the museum in 2017. Prof. Piotrovsky introduced the gifts from three outstanding Russian performers – Anna Netrebko, Xenia Rappoport and Diana Vishneva, who donated their stage costumes to the museum collection and joined the Hermitage Friends’ Club. He personally handed over a Friends’ card to Diana Vishneva, who was present at the celebration. During the official part of the evening, words of welcome came from Dr. Vyacheslav Fedorov, head of the Department of the History of Russian Culture, who told the Friends about the problems, goals and pros- pects for the open storage; Dr. Nina Tarasova, curator of the Russian costume collection, and Tatiana Semenova, curator of the historical showcases collection. The guests were then treated to a concert programme featuring leading opera soloists of the Mariinsky Theatre. After that Friends visited the new permanent displays at the Hermitage “Staraya Derevnya” Centre accompanied by the museum guides.

14 December Ceremony of presenting the results of the three-year collaboration between the State Hermitage Mu- seum and Open Joint Stock Company TGC-1 in the Hermitage Council Hall. After the end of the official ceremony all guests and representatives of the Gazprom subsidiary companies visited the museum per- manent display and the temporary exhibition “The Winter Palace and the Hermitage in 1917. History was Made here”.

Diana Vishneva receives an Hermitage Friends’ gold card Marlies Kleiterp, representative of the Foundation Hermitage Friends in the Netherlands, receives an honorary diploma from the State Hermitage Museum

198 199 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

INTERNATIONAL HERMITAGE FRIENDS CONFERENCE

On 26 and 27 October 2017 the Hermitage • Amsterdam Centre was the venue for the next International Hermitage Friends’ Conference. The meeting was organised by the International Hermitage Friends’ Club with the immediate participa- tion of the Dutch Friends. Representatives of the Hermitage Friends’ organisations from nine different countries took part in its work: Russia, the Netherlands, the USA, the UK, Italy, Israel, Finland, China and Switzerland. On 27 October the working session was opened by Prof. Mikhail Piotrovsky, General Director of the State Hermitage Museum, and Ernst Veen, Chairman of the Foundation Hermitage Friends in the Neth- erlands. Discussions at the conference dealt with pressing issues of cooperation both between the mu- seum and its Friends’ societies abroad, and also between the international organisations themselves. New Cooperation Agreements were signed, laying down the main directions of the Friends’ activities in support of the State Hermitage Museum. In the second half of the day conference participants took part in a symposium for museum specialists and Friends of museums entitled “The Art of Connecting”, where Prof. Piotrovsky delivered a lecture on the Hermitage centres around the world and the museum’s recent projects, including the newly-opened exhibition “The Winter Palace and the Hermitage in 1917. History was Made Here”. The State Hermitage was the first museum in Russia to establish a Friends’ society which still continues to function today, twenty years later. To date, the network of Hermitage Friends, uniting seven active organisations around the world, is a unique phenomenon among the international museum community. LIST OF CONFERENCE PARTICIPANTS–2017: Regular conferences serve to strengthen collaboration between the museum and its Friends and help to develop this international network, to which new members intend to join in the near future. Prof. Mikhail Piotrovsky, General Director, the State Hermitage Museum Ekaterina Sirakanian, Head of the Development Service, the State Hermitage Museum Svetlana Philippova, Head, International Hermitage Friends’ Club Alexandra Davydova, Senior assistant, International Hermitage Friends’ Club Oksana Meleshkina, Assistant, International Hermitage Friends’ Club Ernst Veen, Chairman, Foundation Hermitage Friends in the Netherlands Monique Knapen, Board Member, Foundation Hermitage Friends in the Netherlands Martine van der Staay-van Straaten, Board Member, Foundation Hermitage Friends in the Netherlands Herbert Seevinck, Board Member, Foundation Hermitage Friends in the Netherlands Henk Koenders, Board Member, Foundation Hermitage Friends in the Netherlands Noepy Beckers-Testa, Board Member, Foundation Hermitage Friends in the Netherlands Joost Leeflang, Board Member, Foundation Hermitage Friends in the Netherlands Guus Schaepman, Coordinator, Foundation Hermitage Friends in the Netherlands Lisette Forbes Wels, Coordinator, Foundation Hermitage Friends in the Netherlands Saranna Biel-Cohen, Executive Director, Hermitage Museum Foundation (USA) Geraldine Norman, Director, Hermitage Foundation (UK) James Dawnay, Chairman, Hermitage Foundation (UK) Janice Sacher, Chief Executive, Hermitage Foundation (UK) Cav. Francesco Bigazzi, President, Association of Italian Friends of the State Hermitage Museum Maria Pacolli, Swiss Proponent of Friends of Hermitage Amir G. Kabiri, President, Hermitage Museum Foundation Israel Adam Danon, Operations Manager, Hermitage Museum Foundation Israel Andrey Samoylov, Vice President, Hermitage Friends’ Club in Finland Pentti Flink, Vice President, Hermitage Friends’ Club in Finland Lily Hong, representative of the possible Hermitage Museum Foundation in China Gabriel Wong, representative of the possible Hermitage Museum Foundation in China

200 201 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

FOUNDATION HERMITAGE FRIENDS IN THE NETHERLANDS P.O. Box 11675, 1001 GR Amsterdam The Netherlands Tel.: (31) 20 530 87 55 Email: [email protected] www.hermitage.nl

THE STATE HERMITAGE MUSEUM FOUNDATION OF CANADA INC. and THE CANADIAN FRIENDS OF THE HERMITAGE 900 Greenbank Road, Suite #616 Ottawa, ON Canada K2J 4P6 Tel.: 1 (613) 489-0794 Fax: 1 (613) 489-0835 Email: [email protected]

AMICI DEL MUSEO ERMITAGE (ITALIA) Palazzo Frescobaldi – 11 Via Santo Spirito 50125 Firenze – Italia Tel./Fax: +39 055 5387819 Email: [email protected] www.amiciermitage.it HERMITAGE MUSEUM FOUNDATION (USA) 57 West 57th Street, 4th Floor New York THE HERMITAGE MUSEUM FOUNDATION ISRAEL NY 10019 USA Tel.: +1 646 416 7887 65 Derech Menachem Begin Street Email: [email protected] Tel-Aviv, 67138 www.hermitagemuseumfoundation.org Israel Tel.: 00-972-(3) 6020629 Fax: 00-972-(3) 7443601 Email: [email protected] HERMITAGE FOUNDATION (UK) www.hermitagefoundation.com Pushkin House 5a Bloomsbury Sq. London WC1A 2TA UK THE HERMITAGE FRIENDS’ CLUB IN FINLAND RY Tel.: +44 20 7404 7780 21 I Koukkuniementie Fax: +44 20 3116 0151 02230 Espoo Email: [email protected] Finland www.hermitagefriends.co.uk Tel.: +358 (0) 468119811

202 203 HERMITAGE FRIENDS’ CLUB HERMITAGE FRIENDS’ CLUB

The State Hermitage Museum is inviting you to participate in its special Shops and kiosks offer a 20% discount to the Hermitage Friends; international programme – The Hermitage Friends’ Club. The museum Internet shop (www.shop.hermitagemuseum.org) offers a 10% discount to the Hermitage Friends; The State Hermitage Museum was the first museum in Russia to organise a Friends’ Members of the Hermitage Friends’ Club are welcome to enter the Hermitage Museum society back in November 1996. Since that time, to be a Friend of the Hermitage from the Komendantsky Entrance of the Winter Palace, where they can use the has become a good tradition. Many international and Russian companies, charitable cloakroom. organisations, foundations and individuals have already become Members of the Hermitage Friends’ Club. Some of the privileges granted by the Hermitage to Corporate Members of the international Hermitage Friends’ Club in proportion to the level of their charitable We invite you and/or your company to join the international Hermitage Friends’ contribution: Club and thus contribute to the preservation of the priceless treasures which form The Corporate Members are added to the “List of Sponsors and Patrons of the State the Hermitage’s legacy, guaranteeing that they are available to future generations. Hermitage Museum”, which is published in the Hermitage’s Annual Report and 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 in the development of the Hermitage The main development programmes of the Hermitage are:

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

The donation can 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. ALL MEMBERSHIPS ARE RENEWABLE ANNUALLY The State Hermitage Museum gratefully receives donations from its supporters and grants special privileges to the Hermitage Friends. For further information on the Hermitage Friends’ Club please contact:

All Hermitage Friends receive Personal Membership Cards of the Hermitage FRIENDS’ OFFICE Friends’ Club. Komendantsky Entrance to the Winter Palace (from Palace Square) Personal Membership Card entitles its holder (according to the membership level Tel.: (+7 812) 710 90 05 chosen) to participate in the special programme of visiting temporary exhibitions Fax: (+7 812) 571 95 28 Email: [email protected] of the State Hermitage Museum, as well as the permanent displays and the Hermitage branches and centres in Russia and abroad (St Petersburg, Vyborg, Kazan, POSTAL ADDRESS: Amsterdam). The State Hermitage Museum 34 Dvortsovaya Emb. 190000 St Petersburg The holders of the Personal Membership Cards receive invitations to participate Russia in special events arranged exclusively for the Hermitage Friends’ Club Members.

204 205 FINANCIAL STATEMENTS OF THE STATE HERMITAGE MUSEUM FINANCIAL STATEMENTS OF THE STATE HERMITAGE MUSEUM

THE STATE HERMITAGE MUSEUM EXPENDITURES BY SOURCES OF INCOME IN 2017 INCOME IN 2017 (in thousands of roubles) (in thousands of roubles) 1 Receipts from the Federal Budget 2,811,290,0 56.0% Grant for the state programme 1,751,498,7 35.0% Grant for other programmes 474,311,6 9.0% Other revenue 44,0% 35,0% Grant for capital investments 585,479,7 12.0% Including 2 Other receipts including: 2,253,661,8 44.0%

Revenue Total Business Donations TOTAL Proceeds from museum visits 1,711,204,7 34.0% 12,0% 9,0% from the Federal undertakings and expenditure Donations and other revenue 272,230,3 5.0% Budget other Earnings from cultural, educational revenue and theatrical programmes 77,955,5 1.5% Fees for reproducing pictures Payroll 618,961,3 1,106,620,7 1,087,902,2 18,718,5 1,725 582,0 from the Hermitage collection 13,624,4 0.4% Payroll social security 175,230,4 313,898,9 308,130,0 5,768,9 489,129,3 Earnings from selling catalogues and souvenirs 15,822,6 0.3% Grant for the state programme Total payroll 794,191,7 1,420,519,6 1,396,032,2 24,487,4 2,214,711,3 Earnings from renting out property owned by the Hermitage 15,625,8 0.3% Grant for other programmes Purchase of materials 96,742,4 22,380,9 13,866,4 8,514,5 119,123,3 Other income 147,198,5 2.5% Building services 154,957,5 20,810,6 20,810,6 175,768,1 Total receipts 5,064,951,8 100% Grant for capital investments Transportation and communications 28,916,1 18,032,1 3,365,9 14,666,2 46,948,2 which amounts to USD thousand (at 58.3465 roubles per dollar exchange rate) 86,808,2 Repair of equipment 100,213,8 7,361,9 6,871,5 490,4 107,575,7 Receipts from revenue-generating activities Repair of buildings 22,538,3 3,958,7 1,958,8 1,999,9 26,497,0 Police brigades 6,961,7 78,8 78,8 7,040,5 Acquisition of art works 26,964,9 750,0 0,0 750,0 27,714,9 Other current expenses 310,803,0 260,573,1 194,101,0 66,472,1 571,376,1 Total current expenses 748,097,7 333,946,1 241,053,0 92,893,1 1,082,043,8 (excluding payroll)

TOTAL CURRENT EXPENDITURES 1,542,289,4 1,754,465,7 1,637,085,2 117,380,5 3,296,755,1

Capital building activities 130,393,0 0,0 130,393,0 Capital repair 248,738,2 0,0 248,738,2 EXPENDITURES IN 2017 (in thousands of roubles) Equipment purchases 87,700,4 165,475,0 39,985,2 125,489,8 253,175,4 1 Payroll 2,214,711,3 56.4% 2 Purchase of equipment and materials 372,298,7 9.5% TOTAL CAPITAL EXPENDITURES 466,831,6 165,475,0 39,985,2 125,489,8 632,306,6 3 Building services, transportation

and communication 222,716,3 5.7% TOTAL EXPENDITURES OF THE HERMITAGE 2,009,121,0 1,919,940,7 1,677,070,4 242,870,3 3,929,061,7 4 Building and equipment repairs 134,072,7 3.4% which amounts to USD thousand 5 Expenses for police brigades 7,040,5 0.2% (at 58.3465 roubles per dollar exchange rate) 34,434,3 32,905,8 28,743,3 4,162,6 67,340,1 6 Acquisition of art works 27,714,9 0.7% 7 Other current expenses 571,376,1 14.5% 8 Restoration works and capital repairs of the museum complex buildings 248,738,2 6.3% 9 Capital repair and construction 130,393,0 3.3% 1 6 Total expenditures: current and capital expenses 3,929,061,7 100% which amounts to USD thousand 2 7 (at 58.3465 roubles per dollar exchange rate) 67,340,1 3 8

4 9

5

206 207 PRINCIPAL PATRONS AND SPONSORS OF THE STATE HERMITAGE MUSEUM IN 2017 PRINCIPAL PATRONS AND SPONSORS OF THE STATE HERMITAGE MUSEUM IN 2017

Olympic Circle Apollo Circle Atlantis Circle The Board of Trustees of the State Hermitage Museum: Donors Fondazion Giorgio Conti Onlus GLENDO-RUS Co. Vladimir Potanin, Chairman of the Board of Trustees Anna Netrebko AIRA Company DOKA –Saint-Petersburg, Ltd. Alexander Avdeyev Diana Vishneva AlfaStrakhovanie PLC Yele University Leonid Blavatnik Xenia Rappoport Angelos bvba JAN FABRE|VISUAL ARTS| Gregor’s lijsten Сompany German Gref Mark Bashmakov Art-Color, Ltd. Montblanc Company (Richemont Luxury Group) Oleg Deripaska Sergey Girdin Charity Foundation “Stars for Children” OTIDO GROUP Alexey Kudrin Yury Abramov Ilim Garant Charity Fund Kunst Werk Company Pierre de Labouchere LLC “Northern Capital Gateway” The LADOGA Group JSC Yury Lubimov PJSC Gazprom Neft LADOGA Distribution Mikhail Piotrovsky DELIA, Ltd. , Ltd. Anton Siluanov Cartier The Mikhailovsky Theatre Leonid Friedland The Imperial Porcelain Manufactory Protein Mikhail Shvydkoy Ingosstrakh Insurance Company “Tochka Opory” David Yakobashvili Carl Zeiss AG “Vertical’” CafeMax St Petersburg CJSC ДЛТ|TSUM ST PETERSBURG Corporate members: Athens Circle Russ Outdoor SPb The L.G. Sokolov Memorial Hospital No. 122 JTI Russia NTV Nippon Television Network Corporation Beta-Кom TENZO Gazprombank JSC Vladimir V. Potanin Charitable Foundation Energo Corporation LVMH Moet Hennessy Louis Vuitton CROC, Inc. Museum on line, Inc. JTI Russia 3Dreamteam (Vizerra) RedFox Special Endowment Fund Management for the Development OPTEC Restoring Ancient Stabiae Foundation of the State Hermitage Museum Lakhta Center Arctur Travel, Ltd. BP Exploration Operating Company, Limited Marvis Artecom, Ltd. International Festival of Arts “Diaghilev. P.S.” Heineken Breweries LLC ATM Group The Coca-Cola Company The Official State Hermitage Hotel Veronica, Ltd. VTB Bank PJSC PLADIS “VODOHOD” Jupiter Circle LLC “Samsung Electronics Rus Company” Social-Cultural Foundation “Hennessy” Hotel Astoria Jayne Wrightsman Korean Air Lines Co., Ltd. (Republic of Korea) TGC-1 PJSC Sfera Group Vladimir Potanin Lavazza CJSC Centre of Technical Service “SPETSAVTOMATIKA” LLC Gallery Service Ilya & Emilia Kabakov Delzell Foundation Hermitage XXI Century Foundation Geoffrey George Hastings Ainsworth Sign Group Electronic Archive Corporation BELMOND Grand Hotel Europe St Petersburg Poster Group Jewellery Group Smolensk Diamonds Slavia Publishing House Courtyard by Marriott St Petersburg Vasilievsky Hotel FECT, Inc. The Likeon – Museum Concepts and Projects, Ltd. Vitrinen-und Glasbau Reier KERAMARH The Vaganova Ballet Academy Panasonic Rus, Ltd. BESKIT CJSC Parimal Shah Halcyon Gallery The St Petersburg PRO ARTE Foundation for Culture and Arts 208 209 PRINCIPAL PATRONS AND SPONSORS OF THE STATE HERMITAGE MUSEUM IN 2017

PETERSOFT Ekaterina Ustinova Positive Communications, St Petersburg Elena Akhmadullina The company “Parquet World” Elena Kovylina ProfIT, Ltd. Evgeny Kazinets Russian Jeweller, Ltd. Fakhriya Khalafova RADIOGUIDE Giuliano Vangi Renaissance St Petersburg Baltic Hotel Ivan Plusсh Rusinco, Ltd. Kirill Gasilin Russkiy Navigator, Ltd. Lioubow Popova St Petersburg Mint Ludmila Savostina Tochka Opory (lighting) Mikhail Bykov VOORPOST, Ltd. Mstislav Vladimirtsov KHEPRI, Ltd. Sergey Slipchenko Fazer Group Stepan Kutergin Svetlana Vorobijova Sponsors of the Hermitage Cats Tanya Kotegova Royal Canin Tatiana Kadukova Royal Tent Tatiana Novikova “CatProdukt”, Ltd. Tatiana Parfionova Artistic paints plant “Nevskaya Palitra” Thomas Hirschhorn Nonstopultra Valery Naslednikov “Pro Animale für Tiere in Not e.V.” Vladimir Bukhinnik “ELVET” Vladimir Kanevsky Star Group, Ltd. Vladimir Kutikov Transelectro, Ltd. Vladimir Levshenkov The Company “Ivanko” Yury Varshavsky

Information partners of the State Hermitage Museum Official suppliers to the State Hermitage Museum The Art Newspaper Russia Official supplier of information services to the State Hermitage Vedomosti St Petersburg Museum Yellow Pages, Ltd. NIKOLAEV e:Consulting Diletant Official courier of the State Hermitage Museum Hermitage Magazine WESTPOST Express Postal & Courier Services Metropress, Ltd. Official legal advisor of the State Hermitage Museum Radio Grad Petrov Baker & McKenzie – CIS, Limited Radio Hermitage Official caterer of the State Hermitage Museum TV Kultura Renaissance – Catering Saint-Petersburg TV channel Hermitage Friends’ organisations abroad RG.ru Foundation Hermitage Friends in the Netherlands Hermitage Museum Foundation (USA) Donors The State Hermitage Museum Foundation of Canada, Inc. Alexander Anikin Canadian Friends of the Hermitage Alexander Kurbatov Hermitage Foundation (UK) Alexey Skrylnikov Anna Butenko Association of the Friends of the Hermitage Museum (Italy) Anton Varfolomeyev The Hermitage Museum Foundation Israel Christopher Ross The Hermitage Friends’ Club in Finland RY Dmitry Gachko “Hermitage–Italy” Foundation 210 STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM

DIRECTORATE OF THE STATE HERMITAGE MUSEUM CLASSICAL ANTIQUITY A. Savelieva M. Lopato IMPERIAL PORCELAIN D. Yolshin SCHOOL CENTRE DEPARTMENT Head of the Far East Sector Head of the Sector of Precious MANUFACTORY MUSEUM Academic Secretary, Candidate I. Diubanova Metals and Stones, Doctor of History M. Piotrovsky General Director, A. Trofimova P. Lourje A. Ivanova of Art History Head of the Centre Full Member of the Russian Academy of Sciences, Head of the Department, Head of the Central Asia Head of the Department Full Member of the Russian Academy of Arts, Candidate of Art History and the Caucasus Sector, B. Kravchunas O. Baranova RESEARCH LIBRARY Professor of St Petersburg State University, Candidate of History HISTORY OF RUSSIAN Head of the Art Studio, Candidate Chief Curator Doctor of History E. Ananyich CULTURE DEPARTMENT E. Platonov of Art History Deputy Head of the Department D. Vasilieva Head of the Library G. Vilinbakhov Deputy Director for Research, Head of the Near East V. Fedorov N. Krollau Chairman of the Heraldic Council Yu. Semenova and Byzantium Sector Head of the Department MODERN ART DEPARTMENT O. Zimina Head of the Methodology Sector, Chief Curator Deputy Head of the Library Candidate of Cultural Studies at the President of the Russian Federation, N. Guseva D. Ozerkov Professor of St Petersburg State University, A. Kuznetsov Deputy Head of the Department, Head of the Department, Candidate N. Martynenko Doctor of History Academic Secretary WESTERN EUROPEAN Candidate of Art History of Philosophy Deputy Head of the Library EXHIBITION DESIGN FINE ARTS DEPARTMENT S. Adaksina Deputy Director, Chief Curator A. Butyagin I. Zakharova M. Shultz I. Gogulina DEPARTMENT Head of the Northern S. Androsov Chief Curator, Candidate of History Chief Curator Head of the Funds Sector M. Antipova Deputy Director for Finance and Planning Black Sea Area Sector Head of the Department, B. Kuzyakin I. Bagdasarova K. Malich R. Klimchenkova Head of the Department A. Bogdanov Deputy Director for Maintenance, Doctor of Art History, Foreign E. Khodza Academic Secretary, Candidate Academic Secretary Head of the Catalogue Sector Senior Lecturer of St Petersburg Member of Ateneo Veneto V. Korolyov Head of the Ancient Greece (Venetian Academy of Sciences), of Art History M. Khimin University of State Fire Service, Head of the Sector and Ancient Rome Sector, Full Member of the Academy Head of the International Candidate of Technical Sciences Candidate of Art History G. Mirolyubova MENSHIKOV PALACE of the Exhibition Design and of Arts in Carrara Head of the Sector of Fine Arts, Exchange Sector Installation V. Meshcheriakov M. Novikov Deputy Director for Construction Candidate of Art History M. Dedinkin Head of the Department Yu. Balakhanova A. Plotnikova Deputy Head of the Department Head of the Rare Books N. Kalach Deputy Director for Construction in Charge ARCHAEOLOGY OF EASTERN S. Nilov Head of the Exhibition Equipment A. Dutov and Manuscripts Sector (from 30 March 2017) EUROPE AND SIBERIA M. Garlova Head of the Winter Palace and Management Sector of Peter I Sector Deputy Head of the Department DEPARTMENT Chief Curator E. Doroshenkova N. Trofimova I. Saverkina Head of the Service Sector A. Alexeyev A. Vilenskaya N. Tarasova Head of the Information OFFICE OF THE DIRECTORATE Head of the Research Head of the Department, Academic Secretary Head of the Sector of Applied Arts, T. Tarayeva Infrastructure and Recreation and Exhibition Sector, Academic Doctor of History Candidate of History Head of the Purchase and Zones Sector M. Dandamayeva Academic Secretary, Candidate of History B. Asvarishch Secretary, Candidate of History Inventory Sector Yu. Piotrovsky Head of the Sector M. Khaltunen Personal Assistant to the General Director, G. Rodionova Candidate of Cultural Studies Deputy Head of the Department of 19th – 20th-Century Painting NUMISMATICS DEPARTMENT M. Kaasik and Sculpture, Candidate Head of the Education Sector PUBLISHING DEPARTMENT V. Kalinin Head of the Bibliography Sector Yu. Ereshko Secretary to the Deputy Director for Research, A. Mazurkevich of Art History Head of the Department E. Antonova E. Zvyagintseva Candidate of Cultural Studies Chief Curator R. Grigoryev GENERAL STAFF Head of the Library Branches Head of the Department A. Furasyev E. Lepekhina O. Zalutskaya Secretary to the Deputy Director Head of the Print Room, Sector N. Petrova Academic Secretary, Deputy Head of the Department A. Dydykin and Chief Curator Candidate of Art History Deputy Head of the Department Candidate of History Head of the Department I. Grigoryeva O. Stepanova T. Nikiforova Secretary to the Deputy Director for Finance I. Astrov I. Dalekaya E. Korolkova Head of the Cabinet of Drawings Chief Curator MANUSCRIPTS AND and Planning Head of the Pre-Printing Head of the Sector of the South Deputy Head of the Department DOCUMENTS DEPARTMENT N. Gritsay K. Kravtsov Preparation Sector O. Korolkova Secretary to the Deputy Director of Eurasia, Candidate of Art Head of the Sector Academic Secretary, Head O. Ignatova E. Yakovleva for Maintenance History E. Nasyrova of 13th – 18th-Century Painting, of the Sector of Ancient Coins Head of the General Staff History Head of the Department and Coins from Asia and Africa Head of the Sale Sector D. Oreshnikova Secretary to the Deputy Director R. Minosian Candidate of Art History Sector Head of the Sector of the Forest E. Solomakha for Construction L. Dobrovolskaya S. Yashmolkin V. Prostov and Forest-Steppe Zone Deputy Head of the Department Head of the Sector of Numismatic Head of the Visitors Sector Head of the Printing Sector of Eastern Europe, Candidate Monuments from Europe WESTERN EUROPEAN A. Rodina DIRECTOR’S ADVISERS of History and America, Candidate of History APPLIED ARTS DEPARTMENT EDUCATION DEPARTMENT Head of the Editors Sector HISTORY AND RESTORATION T. Rappe A. Galkin Adviser for Security OF ARCHITECTURAL L. Ershova А. Terebenin Head of the Department, ARSENAL ORIENTAL DEPARTMENT MONUMENTS DEPARTMENT Head of the Department Head of the Photography Sector Candidate of Art History D. Lubin N. Vasilevskaya N. Kozlova Head of the Department, V. Lukin O. Kostiuk Head of the Excursion Bureau Head of the Department Candidate of Art History Head of the Department, Deputy Head of the Department, Chief Architect of the Hermitage, ELECTRONIC EDITIONS A. Nikolaev Candidate of Art History S. Kudriavceva M. Zaychenko Candidate of Architecture Head of the Youth Centre PREPARATION SECTOR Deputy Head of the Department, Chief Curator L. Bulkina and Student Club, I. Melnikova Candidate of History Chief Curator I. Ermolayev ARCHITECTURE Candidate of Art History Head of the Sector A. Teplyakova S. Kokareva Academic Secretary AND ARCHAEOLOGY SECTOR O. Kuznetsova Chief Curator Academic Secretary V. Danchenko O. Ioannisian Head of the Guide Service Sector REGISTRAR DEPARTMENT N. Sutyagina T. Kosourova Head of the Military Heraldry Head of the Sector, Candidate O. Makho Academic Secretary Head of the Applied Arts Sector, Sector, Candidate of History of History Head of the Methodology Sector N. Grishanova Candidate of Art History Head of the Department A. Bolshakov Yu. Efimov E. Torshin L. Torshina Head of the Ancient East Sector, Head of the Arms and Armoury Head of the Sector Head of the Sector for Special A. Aponasenko Doctor of History Sector (from November 2017) Programmes Deputy Head of the Department

212 213 STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM

Yu. Efimova LABORATORY FOR SCIENTIFIC LABORATORY FOR SCIENTIFIC Zh. Lonshakova HERMITAGE FRIENDS SECTOR S. Vorotnikov SPECIAL CONSTRUCTION SECURITY SERVICE Head of the Sector RESTORATION OF EASEL PAINTING RESTORATION OF TIMEPIECES Head of the Sector of Employment S. Philippova Deputy Chief Book-Keeper DEPARTMENT (“STARAYA DEREVNYA” CENTRE) of the Registration of Museum V. Korobov AND MUSICAL MECHANISMS Relationship O. Boyev Head of the Sector O. Antipina N. Kalach Exhibits of Precious Metals Head of the Laboratory M. Guryev Head of the Service E. Odintsova Deputy Chief Book-Keeper Head of the Department and Stones Head of the Laboratory Head of the Personnel and Social SECTOR OF PROJECT FINANCE Payments Sector E. Fedorov SECURITY SERVICE N. Smetkina LABORATORY FOR SCIENTIFIC STATE PURCHASES DEPARTMENT RESTORATION AND REPAIRS (GENERAL STAFF BUILDING) Head of the Sector of the RESTORATION OF TEMPERA LABORATORY FOR SCIENTIFIC Head of the Sector N. Dubinina N. Kisilyov Registration of Temporary PAINTING RESTORATION OF FURNITURE CHANCERY DEPARTMENT Head of the Department Head of the Service Accepting and Leasing of Museum V. Gradov MARKETING AND ADVERTISING I. Permiakov O. Yushina A. Moskaleva Exhibits Head of the Laboratory SECTOR Head of the Laboratory Head of the Department Head of the Department A. Lisitsyna SOCIAL DEVELOPMENT SECURITY SERVICE N. Ternovaya (STOCK EXCHANGE N. Diumina Head of the Sector DEPARTMENT B. Volkov Head of the Sector of the Forming LABORATORY FOR SCIENTIFIC LABORATORY FOR SCIENTIFIC Deputy Head of the Department DEPARTMENT) RESTORATION OF CHANDELIERS Head of the Typing Sector of Data Base on the Hermitage RESTORATION OF MURAL T. Voronova A. Khramov PAINTING Collections P. Khrebtukov E. Solovyova THEATRE AND EDUCATION Head of the Department Head of the Service A. Bliakher Head of the Laboratory Head of the Office Work Sector DEPARTMENT ELECTRONIC TECHNIQUE, ALARM O. Shcherbakova Head of the Laboratory SYSTEMS AND COMMUNICATION Head of the Sector of Control N. Orlova SAFETY OF LABOUR FIRST DEPARTMENT FOR DEPARTMENT for the Preservation of Museum LABORATORY FOR SCIENTIFIC Head of the Department AND ECOLOGY DEPARTMENT SECURITY OF THE MUSEUM RESTORATION OF PHOTOS Items LEGAL SERVICE P. German COMPLEX (FIRST MUSEUM LABORATORY FOR SCIENTIFIC S. Mitskevich A. Pavlova T. Sayatina Head of the Department SECURITY DEPARTMENT) RESTORATION OF ORIENTAL M. Tsyguleva Deputy Head of the Department Head of the Department PAINTING Head of the Laboratory Head of the Service I. Garin N. Khobotov Head of the Department DEPARTMENT E. Shishkova EXTERNAL CONTACTS Deputy Head of the Department OF THE ORGANISATION Head of the Laboratory, Candidate EXAMINATION AND DEPARTMENT MAINTENANCE OF THE GENERAL HISTORY AND INFORMATION SECOND DEPARTMENT FOR OF REGISTER AND STORAGE of Art History STAFF BUILDING AUTHENTICATION OF WORKS SERVICE SECURITY OF THE MUSEUM OF THE “STARAYA DEREVNYA” N. Kolomiyets OF ART DEPARTMENT N. Yakubenko MAINTENANCE DEPARTMENT COMPLEX (SECOND MUSEUM CENTRE L. Korabelnikova Head of the Department LABORATORY FOR SCIENTIFIC A. Kosolapov Head of the Service Head of the Department OF THE “STARAYA DEREVNYA” SECURITY DEPARTMENT) T. Zagrebina RESTORATION OF GRAPHIC CENTRE Head of the Department, ENTRANCE ZONE SERVICE A. Lapeshkin Head of the Department WORKS Candidate of Technical Sciences Head of the Department INFORMATION PROJECTS DEPARTMENT MAINTENANCE S. Gusev E. Fedorova T. Sabianina OF MENSHIKOV PALACE Head of the Department S. Khavrin DEPARTMENT A. Leonenko Head of the Laboratory THIRD DEPARTMENT FOR Deputy Head of the Department Deputy Head of the Department E. Getmanskaya Head of the Department I. Prokofyeva SECURITY OF THE MUSEUM Head of the Department Head of the Department COMPUTER SECTOR COMPLEX (THIRD MUSEUM LABORATORY FOR SCIENTIFIC SCIENTIFIC AND TECHNICAL SECTOR OF SOCIOLOGICAL SECURITY DEPARTMENT) SECTOR OF NEW ACQUISITIONS RESTORATION OF SCULPTURE A. Grigoryev EXAMINATION LABORATORY CROSS-MUSEUM COMMUNICATIONS AND SEMI-PRECIOUS STONES RESEARCH CHIEF MECHANIC Head of the Sector O. Chebotar V. Faybisovich A. Kosolapov DEPARTMENT Head of the Department S. Petrova A. Roshchin DEPARTMENT Head of the Sector, Candidate Head of the Laboratory, I. Korneyev of Cultural Studies Head of the Laboratory Head of the Sector, Candidate R. Baburin Candidate of Technical Sciences Head of the Department SUPPLYING OF TECHNICAL FOURTH DEPARTMENT FOR of Cultural Studies Chief Mechanic EQUIPMENT FOR BUILDINGS SECURITY OF THE MUSEUM LABORATORY FOR PHYSICAL COMPLEX (FOURTH MUSEUM LABORATORY FOR SCIENTIFIC VISITORS SERVICE IN EXHIBITION I. Barabanshchikova AND EXHIBITIONS DEPARTMENT DEPARTMENT OF EXHIBITION AND CHEMICAL METHODS RIGHTS AND REPRODUCTION SECURITY DEPARTMENT) RESTORATION OF APPLIED AREAS AND RECREATION ZONES Deputy Chief Mechanic DOCUMENTATION OF EXAMINATION OF MATERIALS E. Riabova ART OBJECTS DEPARTMENT SECTOR V. Katkov L. Gavrilenko Head of the Department O. Ilmenkova A. Bantikov N. Silantyeva A. Mikliayeva Head of the Department Head of the Laboratory CHIEF POWER ENGINEER Head of the Department Head of the Laboratory Head of the Department Head of the Sector DEPARTMENT SECURITY SERVICE GALLERY MONITORS A. Sokolov O. Ratnitsyna “STARAYA DEREVNYA” А. Isayev (MUSEUM SECURITY SERVICE) DEPARTMENT Deputy Head of the Department LABORATORY FOR SCIENTIFIC LABORATORY Deputy Head of the Department RESTORATION OF OBJECTS FOR BIOLOGICAL CONTROL CENTRE FOR RESTORATION, Chief Power Engineer A. Khozhainov I. Belousikova MADE OF ORGANIC MATERIALS CONSERVATION AND STORAGE Head of the Department Head of the Department O. Smolianitskaya VOLUNTEERS SECTOR O. Targonsky TREASURE GALLERY E. Mankova Head of the Laboratory, Candidate V. Dobrovolsky Deputy Chief Power Engineer M. Kozhukhovsky A. Subarnov Ya. Kostochkin E. Kashina Head of the Laboratory of Art History Head of the Centre Deputy Head of the Department Head of the Sector V. Aganin Deputy Head of the Department Head of the Department A. Terentyeva Deputy Chief Power Engineer T. Danilova Deputy Head of the Centre TRANSPORT DEPARTMENT E. Geyko LABORATORY FOR SCIENTIFIC LABORATORY Deputy Head of the Department Deputy Head of the Department RESTORATION OF TEXTILES FOR CLIMATE CONTROL DEVELOPMENT SERVICE G. Salnikov AND WATER-SOLUBLE CAPITAL CONSTRUCTION PLANNING AND BUDGET Head of the Department PAINTINGS T. Bolshakova E. Sirakanian, DEPARTMENT DEPARTMENT Head of the Laboratory Head of the Service OPERATION DEPARTMENT V. Samsonov SCIENTIFIC RESTORATION M. Denisova V. Chudinova V. Romanovsky OF THE SECURITY SERVICE Deputy Head of the Department AND CONSERVATION Head of the Laboratory Head of the Department DEPARTMENT OF COOPERATION Head of the Department S. Taranov DEPARTMENT PERSONNEL DEPARTMENT E. Tkach WITH TOURIST FIRMS Head of the Department N. Grigoryeva I. Kaskova Head of the Garage T. Baranova LABORATORY FOR SCIENTIFIC AND ORGANISATION OF SPECIAL V. Khrushch Deputy Head of the Department Deputy Head of the Department RESTORATION OF PRECIOUS PROGRAMMES Head of the Department Head of the Department SECURITY SERVICE METALS O. Arkhipova М. Romanov CIVIL DEFENCE E. Chekhova BOOK-KEEPING (IMPERIAL PORCELAIN I. Malkiel A. Babenko Deputy Head of the Department AND EMERGENCY SECTOR Deputy Head of the Department Head of the Department MANUFACTORY DEPARTMENT) Head of the Laboratory Head of the Passport and Visa E. Mironova Sector A. Gavrilets A. Maksimychev Chief Book-Keeper Head of the Service Head of the Civil Defence Staff 214 215 The State Hermitage Museum Annual Report. 2017 / The State Hermitage Museum. – О-88 St Petersburg : The State Hermitage Publishers, 2018. – 216 pp. : ills.

ISBN 978-5-93572-809-1 УДК 006.99(471.23-2)(069) ББК (Щ)85.101

REFERENCE EDITION

THE STATE HERMITAGE MUSEUM ANNUAL REPORT. 2017

Photographs by Pavel Demidov, Alexander Koksharov, Alexander Lavrentyev, Oksana Meleshkina, Alexey Pakhomov, Svetlana Ragina, Anton Raykhshtat, Elena Sidorova, Andrey Terebenin and Vladimir Terebenin

Translated from the Russian by Maria Artamonova, Ksenia Beletskaya, Alexandra Davydova, David Hicks,Natalia Magnes and Olga Luzina

English text edited by Julia Redkina Designed by Irina Dalekaya Computer layout by Nina Sokolova Colour correction by Igor Bondar

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