Private Art Collecting in Saint-Petersburg Around 1900 A

CEU eTD Collection Second Reader: Professor AlfredRieber J. Professor Reader: Second Supervisor: Professor Ilona Sármány-Parsons Private ArtCollecting Around in 1900 Saint-Petersburg In partial fulfillment of the requirements for the degree of A Case Study: Collection A Case theYussupov Central European University Central European History Department History Budapest, Hungary Budapest, Irina Sidorenko Master of Arts Submitted to Submitted 2007 By CEU eTD Collection such instructions may notbe made without the written permission of the Author.” form made in such page mustmade. copies with a partof accordance Further any copies lodged in Central the Library.European may Details be from obtained librarian.the This and Author the by given instructions the with accordance in only made be may part, or full “Copyright in the text of this thesis rests with the Author. Copies by any process, either in Statement ofCopyright Statement CEU eTD Collection the 20 the This history thesis artcollecting with the of deals private in of atthe Saint-Petersburg turn how collectors of the old type, such as the Yussupovs, adjust to new artistic reality. of both Saint-Petersburg andThe studyof Moscow. Yussupovthe collection demonstrates of background various of contrasted to thenewcollectors of art are generation and patrons noble originin collecting andpatronising artis defined. The Yussupovs asold collectors the turn of the century. It is used as a prism at through Saint-Petersburg in which nobility thethe of role activity of an collecting art the collectorinto insight an of offers the collection, The case study of one of the oldest private art collections of the Country, the Yussupov art 1900. around highlight artcollectingprivate is specificsperiod the of inSaint-Petersburg to provided market of the life andart art of the analysis and The description collecting. of phenomenon national a broader within incollecting Saint-Petersburg art of private local peculiarities th century, with the particular focus on the Yussupov collection. It sheds light on the on light sheds It collection. Yussupov the on focus particular the with century, Abstract CEU eTD Collection academic style. academic I am also thankful to Miklos Lojko and Robin Bellers for helping me to improve my English and comments useful advices. for helpful AlfredJ. Rieber professor Iam to much was very grateful appreciated. inspiringin myinterestcollecting. thehistory art The of of support mysupervisorconstant amwas accomplished.thissupervision I prof.for project thankful Sármány-Parsons to likeI would Ilona toprofessor toexpress mygratitude underwhose Sármány-Parsons Acknowledgements 1 CEU eTD Collection BIBLIOGRAPHY...... 99 96 CONCLUSIONS...... 4. THE YUSSUPOVS – THE FAMILY OF 65 COLLECTORS...... PETERSBURG AND 43 MOSCOW...... INSAINT- OFTHE LAST YUSUPOVS ART COLLECTORS:CONTEMPORARIES 3. 2. ART LIFE OF SAINT-PETERSBURG AND MOSCOW 24 AROUND 1900...... 1. INTERPRETING ART 14 COLLECTING...... 3 INTRODUCTION...... 4.3. 4. 4.1. 3.2. 3.1. 2. 2.1. 2. 2. T T A A S F E AINT HE ACQUISITIONS LASTTHE OF HE RT RT AMILY XHIBITIONS AND H C C -P ISTORY OF ISTORY OLLECTORS IN OLLECTORS OLLECTORS IN OLLECTORS ETERSBURG AND ETERSBURG C OLLECTION ANDTHE OLLECTION D A EVELOPMENT OF THE EVELOPMENT RT S M AINT OSCOW M M ARKET IN ARKET -P OSCOW AS OSCOW ETERSBURG ...... 43 ...... Y Y USSUPOV USSUPOVS Table of Contents of Table S AINT C ENTRES OF C ...... 51 ...... -P OLLECTION ’ S ETERSBURG AND ETERSBURG . A V RTISTIC ALENTIN A RT ...... 66 ...... A L S CTIVITY IFE EROV ...... 24 ...... M OSCOW “T A HE ROUND Y ...... 37 ...... USSUPOV SERIES USSUPOV 90...... 75 1900...... 85 ...... ” 2 CEU eTD Collection wealth in such a way that their memory wouldthey survive. had Thea lifetime namesperception, their In of lifetime. own outstandingin their fortunes to their made often make businessmen RussianMoscovite money and had no more thanand in concentrating patronising arts inMoscow, theirhands treasures. genuine art the same lifetime to spend incollecting leadingrole the merchantstook andbusinessmen entrepreneurs, In contrast, this own right, hence the special attention that has been traditionally attributed to them. in its taste and unity of acertain andformed tradition in of collecting Saint-Petersburg core the nobility constituted collecting, in art groups the variousinterest social of growingthe to travel amassed remarkablethey by beginning collection the 20 the of partly social status, of curiosity for andout and thirst knowledge. educated Being privileged of ancestors familiesthese tocollecting, turned please partly the to and higherrulers gain the reign of noble families as Russianthe Yussupovs, the Sheremetevs, the Stroganovs and the Shuvalovs. Under such of names the with associated traditionally been has tsars-patronsSaint-Petersburg in collecting Art of arts, of arts. suchcollecting patronage and art of asphenomenon the of heart the lay at Peter character transnational and universal its extent large a I and Catherinepart of a bigger entity itself than rather part constituting of European and heritage. world To II, thebecame culture Russianartistic movement, art-nouveau of an development the century with great Thus at period. end19 the andartmagazinesatthe of appeared innovative artists, art life of the Countrydevelopment of art life as it did at thewas end of the 19 diverseNever before inits history had Russia such witnessed a distinctiverapid, and intensive and rich: a great number of art groups, movements, Introduction th and beginning of andbeginning of 20 the th century. Even with th century. The th 3 CEU eTD Collection Russians the new elite of collectors. In this sense, there is a tremendous interest in pre- interest the is Inthis atremendous there sense, newcollectors. elite of Russians the Vekselberg,forRussians,many symbolise the Paleev Vladimir suchasViktor and others wealthy of names The art. of works Russian principally collecting Russia, in activity collectors’ of renaissance averitable we witness Today of regime. the change revived since is being that Russia is gradually collectingArt of one pre-revolutionary traditions the of our generation, butof own. aswellincluding all successive own their only notof tastes art shape traditionally collectors Art in general. collection that many. Thus thehistory of isa work of art intertwined inseparably with history the or this of time at first the work of artmuseums and winsgalleries constitute the resultthe of activity heart of numerous collectors: most of ofthe one person, Modern world. in art importance the fundamental of play a role collections private addition, a private collector, collection. famousof duetoanart acknowledgedworldbecome and In wide whom and then ofmany artists, innovative of training and emergence the to stimulus new a give can collection anart of existence The trends. of artistic development the influence collections case that collections are a specialrealise that began to historians because socially,also of but art works the contextualise cultural phenomenon to only not help they is that popular become have kind this of studies why in reasons the of their own right. Moreover,but also the patrons of art have become theit focus forcultural studies all isover the world. One often the only not fewartists, years last In the subject. avery topical is internationally collecting Art aware. of which they were context, international the reflected activity their as world the over all but Russia, in only not well-known are others many and Tsvetaiev Ryabushinskys, the Mamontov, Savva brothers, Tretyakov the Sergei Shchukin, and Morozov suchasSavva and patrons, collectors 4 CEU eTD Collection the the 20 2 lifein butlacks period, inRussia life art the on art the information detailed provides often publicationsthe offered general history lifeof in art Russia of period.the 1 a number werepublished. collectors biographies However, Moscow of certain as such. Art collecting and patronageregarded itwas not as social phenomenon studied asaconsiderable systematically was not of the arts by the nobility Collecting reasons. ideological for forscholars Soviet a common subject not was This topic was not recognised at all. significance. is collecting of great art history the of on provide contemporary pioneers these that The evidences Saint-Petersburg. of collection contemporary orthat describe this to first the often were Shchavinsky Viktor Prakhov, Adrian Benois, Alexander as such magazines for critics the Art writing life into of insight cultural capital. the the abright offering period the of my help asatestimony for of research great are Thesesources époque. the of collections private of lifereviews and art Russian on for their publications interest They are and“Apollon” Runo”. of “Zolotoye Rossii”, “Khudogestvennye Sokrovishcha “Starye magazinesGodi”, them about in such as “Mirespecially art Iskusstva”, werewell collectors information figures wasacontinuous flowpublic and there known of of art and patrons revolution, the Before neglected. been has especially Saint-Petersburg up, been yetwritten not has thecentury of turn the at patronage aristocracy’s The Russian collecting. art experiences aneed in andstudies researches in cultural studies, particularly,in history the of its cultural and heritage discovers rethinks its rich consequently cultural traditions, history revolutionary collectingof nowadaysart In inRussia. one word, Country the Russkaya khudogestvennaya kultura kontsa 19– nachala 20 vekov (1895-1907) M. Kopshitser, M. th century (1895-1907), Vol. 2 (Moscow, 1969). Savva Mamontov Savva (Moskva, 1993). (Russian art life at the turn of 2 Thisliterature on 1 Most of 5 CEU eTD Collection 5 Morozovs, Guchkovs) the (Saint-Petersburg: Pirs, 1993). Guchkovy Martinov, Sergei 1995). 4 exhibition catalogue) (Saint-Petersburg: Slaviia, 2003). beginning of20 beginning collectors. Some studies collectors. of network and the oftaste history the Moscow andSaint-Petersburg, dealers of art history yetfound itsresearcher,as the such of There arequestions thathavenot Petersburg. collectors of Moscow, without addressing to the role of their colleagues from Saint- cultural providescultural history surveybook collecting tothe and abrilliant whose dedicated in Russian collecting art of enigma the on light sheds who Neverov, Oleg as such studies, broader some are There inthemselves. them locking thus collections, other itto the relate in of art Russia. patronage highlightingpublicationscollectingof There thenumber and history exist a of recent framework. European broader withinin the happeninginprocesses Russia detail. Saint-Petersburg art contextualise They Dmitry Sarabyanov, Dmitry (Leningrad: Aurora Art Publishers, 1991). 3 Russia. of fin-de-siècle the movements and art artists the focused mainly on literature the After 90s, the of spate publications. Upon changethe of regime,history collecting light a art inRussiaof a through hascome to never it was. which phenomenon asaclosed but perceived rather context, European in the included is not life art national the of picture broad The material. of analyses in-depth Stroganovy: metsenaty ikollektsionery: katalog vistavki Collectors and Patrons of Art inSaint-Petersburg 1703-1917 Vsevolod Petrov and Aleksandr Kamensky, (Entrepreneurs, philanthropists, patrons of art: the Stroganovs, the Alekseevs, the Tretyakovs, the Tretyakovs, the Alekseevs, the Stroganovs, the of art: patrons philanthropists, (Entrepreneurs, th century) Predprinimateli,blagotvoriteli, metsenaty: Stroganovy, Alekseevy, Tretyakovy, Morozovy, Istoriya russkogo iskusstva XIX-nachala XX veka (Moscow: AST-PRESS, 2001). 5 offer a profound study of this or that art collection, but fail to 4 Most of the recent researches are dedicated exclusively the to exclusively arededicated researches of recent the Most The World of Art Movement in Early 20 3 These studies help to reconstruct the art life of (The Stroganovs: the patrons of art and collectors: an collectors: and of art patrons the Stroganovs: (The (Saint-Petersburg: Gosudarstvenny Ermitag, (History of Russian art at 19 th -Century Russia -Century th – 6 CEU eTD Collection (Saint-Petersburg, 2002), 359-67. kollektsii collectionof Princes Yussupov”), in 8 Sobraniya SSSR Catalogue of Dutch artfrom the collection of museum-estate Arkhangelskoe”), Lyubov Savinskaya,“Katalog gollandskoy givopisi izsobraniya muzeya-usadby Arkhangelskoe” (“A 1989 Russia, 1770-1780)”), 1770-1780h godov)” (“Letters of I. F.Hackert to Prince N. B.Yussupov (on the history of collectingart in 7 development. However, the work is descriptive and does not offer any analysis of the of analysis any offer not does and is descriptive work the However, development. interestfor this work as she sheds light on the history of the collection in the late stage of its various of facets family the to history.articles Maslenikova arededicated dvoryanskyedvorets: usadbi istoriya roda, i kollektsii”osobnyaki: cannotbeignored.The compiled of articles on the history of the family and its collection entitled “Yussupovsky 6 of by publications Savinskaya, a number to belongs Russia of history cultural in the place rightful collector’s the restoring restoring collector’s rightful place in the cultural history of process of the Russia into belongscontribution to a numberA significant of complexity. its inall history detailed full contribution history the to Yussupov is of reconstructcollection.its only It the attempt to reconstructing the earlyhistory collection Yussupov the of and representspoignant collection Prince Nikolai Borisovich Yussupov. In itis sense, this valuable when of the founder on of activity the the is it itsconcentrated mainly of development, stages Providing retrospective profound historical analysis history the of of collection the at all Borisovicha whichis Yussupova” the study unique a kindof on Yussupovartcollection.the mentioningitis entitled worth kollektsiya thebook prikhot”: “Uchenaya knyazyaNikolaya sense, In this collection. Yussupov the made on have been researches of a number Recently thefallof Romanovs. Great the to the ofPeter from accession the known, lesser some famous, some Russia, imperial of individuals and families thirty of histories Ekaterina Maslenikova,“Sudba khudogestvennogo sobraniya knyazey Yussupovikh”(“The fate of art Lyubov Savinskaya, “Pisma Ya. F. Hakkerta knyazu N. B. Yussupovu (k istorii kollektsionirovaniya v Rossii Oleg Neverov, Oleg (1990): 232-43. (Yussupov palace: mansions of the nobility: history of the family, of the estate and of the collection) Great Private Collections of Imperial Russia (1987): 204-14. Pamyatniki Kultury: Novie Otkritiya. Pismennost. Iskusstvo.Arheologiya. Egegodnik Yussupovsky dvorets: dvoryanskie osobnyaki: istoriya roda,usadbi i 7 though dedicated to its early history as well. A book (London: Thames &Hudson, 2004). Musey 8: Khudogestvennye 6 8 is of particular 7 CEU eTD Collection Parke, 1994). 11 London: Harry N. Abrams, 2000). 10 Felix Yussupov, Benois, Alexander Sergei Sherbatov, Sergei is some research in the area. Penelope Hunter-Stiebel Penelope in thearea. research is some there colleagues, their Asfor western heritage. importance of their collecting the recognise The brief historiography that demonstrates review Russianshave only slowly come to centuries. of Russian artists and in artlife in general at the end of the 19 in life the collectors Russian on a role of information irreplaceable Theseoffer themselves. time allowing a researcher to dive into the cultural life of the époque guided by its actors 9 and their correspondence. collectors of artists, of of memoirs contemporaries, myarethe interest for research Of significant influences what they to. were subjected art life of Saint-Petersburgin last definingtheir role the acomplete Yussupovs, the of of picture artistic activity create and analysing weremadeto noattempts However, Yussupov. Nikolai Borisovich ancestor their great both the way they influencedof than be that less is significant to it considered as little attention deserved has collection the art worldpatronizing and arts in to their role last Yussupovs, the at artisticof activity tothe dedicated exclusively work the turn of the century.is no There period. inthis family the of activity artistic the exclusively to dedicated work Perhaps theis no There inthis period. family the of collecting activity art the of characteristic processes activity of the last owners of the reader with the history of the Stroganoff collection. Christina Burrus andSueRose Burrus Christina collection. Stroganoff with the history the of reader M. Kamenskaya, Christina Burrus Sue and Rose, Penelope Hunter-Stiebel, ed., Hunter-Stiebel, Penelope Memuary Khudognik vushedshey Rossii Vospominaniya Moi vospominaniya (Memoirs) (Moskva:Zakharov, 2004). Stroganoff: The Palace and Collections of a Russian Noble Family Art Collectors of Russia: the Private Treasure Revealed (Memoirs) (Moscow: Khudogestvennaya literature, 1991). (My memoirs), Vol. 2(Moscow: Nauka,1980). 9 These sources represent the true testimonies of the of testimonies true the represent sources These (An artist in Russia) gone (Moscow: Soglasie,2000). 10 familiarizes the English speaking English the familiarizes th and the beginning of andthebeginning 20 of the (London: Tauris (London: (NY; 11 make th 8 CEU eTD Collection in order to reveal its role and significance in Russian culture. The history of this collection this of history The culture. Russian in significance and role its reveal to in order was dedicated to the famous Moscow art collections of the early early 20 collectionsthe of art famousMoscow the to was dedicated attention of decades alot two inin last the Russia However, in Russia. collecting history of One canconclude that the 1990s–2000witnessed alack of publications highlighting the Russian collectors as Shchukin and Morozov. such foreminent Russiancultureof significance great the aware of western publicthe existence and development – in the end of the 19 In this sense, my work maps the history of the Yussupov art collection on its latest stage of in is butnewideas life.tradition isimplemented respected, possessed should belong to the nation. Thisis the époque when the old meets the new, when what they realisedthat collectors private when period isthe This leading positions. the over take longer andbusinessmen is headthe butentrepreneurs no nobility process, atof the the period shift In initiative happenswhen features. and this transformation new acquires of this was the19 time whenIn this respect, my paper aims tomap historythe of art collectingin Russia at the end ofthe the old, traditional1900. form around collection art Yussupov of the development onthe available literature nois almost of collectingthe Yussupovs, who were related to the Romanovs. Moreover, as far as one can know there investigate the field,activity tomap afresh the cultural activity of the aristocratic families,including opportunitiesSo to of areplenty Saint-Petersburg there Golitsen). (Yussupov, Stroganov, experiencesthe Shchukins, the Mamontovs). Against this,very little was written on the art collections of a th , beginning of 20 the th century. This waschosen period as a focus of my study because th andin the beginning 20 of the th century (the Morozovs, th century, 9 CEU eTD Collection the 20 the the new and old tendencies in art collectingin Russia at the end of the 19 trace to aims review This Shchukins. the and Morozovs asthe such merchants, Moscow of Placing the Yussupov collection in the lifeart of Russia, I review some major art collections in unique features of collection the of possession art of the Yusupovs. the somethe of I demonstrate in Saint-Petersburg, collections contemporary other to collection 1900.By theirincontrasting inartcollecting the Yussupov role around Saint-Petersburg differentsocial Semyonov-Tian-Shansky, (Piotr groups in todefineDelarov) Pavel order andwithin Storganovs) the Sheremetevs and (the in Saint-Petersburg thearistocracy within Petersburg collections. I provide the relevantinformation on the mostfamous art collections In this respect, Icontextualise the Yussupov collection by offering a sketch of leading Saint- Europe. in and Country in their city, in their époque, the of life art the in happen might which any to was themostchanges nature,thissensible its collection of diverseandmultifaceted because Therefore, centres. artistic both life of art with themselves familiarise to Yussupovs inMoscow and both itschools Saint-Petersburg,was keptthus andallowing intime); the (in diverse was composition its Europe; in and in Russia both assembled was collection The of Saint-Petersburg. collections major art the of one possession andhadintheir collectors noble old belonged elite tothe of of families Yussupovs and inRussia, the richest the oldest one Being in Saint-Petersburg. collecting of tradition imperial the of model a as chosen was collection in Yussupov The given the period. incollecting Saint-Petersburg traditional art givewas chosen as viewpoint to of apicture a inthe happening sphereof processes the th centuries and observe the crucial changes in the concept of art collecting inRussia collecting of inart concept the changes the crucial observe and centuries th and beginning of 10 CEU eTD Collection underwentat beginningthe of 20 the itself,cultural, Yussupovs,the asRussia moral and ethical transformations as well that the goal is to show thatevents of Russian the revolution nationalisationof 1917 andits isilluminated. Accordingly, the history of this collectionof art collection role the on light opens shed they as not or in society in echo an had a the collection window Yussupov the society.whether on theFinally, tumultuous the fate question answer the to are used collection the on reactions of contemporary analysis of this unique collection Moreover, descriptions isintertwinedco-exist. private and with howthey and public during the tragic the collection macro level – itsin significance for the Country – but on thethe micro level as well,i.e. the role of life of Inthe addition, myfamily. aim is to define the significance This of the Yussupov analysis collection not only on the is role in undertaken longthe time perspective. to demonstratecultural phenomenon in the framework of the cultural history of the Country and its social how asa its meaning life city, art of the the on influence of asource as collection Yussupov the of of existence the importance my isexplore to the of goals one Consequently, century. the life of Yussupovsthe art define turn atthe occupied Saint-Petersburg theinof nichethat to helps city marketof the and art auctions) art local exhibitions, artists, contemporary societies, life (art theart of investigation The collection. art their of understanding isexplain Yussupovs’ acquire taste undertaken to and their choice of a better to exhibits market history of of city’sthe art therelevant period.In the study respect, this of the focus especiallyonthe I remarkable works, contemporary includedAs the collection some and the changebourgeoisie; merchants subjects the of of like.collecting and the to families noble from collecting art in initiative the of shift the as such period, given in the th century. 11 CEU eTD Collection century.provides It description and of analysis Yussupov’sthe artactivity 1900. around atthe of turn the as awhole lifeof Russian society the familyin artistic life the and the of range of collectors (old and new). andboth placingMoscow Yussupovthe Saint-Petersburg,thus collection thewithin wide The last chapter defines from of collectors collectingof offersasketchactivity Thethird chapter inthechapter. this role of the collection in the marketof andexhibitionsA study century the is art art (1890s-1914). the of also undertaken turn the at collecting art private to in relation Russia in life art of development the observe to aims chapter second the So, Country. of the centres inseparable art –two Petersburg St. and lifeMoscow of art tothe is dedicated chapter second The topic. the approach and generalfor work provides the underpinning necessary toolstheoretical the theoretical to This consiststhesis of fourintroduction chapters, and conclusions. The first chapteroffers family and of each of its members. artisticbe life would Saint-Petersburg without lessrich of contribution of the Yussupov the role in the preservationessentially influenced development of Russian artin and period this hasplayed asignificant of Russian and world artists, Russian modern and European from West of art collecting works at family, directed heritage for the Country. The hypothesis ismy following:of the collectingthe research activity Yussupov of the The spiritual and phenomenon. cultural Russian of example the as – collection intrace developmentthe social of lifeRussian art, and artisticculture; Yussupovsthe lefthas a significant of which epoch the heritage of a rich art andpromotion preservation the to demonstrate Yussupovs of the contribution the is thesis to The main of the objective 12 CEU eTD Collection features, incentives and objectives for pursuing their activities. their ascollectors, Yussupovs the activity the of is on offered research) comparative of elements with (analytical viewpoint original an sources and literature historical the of 19 the A complex study of the Yussupov collection in its last stage of development in the end of th and the beginning of andthebeginning 20 of the th centuries is still a novelty. On the basis of examination 13 CEU eTD Collection 13 These Have Appeared 12 and super-prises) with its centre incollecting. itsart centre with andsuper-prises) (namely, art collecting, art history, art market, art museums, art faking, revaluation, antiques behavioural system’ made upoflinkedeight the so-called elements, of ‘by-products art’ ‘integrated a universal whatcalls he of research cultural acomparative represents collecting”. art of definition comprehensive yet precise first the literature: Alsopinmade“…provide 1982.So to anattempt not something existdoes that in the These Appeared” Collecting LinkedArt History Have Wherever the Phenomena andIts of art collecting called first given byJosephAlsopin was hisbook “The RareArtTraditions: collectingArt is a tradition has that deep historical in roots human culture. The definition of art collectingin Saint-Petersburg. – private myinterest case of totheparticular applyme existingtheories enable to tools that theoretical necessary provides some chapter theoretical the Accordingly, collect. why they with collecting artis reasons of motivation the with concerned collectors, studying private in attention deserves special major that question Another collecting activity. art influence thesis I find it essentialas they may be often confused. As the history of private collectingto is the central point of my investigate gathering andtreasure of arts, patronage private the collecting, art into of practice the between how both artisticforcollectingi.e. understanding distinctions important art collecting upon a question Itouch activity and patronage art research of Alsop’scultural BasedonJoseph iscollecting about. ofart history general of art This chapter focuses on the phenomenon of private art collecting as a whole, on what the Ibid .,16-17, 167. JosephAlsop, The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever (London: Thames & Hudson, 1982), 36. 1. Interpreting Art Collecting 13 Therefore, this theoretical underpinning, Therefore, this theoretical 12 Alsop’s work 14 CEU eTD Collection These Have Appeared 17 Vol.68 (May 1995): 1082. 16 (London: Routledge,2003), 158. latter is presented as the essence of all art collecting as collecting all as art essenceof isthe presented latter understanding of ‘ understandingof question: this confusedinintroduces many The notions, cases. author two ‘themes’ for crucial the theymaybe and as gathering ofarts treasure patronage private the practice of art-collecting, AboveAlsop all, provides theoretical tools enablehistorianthat a to distinguish between the be notand easily can resolved. The question of definition of history of art collecting belongs to complex theoretic problems collecting: of definition 15 14 “…an ‘collection [is] organised”.obsession Aristides definition offers: toproduce were undertaken. 1980sfurtherIn attempts late the book: in his collecting art of definition following the gives Alsop separately. andnot systematically treated be should collecting art of phenomenon the word, a In system. the creating be of basedon deep understanding whole complex itsall the elements of interlinked Alsop by Joseph offered collecting highlightstheof study importance the wouldof art that JosephAlsop, Ernest Sturn, review of review Sturn, Ernest Susan M. Pearce, “The Urge to Collect,” in Collect,” to Urge “The Pearce, M. Susan Ibid., 76. regard to usefulness or of lack use. without collected been therefore have they and themselves, in ends become have ofart, works of classes certain least or at art, of works begun, has collecting art wherever and …whenever appropriate, and to extend the taxonomies and systems of knowledge they inherited.have …the history of collecting is the narrative of how human beings have striven to accommodate, to art collecting is a form ofand fancy; collecting to happens in which collector thethe categorycategory particular to is, broadly belonging objects speaking, gather to is works collect To of art. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever (London: Thames & Hudson, 1982), 36-37. The Cultures of Collecting, art-for-use-plus-beauty’ 17 Interpreting Objects and Collections, by ed. Jean, Elsner and Roger Cardinal, Roger and Elsner Jean, by ed. 15 JeanElsner andCardinal offerRoger their and ‘ art-as-an-end-in-itself’ ed. Susan M. Pearce M. Susan ed. French Review 16 14 ; the 15 6, CEU eTD Collection collecting: Alsopinvites historians estimateto the significance and results of patronage of art and of art differentiating between art activities, such as art collecting and patronage of art. situation whenfacedwith of with ambiguous necessary the theoretical approaches collected item exists out of any functional or social context. way; an art collector of art:is he only buys worksa of artconnoisseur if he does not share in the process of its creation in any or uses in of a work usefulness interested is an reveal neverpotentially art collector by Alsop,that connoisseur’s services and, finally, that the 21 20 These Have Appeared from a painter which is a puretheir lives more beautiful,form more splendid, forof example, by patronagecommissioning a family portrait and activitynot of art collecting.of patrons of art, who by commissioning works of art from the best artists make 19 Collections, collecting or patronage of arts, in each particular case. The so-called The case. in particular each of arts, patronage or collecting of decide on historian is nature the allowan offeredtools –that him art- activity, either to patronage of arts. He demonstrates that the theme of theme the that Hedemonstrates arts. of patronage the and art-collecting of notions the between distinguishes Alsop logic this Following 18 andbe admired”. at “looked is to At the same time, Pomian comments on the value of a collected item, saying thatits purpose thus followingthus the pieces collect they because as art-collectors’ be classified Ibid., 93-100. Ibid., 59, 66. JosephAlsop, PomianKrzysztof, “The collection: Between the Visible and the Invisible,” in loosened. And once works of art start to be seen as ends in themselves, the new way of thinking of way new the themselves, in ends as be seen to start art of works once And loosened. naturally are ofpatronage bonds the away, small however in begins, collecting art Once ed. SusanM. Pearce (London: Routledge, 2003),162. The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever (London: Thames & Hudson, 1982), 51. ‘art-for-use-plus-beauty’ 18 In this respect, Alsop argues that treasure gatherscannot treasure argues that Alsop Inthis respect, principle. ‘art-for-use-plus-beauty’ “for their raw materials’ sake materials’ raw their “for 21 Thus, ahistorian is provided Interpreting Objects and ‘litmus tests’ 20 prevails in the in prevails Moreover, a , invented ”, 16 19 CEU eTD Collection 24 23 22 art collecting as a pursuit concerned primarily with creation and preservation of of social with preservation and creation primarily concerned apursuit collecting as art characterises Pomian Krzysztof activity. their and fostering motives of collectors intentions issue explaining this to of approaches a number exist There collect. they why reasons the motivation of the collectors, collecting concerns in study art of the attention deserves special that Thus,majorthe scholars. questions questions byother of were laterdeveloped thatone Alsop defines mainlinesof the ofartcollectinganalyses andbrings phenomenon out scene. aesthetic its and place contemporary into acCount on role must take one properly men havemen loved orscorned”. of on art that data works the place, bythe surviving asrevealed “…of or time a particular taste There is the only “badtaste” or taste”. as “good nosuch thing is “Objectively, there undergoes influencedbeing change,constant by history culture, and variousfactors: social process of this character case, asthe particular ineach beshould identified art and perceive to be studied within the scope of the examined question. He claims that the way people see according toAlsop, the history of taste is one of the mostimportant aspects of art-collecting collect”. to wish categoriesthings they of clear-cut adopt as collectors as soon is reached “…maturity within by his collection: itsa collector rarities arecreated things with art-collecting out isAlsoppoints that properly formed of certain only categories when aims. activity different as they art pursue particular art influence In this it respect, appears vitalinvestigate into to how both art collecting and patronageof Ibid., 4. Ibid., 73-74. Ibid., 42. standing, wider creative freedom naturally goeshigher the handin hand. with and artists; successful more of the standing the enhances naturally art about 24 Indeed, in order to understand collecting as cultural understand cultural inactivity as to Indeed, collecting order 22 23 In addition, In 17 CEU eTD Collection University Press, 1993), 84. 29 Susan M. Pearce (London: Routledge, 2003), 210. 28 Collections, 27 Collections, 26 Cornell University Press, 2000), 64. and a strong desire to “…to extend control extend“…toof control desire world”.the and to astrong Hand inhand with motivethe of social goesstatus issuethe of dominance, social security activity. family collecting in cases of generational, and of factor the may fashion status its loose relevance or become of importance secondary Summing is up,social status viewed asone majorof motivesthe for collecting. However, therefore contributing toformation of his social status: ways, different in many collector a of life social enriches collecting art activity an As status, as Krzysztof Pomian puts it: Moreover, collections provide their withreputation, owners good enhancing thus their social 25 to occupy new social niche and to distinguish them from the others: means to gain status. That is why, they adopt a new as a role art life use of areas in other wealth made their have who and of patrons Thus, collectors an art-collector that helps them isstatus: “It the hierarchy social necessarily which leads to birth the of collections…” Susan M. Pearce, M. Susan Frederick Baekeland, “Psychological Aspects of Art Collecting,” in Collecting,” ofArt Aspects “Psychological Baekeland, Frederick Krzysztof Pomian, “The Collection: Betweenthe Visible and the Invisible,” in Brenda Danet and Tamar Katriel, “No Two Alike: Play and Aesthetics,” in Aesthetics,” and Play Alike: “No Two Katriel, Tamar and Danet Brenda Susan A. Crane, developing friendshipsinto withpeople withvery different personalities and backgrounds. by life social his broadened have contacts these cases many In staff. museum with and dealers It involves regularpersonal and epistolary contacts with othercollectors, withartists, with time. same the at qualities these all not if generosity, and as proofs of their good taste, of theirserve considerable they since owners, intellectual their on curiosity, prestige certain or a evenconfers of theirpossession wealth their that observed is …it collector. collectors as well asothercollectors; the distinctiveness of the collectionbrings distinction to the Collections are also a means to demonstrate orto claim high social status, ed. SusanM. Pearce (London: Routledge, 2003),163. ed. SusanM. Pearce (London: Routledge, 2003),222. 26 Collecting and Historical Consciousness in Early Nineteenth-Century Germany Museum, Objects and Collections: A Cultural Study 27 29 Interpreting Objects and Collections, Thus, according toBrenda Danet (Washington, D.C.: Smithsonian D.C.: (Washington, Interpreting Objects and Interpreting Objects and vis-à-vis 28 (New York: non- ed. 18 25 CEU eTD Collection 32 Susan M. Pearce (London: Routledge, 2003), 209. 31 Collections, former owner”. special a of abilities imbued the poweror fame, riches, them with was current owner their art that formerly a famous, belonged to ifmerelycollector “…as well-known byhaving of in buying works collectors art of interest certain strong mayof serve asanexplanation It 30 saying that: and refinement”. cultivation education, imply to thought been always has art of works owning West the and East “in both the that notices truly Baekeland of commerce. in thesphere activity regular his of acontinuation by such as isperson perceived which is enterprise acompetitive art-collecting an building a tycoon, for that argues Baekeland them. for advancement social implementisremarkable art-collecting Thatis background. why way the desires to of their most Baekeland,According of self-made to have peopleandoften these are people no collecting. start businessmen successful and tycoons industrialist, like people rich why into reasons the investigates author The collecting practice. art which may influence motives, of range the studies Collecting” of Aspects “Psychological called essay his in Frederickbe Baekeland of moneyed to collectors. features typical andare regarded control dominance of thedesire status, associal such above, discussed collectors art of The motives has as: collector an status art that andspecial elevated social of Katriel,distinction senseof and the Tamar Ibid., 206. Frederick Baekeland, “Psychological Aspects of Art Collecting,” in Collecting,” ofArt Aspects “Psychological Baekeland, Frederick Brenda Danet and Tamar Katriel, “No Two Alike: Play and Aesthetics,” in Aesthetics,” and Play Alike: “No Two Katriel, Tamar and Danet Brenda expression of a desire todominate. of adesire expression bean also may items orunique rare owning with collectors of many preoccupation The …aperson who owns something unique, supports feelingthe of dominance in them: ed. SusanM. Pearce (London: Routledge, 2003),229. 31 Hence, a collector demonstrates the need to be identified with past. identifiedbethe need the with to demonstrates Hence, acollector 32 Girardin adds to Baekeland’s characteristic of such typecollector of of characteristic addstoBaekeland’s Girardin 30 Interpreting Objects and Collections, Interpreting Objects and ed. 19 CEU eTD Collection Susan M. Pearce (London: Routledge, 2003), 216. 36 (London: Routledge,2003), 320. 35 Objects and Collections, 34 33 instance, as Russell W. Belk points out in his essay such desires and related activities and So,collectors pursuit to. paidtribute variousto achieve purposes major their goal. For in any his werenoticed servethesociety so that way deeds to his often wishes collection collections”. their building of achievement the through acclaim seek “Collectors acollection: of help the with obtain to hope they which glorification Regardless of the scale of collecting, artpurchase; collectors a few trust their own taste. are very dealersmuch interested and in of art- theservices almost always use their collectors big moneyed that underline Both historians art-connoisseurs self- and ask for expert’s advice when make their choice of a perceive their art collection as their chance for immortality: collection as their chance theirperceive art most collectors on factthat the agree here.Historians be mentioned should collection his exhibit to a collector desire of to the related directly purpose collector’s Another heworks owns aredisplayedin public. applause of his publicwhen the areexhibited works ashe is fulfilledemotionally when the from pleasure has andsatisfaction a collector great that Baekelandunderlines Frederick Frederick Baekeland, “Psychological Aspects of Art Collecting,” in Collecting,” ofArt Aspects “Psychological Baekeland, Frederick Russell W. Belk “Collectors and Collecting,” in Collecting,” and “Collectors W. Belk Russell Russell W.Belk andMelanie Wallendorf, “Of Mice andMen: GenderIdentity in Collecting,” in Ibid. having it even instances in some or collection museum a into accepted collection one’s Having history. generating knowledge, fragile preserving art, or providing those who see itwith a sensericher of …can give the collector not only a sense of purpose, but a sense of lives at homes, acquisitiveness, empty emotionally andare the needadduced for been immortality. have that reasons Other rival a him. of with nose the compete to need under the and from work a buying of pleasure the vanity, included have motives their to famous museums seems to have beena major motive of many collectors. By willing his A related need toobtainimmortality through leaving theirintact collections, bearing their names, become a museum is the ultimate in legitimization of the activity. ed. Susan M. Pearce (London: Routledge, 2003), 241. 36 Interpreting Objects and Collections, 33 Interpreting Objects and Collections, noble 34 In this sense, a collector purposesupposedly in 35 ed. Susan M. Pearce Susan ed. Interpreting ed. 20 CEU eTD Collection 41 These Have Appeared 40 39 These Have Appeared 38 37 elegant interior decoration. interior elegant for the desire infact, forgotten, often istoo collecting which art inWestern of a factor refreshment”. aesthetic Lewisohn explains in his essay that “one should buy a picture because one needs itfor itsbrings owner anaesthetic himself beautiful pleasureto can Sam objects. surround with them”. love they because art of works their gather collectors art all “The remains, truly andhowever,that disinterested fact saying that admirable by simply it put Alsop Joseph And in collecting. passion much is there time, same the At deeds. strives to acquire the best prises in order to ensure the long lasting memory of is he why his That his immortality. of ambition to is name often related of a collector purpose So, the and identity: “The collector’s identification with his collection is complex and may manifest may and iscomplex collection his with identification collector’s “The identity: plays inits formation. Collecting is beregarded to ameans of and achieving expressing his collection role the and identity collector’s a of question related the in to investigate to also but of creation collection the andthe influences thatdetermined components of various In the study of the certain art collection ahistorian is expected to offer not only the analyses purpose of art collecting in their book by stating that: Louisa Buck Philip and Dodd, JosephAlsop, Lewisohn, Sam, “Is Collecting an Art?” an Collecting “Is Sam, Lewisohn, JosephAlsop, Ibid. something often not possibletime, throughall for hischildren name his or hisbusinessperpetuates and andof himself professional apart behind activities.leaves collector the treasures, produced. Art collectors help to make art history, while art history canonises art collectors. art canonises history art while history, art make to help collectors Art produced. is ofart kind what even and perceived is art that way the exhibited, is art waythat the influence they ofart, value market onthe bearing direct a have collectors Art repercussions. wide are there rather than impact the the pleasure, pure or intentionprestige propaganda, for of amassed is art the whether art matter collectordoesn’t It is what Counts. When a collector buys a work of art The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever (London: Thames & Hudson, 1982), 422. (London: Thames & Hudson, 1982), 77. 39 In this sense, Joseph Alsop puts particular In Alsop puts emphasis sense,Joseph on this power the Relative Values: orWhat’s ArtWorth? 40 Finally, Buck and Dodd concludeDodd Finally, the reflections onthe Buckand Parnassus 5,Vol. 6 (October1934): 14. (London: BBC Books, 1991),78. 38 In a word, an art collection 41 37 21 CEU eTD Collection Objects and Collections, 46 University Press, 1993), 66. Collecting” notice that: notice Collecting” Belk and Melanie Wallendorf in studying the issue of collectingart their liesin method. gender Forexample, applying Russell W. essay of calledapproach innovative rather Another “Ofmethods. Micesocial-anthropological and andpsychoanalytical Men: Gender Identity in self identity withcan betreated helpthe approach, enrichedby historical of deploying andhis of a collector motives concerning the questions rangetheoretical Thus, abroad of 45 44 Objects and Collections, 43 Susan M. Pearce (London: Routledge, 2003), 216. mastery and control is enhanced : knowledge, prestige, collecting, of reminders power, as seeking such one’s childhood, influencing him, otherthe hand, on influenced byhim being in away the motivesthat for hand, one the its on owner, of a self-extension as is perceived collection Therefore, ideal self”. for an also strives collector the in acollection, perfection for “Instriving work: identity his enhancing thus individual, an of identity an completes in asense, a collection, Analysing underline theauthors self identification process these completing factthat of the by sayingthat: acollector be in aclueto collection understanding 42 in itself of a number ways”. Russell W.Belk andMelanie Wallendorf, “Of Mice andMen: GenderIdentity in Collecting,” in Susan M. Pearce, M. Susan Ibid., 240. Russell W.Belk andMelanie Wallendorf, “Of Mice andMen: GenderIdentity in Collecting,” in Frederick Baekeland, “Psychological Aspects of Art Collecting,” in Collecting,” ofArt Aspects “Psychological Baekeland, Frederick traits defined as feminine are important in curating and maintaining the resulting collection. resulting the maintaining and curating in important are feminine as defined traits …traits defined as masculine seem especially useful inacquiring objects fora collection, while saying that objects are always both active and passive. and active both always are objects that saying sometimes the collector shapes the collection andsometimes it shapes him –another way of literal sense, as parts of himself. But at the heart of this relationship is an ambiguity of control, most intimate relationship to that of the theircollector,bears which own, so that the collector oftheir life a sees with them, in endowed the are most Collections constructs. these perpetuate Collections spring from existing individual and social constructions, but they also underwrite and means that the collector has literally put a part of self into the collection. collector’s judgements and taste. In addition, the time and effort spent in assembling a collection implicated in the extended self because it isoften visible undeniablyand represents the Our self-definitionis oftenhighly dependent uponour possessions. The collecting is especially Museum, Objects and Collections: A Cultural Study ed. Susan M. Pearce (London: Routledge, 2003), 242. ed. Susan M. Pearce (London: Routledge, 2003), 321. 42 Russell W. Belkand Melanie Wallendorf perceive a 45 Interpreting Objects and Collections, (Washington, D.C.: Smithsonian D.C.: (Washington, 43 46 Interpreting Interpreting ed. 22 44 CEU eTD Collection Cornell University Press, 2000), 64. 47 to the history of art collecting proves to be the most reliable and revealing. approach systematic In respect, this owner). collection’s networking, collection, social a amassing of timeinstance, andplace (for features various specific regarding should be studied that phenomenon is cultural a complex collecting In conclusion, activity. art collecting asabasisof studied beshould carefully Hence, networking implies on the existence of certain in collection particular any époque: kind ofcollecting.of art Thenetworking study of ustoobtain allows a deep understanding of each social systemstudyingcollecting art phenomenon. Networking canbe tobe considered one of markers the that networking when factor of collector’s importance of the the considering demonstrated in dedicated the 19 tohistorical inGermany incollecting Crane her book significance for my work. is of practical sense, approach gender In this certain any)on collection. influence (if female example for trace to be possible might it case this In family. one of generations history of bethe applied of several Perhaps, this whenstudying collecting can approach best Susan A. Crane, must also be inspiration, desire, and shared knowledge. tantalized. Itis not simply that there must be objects to collect before collecting canbegin: there before an appreciative best audience, plays comprising invariably individuals ownership is whosewhich desires to performance ownwill The also scope. be their within objects desirable brings and efforts, their coordinates desires, collectors’ and intensifies network performers The audiences. clients, and patrons buyers, and of suppliers network a involves Collecting Collecting and Historical Consciousness in Early Nineteenth-Century Germany 47 th (New York: century, 23 CEU eTD Collection in the mid-1890s. In Germany and Austria it wascalled Jugendstil,in France and Belgium A fantastic artistic movementspread almost simultaneously Countriesthe through of Europe artcollecting.to private in relation capitals(1890s-1914) turn the century lifethe of in twoat development the art of one complete constitute centres art two the of interrelations as Moscow omit to is impossible it Petersburg picture Saint- Talking about someof features. unique boasted centres art these sametimeof each the art life at but and Saint-Petersburg Moscow for both common of were time the of tendencies art Many Russia. Thus andisMoscow Saint-Petersburg– forlife development the significant of period.the of art the firstIt should beemphasised that traditional culturalexistence of two in centres Russia – chapter aims andMoscow. ofRussia is with –Saint-Petersburg collection artistic connected centres both to observe history The this of collection. Yussupov artistic particularly on the reality on collecting, the by establishinfluences imposed life us to allows period art characteristicthe of the of famous general toan and world wide become Moreover, due art collection. acknowledged many whom innovative the emergence of artists, training of and to can giveanewstimulus influence the developmentcollections that case is the itoften sametime, the At collecting. art life affect inart trends of artistic trends. In insightinto without the artlifeis as of intertwined. period the Thusnew their developmentaddition, the existence Country.of an Therefore,art collection the nature of collecting at the turnPrivate of the century cannot be understoodart collecting is a cultural phenomenon that is deeply rooted in the art life of a 2. Art Life of Saint-Petersburg and Moscow around 1900 2.1. Saint-Petersburg and Moscow as Centres of ArtLife asCentres andMoscow Saint-Petersburg 2.1. 24 CEU eTD Collection Bank Bank Centre, 1991), 33. 52 51 against Westernthe idealsart Russianin art and striving for revivalof Russian pure art. 50 49 Bank Centre, 1991), 31. [Wanderers] 48 The Art]. World of [The Mircalled Iskusstva so the in Saint-Petersburg, was centre artistic each had its both and ownclearly in character in The visual expressed arts firstarchitecture. of main so developmentthisof styleseparation that wasagradual centres, there the artistic two schools – the school of Saint-PetersburgStyle Modern found and thelots school of followers of Moscow. in InRussia, the process so that of we can art. of avant-garde talk about the existence of of period the birth inthe words 1900s, other middle asthe precisely can alsobedetermined Modern that forms a specifically Russian style. The date of the end of Russian Style Modern art. of this style inthe Country precisely quite firstto the half 1890s the of unlike inEuropean jumpof made the by from Modernculture Russian allowsrealism to date us creation to the abruptness The Realism). (Impressionism, movements other with in parallel developed style this Moreover, links any realism. the with transition without appearance, unexpected quite It is worth noting that one of the basic characteristics newperiod. artof the the of of in development time for decades all first the the culture of Style hadof become Country general thatthe part European Russian Modern signified Style Modern in Russia was stress its of Obviously, appearance the meaning to in nature. renewing ‘modern’ Russian its Modern, Style wascalled style born new the where Russia, exclude not did process artistic Nouveau,Art and in Thedevelopment Modernismo. Spain of common this European Michael Raeburn, ed., All translations from Russian into Englishwere made by the authorof this thesis. rebelling ofpainters group a represented and artists by Moscow founded was group Peredvizhniki The Ibid., 32. Michael Raeburn, ed., 49 In a word, at that period of time the Critical Realism of the Peredvizhniki 51 isby replaced blend the of styles, combination bythe of Impressionism and 52 The Twilightof the Tsars: Russian Art of the Turn of the Century The Twilightof the Tsars: Russian Art of the Turn of the Century (London: South (London: South 48 25 50 CEU eTD Collection populyarizatsii khudogestv.izd. 1928), 6. 56 55 “Khudogestvennye Sokrovisha Rossii”. Benois worked inthe Hermitage and in the Russian museum. Somov, Lansere). He contributed a lot to publicationof “the World of Art” magazine,the World “Starye of Art Godi”group and Benois was close to many contemporary artists of the time (Vrubel, Serov, Bakst, 54 Group Art” 53 born inonly Saint-Petersburg”. World as Art, of Zinaida one its saidGippius, of literary contributors, havebeen “…could World of Art artists reflected in their deep respect for the figure and deeds of Peter the Peter of deeds and figure for the respect deep in their reflected artists Art World of Alexander I, and, the 18 Great, old Russian landed the of Peter times life,the wasRussian estate. works of their inspiration of historic source the Thus, the distinctiveVersailles of EuropeanismLouis XIV, and thehis ofpersonages colleagues,the of the Italian in effect,Commedianineteenth-century history painting were totally alien to the World Art of dell’Arte. artists. Benoishad and no affection However, matters by of painters. Art TheSlavophil pictures the Worldthe of and populistof themes for old subject of time analysis the through even be traced Russia. could which art, Russian of development the They were attractedPerhaps, duetothismixed of nature Worldthe group managed of Art toopen a new in stage to the desired art in attitude to widestthe sense of wordincludingthe literature and music. a certain in people arouse to society, influence the to thattried group an art words other movement – Alexander Benois Alexander – movement people,lived Petersburgbecame duetotwo and and heart the soul who there who the of neither journalan art Art”,Benois on WorldWorldit natureofthe the Artby of was reflected of saying that Lev EugineBakst, Lansere andmany Inhisothers. essay called “TheBeginnings of the Nuvel, Valter Filosofov, Dmitriy Somov, Konstantin were group the of members other the Alexander Benois, Alexander WorldThe of groupArt issued an journalart entitled The World of Art (1898-1904). of founders ofthe one Being critic. art an and collector art an historian, anart artist, – an Benois Alexander Quoted from: John E. Bowlt, th , 2d ed. (Newtonville, MA: Oriental Research Partners, 1982), 13. century Russia, the Pushkin era, Saint-Petersburg of Catherine the Great and the Great Catherine of era,Saint-Petersburg Pushkin the Russia, century Vozniknovenie “Mira Iskusstva” 55 or exhibition society nor an art group, but rather all of it together, in The Silver Age: Russian Art of the Early Twentieth Century andthe“World of 54 53 (1870-1960) and (1870-1960) Sergei Diaghilev Among(1872-1829). The creation of this society was possible in Saint- possible was society this of Thecreation (Beginnings of Worldthe of Art) (Leningrad: kom. (Leningrad: 56 26 CEU eTD Collection 60 Bank Centre, 1991), 11. styles, of ideas,genres. andof of styles, art lifeof in offered of asit the period acombination art place the occupiedexceptional an 59 58 (Leningrad: Aurora Art Publishers, 1991), 76. same time, our painters chose stage beto its master and nota wall or acanvas. Sergei SherbatovCount harmony. of illusion the offered wrote theatre of world the that fact the with indo to had his memoirs that: “It is stage the to attraction this Perhaps, flowered. Art World of the of creativity where the ballet impossible to serve two andinthe is in theatre It the in interest theatre. and the masters to attraction strong their particularly at the movement, the of painters the all linked that features general many of development in hand,group and the other the on art the same within stylistic of approaches artists the in of on onehand, diversity the influences resulted artisticof suchdiversity Moreover, follows: as subject and in style preferences their on commented Sarabyanov Dmitry it. Theartto historian addedaromanticnote and styles époques historical artistic different history in their of Russian historical subject of in choice the system wasadefinite isthere say that to That works. The chiefly wereinterested life,intimacy in history”.group of “everyday the and aesthetic painters of Filosofov,the World one of the foundersof Art of the Worldgroup of Art, rightlyas theyobserved thatlooked the artists ofback this to 57 and period’ in Pushkin as a voice of so-called‘Petersburg the history. Russian created; great tsar the examplenew that of culture best Europeanized the asthe Petersburg Great, the great Russian westerner. The artists of the World of Art group regarded Saint- Sergei Sherbatov, Sergei Michael Raeburn, ed., Ibid., 74. Vsevolod Petrov and Aleksandr Kamensky, evoking the Russian eighteenth century or Versailles. or century eighteenth Russian the evoking domesticity, attimes turning to antiquity, attimes inspired Biedermeier ofeveryday by scenes the style modest of or of ancientRococo Rus’, spirit the at in times genres courtly creating They seemed to go from eclecticism to modernism, appealing to cultural memory, attimes Khudognik vushedshey Rossii The Twilightof the Tsars: Russian Art of the Turn of the Century The World of Art Movement in Early 20 (An artist in Russia) gone (Moscow: Soglasie,2000), 133. 59 th -Century Russia -Century (London: South 60 Thetheatre 57 Dmitry 27 58 CEU eTD Collection 66 Respublika, 1999), 342. 65 innovations Russianin atart the turn of 20 the 64 York: Thames Hudson,and 1988), xxiii. during the reign of his son Nickolas II. inaugurated until not1898, ithoweverwas the RussianMuseum, of creation the initiated endthe 19 At of the and tsar. the court of the by presence the determined was of Saint-Petersburg lifestyle the that fact the in lay them of One capital. in the life art specific of development the influenced factors two The of city. the foundation the from itsdefined development that features Freedom art lifein hand alwayswentof Saint-Petersburg some inhand with peculiar art life”. people the Worldto the Art related group were of by united freedom “complete ideal: of one in even as all neverof words of or the manifesto conduct, Benois a code group publisheda intervened world around them”. inthe group did not follow members of thatthe the claimed historians, such as Nekludova, a number of However, art “art for art’s sake” formula as they did the opposite “they actively of of Artgroup financially and in “received1900 thejournal an annual subsidy fifteenof 63 62 Finnishand artists inheld 1898) (Saint-Petersburg: Palace Editions, 1998), 22. khudozhnikov 1898 goda sake”. art’s conclude that the fundamental doctrine of the World of Art might be formulated as “art for 61 branch”, the only still but art, of branch However, Benois and his friends dreamt“serve” to not only the theatre “nice and wonderful Oleg Neverov, Oleg Benois, Alexander Militsa Nekludova, John E. Bowlt, ed., Ibid. Quoted from: Evgeniya Petrova, ed., Petrova, Evgeniya from: Quoted 65 63 This opinion about Worldthe artistic of Art’s aims prevailsinhistoriography. Great Private Collections of Imperial Russia Russian Art ofthe Avant-garde: Theoryand Criticism, 1902-1934 Istoriya russkoi zhivopisi v19 veke Traditsii i novatorstvo v russkom iskusstve kontsa 19 – n. 20 veka th (The World of Art. On the occasion of the centenary of the exhibition of Russian century imperial patronage became more active. Thus, Alexander III more active. Thus, became imperial patronage century Mir iskusstva. K100-letiu vystavki russkikh ifinliandskikh th 66 century) 64 As for the tsar Nickolas II, he supported the World In this respect, it should be emphasized that the 61 but to “the art as a whole”. (Russian art history at 19 (Moscow: Iskusstvo, 1991), 92. (London: Thames & Hudson, 2004), 159. th century) , rev. and enl. ed. (Traditions and (Traditions 62 , So, one could 3d ed, (Moscow: (New 28 CEU eTD Collection life) (Moscow: Iskusstvo, 2003). 69 Bank Centre, 1991), 22. 68 The decision of Nickolas II to make his donationwas very much influenced by ValentinSerov, See his portraitist.more in: Ibid., 32, 34. Russia 67 workshops. years”. three for perannum thousand who sympathized with progressively-mindedthe younger dominant generation,role butthe Moscow. Among the members of theSavva and Mamontov (1841-1918) named after his not suburban situated farestate, from group, one can name some of thepatron, publicdrawn art Moscow figure bya andtogether a well-known tycoon railway major Wanderers, circle, Abramtsevo the of appearance with the associated stimulated a new groupingforces of in otherpolethe –in Moscow. This process was largely art in the fin-de-siécle itsUndoubtedly,of group Artof focal Worldwasthe with pointartists of Saint-Petersburg Russia. However, the complex conditionsRussia. of the Russian art lifeof of anintegral art in course development previous whole which part of the constituted scene the World of Art group and architects, of Russian artists group Saint-Petersburg orientation of clearly the western and art life of the period despite mentioned above.work However, in stylistic inspiration their asa of culture source in general was a Russianorganisation of exhibitions of Western inartists Saint-Petersburg and the use of Western phenomenon, included in activities. These madeuseof the them their thegreatest group ArtWorld of Western Europe,lay inits with life links developed of in feature Saint-Petersburg art characteristic Another which were traditionallypower. close. These contacts varied greatly and the See more about Abramtsevo circle in: Eleonora Paston, Eleonora in: circle Abramtsevo about more See Michael Raeburn, ed., Quoted from: Vsevolod Petrov and Aleksandr Kamensky, Aleksandr and Petrov Vsevolod from: Quoted (Leningrad: Aurora Art Publishers, 1991), 32. 68 Evidently, art life of Saint-Petersburg always rotated around the court and court the around rotated always Saint-Petersburg of life art Evidently, The Twilightof the Tsars: Russian Art of the Turn of the Century 67 The tsar also made purchases from Abramtsevo Abramtsevo: iskusstvo i zhizn i iskusstvo Abramtsevo: The World ofArt Movement in Early 20 69 an unofficial group of artists of group unofficial an (Abramtsevo: artand (London: South th -Century 29 CEU eTD Collection 72 71 Bank Centre, 1991), 90. 70 asproductionartists worked designers. companyhis Savva established opera many where inMorozov private Moscow, prominent theatre, design stage – united MoscowandSaint-Petersburg artmovements. Thus in 1882 inforward subsequently carried early the 20 were that tendencies novel substantial certain members reflected thecircle’s of The work aswell. worked there Nesterov, and Mikhail Polenov Vasily Malyutin, Isaac Levitan, brothers, Vasnetsov Repin, suchasIlya the artists, major other The Vrubel. Mikhail and Serov, Valentin Korovin, Konstantin by played was coloured and multi-textured wall decorations of Moscow privatepaintings bright houses ofMoscow andmulti-texturedwall coloured or decorations multi- in the instance, for reflected, was and life, artistic Moscow of being very the into Modern. Style of branches the of one style, Neo-Russian or basis National of the ideaformed so-called of Slavic the the cultivation andgroup movement. for highlightingits the Saint-Petersburg art from As difference art of Moscow concept artistic of whole the understanding for the importance is of great artists. choice This aspracticed Medievalstudy Russian byMoscow crucial to tradition turn In addition, the interest of artistic circlesSo, a Folk Art Museum was founded on the Abramtsevoin estate. Slavic ideas andpreserve theold crafttraditions thatcouldbe extinguished with modernisation.of adventthe ancient Rus’ resulted to in aiming craft interest a great displayed artists Moscow Therefore, itarose. of result in the beginning the with ofSecondly, one. thetraditional the from modernisation different dramatically was which décor stage of Russia, intense interest in folk art that was at risk as a Ibid., 17. Ibid., 16. Michael Raeburn, ed., The Twilightof the Tsars: Russian Art of the Turn of the Century 70 This was the foundation stone for a new type of 72 Usually, medieval Usually,medieval Russian penetrated aesthetic th century. First of all,in vivid the interest the 71 (London: South 30 CEU eTD Collection (London: South Bank Centre, 1991), 22. 76 Artists Russian name – evenincluding a number Petersburg of the artists.In 1903 groupthis transforms into by Vrubel and Serov, called itself headed group Moscow The line. over painting and ofcolour primacy artistic the assert to wished and powers artists: the Muscovites rejected thePetersburg hanging jury: they called forlimiting Diaghilev’s ‘dictatorial’ 75 1986), 57. Russian Experiment inArt1863-1922 of Moscow in terms of artistic devices and techniques of the two art groups. See more in: Camilla Gray, 74 Press, 1997), 15. beliefs. The idea of a complete independence of art and its self-sufficiency captured the captured itsand art self-sufficiency of independence idea of The acomplete beliefs. In spite of all the differences in style and artworld”. Moscow subjects, the two groups“European” shared some common comespredilections from the World ofof Artartists movement. is ofseen St.asThus, one of instance,from ifeach other. For national historicist style introduced the by Moscow circle PetersburgWorldthe initial of Art sources “forged of modern a linkand artbetween inthe Russia, themore the further “Russian” impulse inclinations of the wasdeep. Moscow and art of groups Saint-Petersburg two between the 73 traditions, cultural separate in 1900sMoscow and werehardly Saint-Petersburg on speaking andhad terms quite though even that observe can one sense, this In be traced. could Saint-Petersburg of life art on the its impact and from capitals of the that isolated not was artistic experience Moscow educational, exhibition and activity so visualwhich arts badlyRussia’s needed. proved unable thethat Abramtsevo group the of novelforms todevelop creative, claim historians art artists, of circle Moscow the of features innovative some of Regardless style. Neo-Russian the in establishing they pioneers sothat were experiments of Malyavin or works by Vasnetsov. The old tradition inspired Moscow artists in their Quoted from:Michael Raeburn, ed., The World of Art exhibition of the year 1900, signalled a split between the Saint-Petersburg and the Moscow the and Saint-Petersburg the between split a signalled 1900, year of the exhibition ofArt World The that ‘colour’ and of Saint-Petersburg that ‘line’ as differences these classified Gray Camilla historian art An Vsevolod Petrov, Vsevolod . This event puts anend to the artistic hegemony of Saint-Petersburg. Russian Art Nouveau: The World of Art and Diaghilev’s Painters 76 75 The 36 they influenced each other and borrowed some ideas borrowed artistic and other influenced each they , rev. and enl. Marian Burleigh-Motley (London: Thames and Hudson, and Thames (London: Burleigh-Motley Marian enl. and , rev. TheTwilightof theTsars: Russian Art of theTurn of theCentury andby the yearnext were mounting owntheirexhibitions under that (England: Parkstone 74 At the same time, same the At the Union of 73 Thegap The 31 CEU eTD Collection Bank Bank Centre, 1991), 34. 79 Bolshevism circle was ready to give its soul”. circle was ready to Gesamtkunstwer. strived implementingforof Artgroup anall-encompassinginworks, unity art their the forms disappear. For instance, at the hands of Boris-Musatov, oil paint could take the take could oil paint Boris-Musatov, of hands at the instance, For disappear. forms estate. Abramtsevo at design fireplace and sculpture in majolica experiments Vrubel’s behind example, for artists of the period demonstrated stunning Russian masters, Renaissance Like diversity art. of areas in different his hand try to desire artist’s in artistic expression. That is what lay, In addition, striving the for synthesis typical époquewas the formanifestedalso by an popularity forms these of art around1900. idea best of all as it required the application of all branches of art. Hence, the growing 78 77 artist. and decorative the sculptor the of architect, the work the combining Fiodor Shekhtel, where the new type of of aestheticallythe most significant works in this context was the designdesigned of Moscow private houses byenvironment wasstrived createto big artcreated style uniting art, theatre, music, interior designby and architecture. One the development of synthesis of central the was that problem Therefore, its influence. orajewellery cover within piece, of various artincludeto practically formsall of art, from of architecture the privatethe a houses book to forms. In this sense,Style Modern provided acommon basis for all forms of Itdevelopedart. as a unified style the World of Art artists stylefirst Remarkably,for period the the dominant of of époque. Classicism, timethe since lay in of circles essence the the andMoscow Saint-Petersburg for both typical feature imagination of Russian artists of both schools at the turn of the century. The other common Michael Raeburn, ed., See more in: Steven G Marks, Steven in: See more Ibid., 34. See more in: Ibid., 43-65. (Princeton: PrincetonUniversity, 2003), 180. According Benois, the to artistic“…the unity forwas which our idea 79 The Twilightof the Tsars: Russian Art of the Turn of the Century The idea of synthesis made the traditional boundaries between art between boundaries traditional the made synthesis of idea The How Russia Shaped the Modern World: From Art toAnti-Semitism, Ballet to 78 In this respect, ballet and theatre seemed to express this (London: South 77 So, the World 32 CEU eTD Collection at 19 82 2003), 319. 81 80 texture of pastel or Gobelin tapestry. Serov, Vrubel, Levitan and many others. To some extent, the World of Art cause Art World the was later some extent, of Vrubel, andmany Serov, To Levitan others. essaysEurope, aboutworks of contemporary Russian artists –Vasnecov, Repin, Korovin, Russia and Europe, surveys of private art collections of the Country, articles about art life of in exhibitions art important most the of reviews published regularly magazine The time. circle even painted their inspired works by such “alive pictures”. better to say illusion of a statue or even a picture. Sometimes artists of theAbramtsevo or character acertainplay, image, only not and created stayedbutperformer motionless did A orstatues. basedpictures which for well-known on subjects the were often pictures” Thus, membersand“alive Abramtsevo so-calledvisual the the created theatre. circle art of building bridges between different artforms. For example, artists looked for the synthesis of “create a revolution in arevolution artistic life”. “create our than less no be should it that he wrote clear; were journal the for ambitions Diaghilev’s journal Worldthe issued Art and of was inSaint-Petersburg. by edited Diaghilev implementedgroup this idea with ofhis support the friends. From November 1898till 1904 movement. namebearingmoving Diaghilev capital’sart the being theof the the spirit of Petersburg artistic community of journalsociety and exhibition publishingorganising anart importance of ‘propaganda’. the of approved idea Thus,art Muscovites the Saint- of was groups members united understanding that the shared featuretheirthe that two Another Saint-Petersburg. and for both Moscow common the trends “alive pictures”, ballet, performance, theatrical inspirations resulted indevelopment of its syntheticthe in nature artforms, such as Quoted from: Dmitry Sarabyanov, Dmitry from: Quoted See more in: Eleonora Paston, Eleonora in: more See Ibid. th – beginning of 20 th century) Abramtsevo: iskusstvo i zhizn i iskusstvo Abramtsevo: (Moscow:AST-PRESS, 2001), 35. Istoriya russkogo iskusstva XIX-nachala XX veka 80 82 Therefore, a search for synthesis ended up in up ended synthesis for a search Therefore, The journal was the leading art periodical of the of periodical art leading the was journal The (Abramtsevo: art and life) (Moscow:Iskusstvo, 81 To sum up, new artistic (History of Russian art 33 CEU eTD Collection Bank Bank Centre, 1991), 29. 85 84 Press, 1997), 32. 83 masters. exhibition in mounted and the worksbyRussian 1898 and displayed was European first The journal. the as name same the bearing exhibition annual an mounted colleagues In addition publicationthe to journals,of order topromoteartinart Diaghilev hisand life period. art of the the reconstructing journals1909-1917). These irreplaceable art represent sourcesfor arthistorians in between print and “Apollon” (in between 1907-1916) out “Starye (came Gody” periodicals by in1906-1909); Ryabushinsky (produced bypatron Saint-Petersburg of arts and “Zolotoye Runo” between 1904-1909), journalsmatched “Vesy” byMoscow (published anticipated the new style in future development of of Russian art. development new the infuture style anticipated Saryan. Martiros later Utkin and Petr Sapunov, were group Pavel Kuznetsov, Nikolai and Milioti, Vasily Sergei Sudeykin, Nikolai which came together looking forward SymbolistBlueto the group this exhibition, uncertainty Rose characterized in Moscowof A sense masters. Saint-Petersburg of orientation Western the stressed and artists in the following betweenThis theRussiannessof Moscow artistic thewidening exhibition rivalry underlined year. Amonginvited in exhibition. participate Boris-Musatov) were Viktor to last the Kuznetsov, Pavel the members Sapunov, (Nikolai Moscow and Larionov) Mikhail Korovin, Konstantin of Vrubel, (Mikhail this art In for1906 (like thefirst many exhibition) contemporary of artists both Saint-Petersburg andfamiliarised Petersburg them each others artisticwith backgrounds. Michael Raeburn, ed., Ibid., 46. Vsevolod Petrov, Vsevolod 83 The first exhibition established contacts between artists of Moscow and Saint- Russian Art Nouveau: The World of Art and Diaghilev’s Painters The Twilightof the Tsars: Russian Art of the Turn of the Century 85 The last World of Art exhibition in a way (England: Parkstone (London: South 34 84 CEU eTD Collection Karsavina. He successfully brought Russian culture to Europe. Diaghilev sought to cross visual art, literature art, visual cross to and sought music – a visionDiaghilev which Europe. was to to findculture its apotheosisRussian for brought him with the formationHe successfully of the Ballets Karsavina. Russes. Dobuzhinsky and Bakst, the musical gifts of Starvinsky and the remarkable dancingfollowing of theFokine, principle Nijinsky of synthesisand of different art forms combined the talents of such artists as Benois, managed the World of Art journal and group and established the famous the established and group and journal ofArt World the managed and a ofhistorian Russian culture,who organised many exhibitions of the new European and Russian art, Sergei Diaghilev is considered to be one of the leaders of RussianStyle Moderne. He Parkstone Press,was 1997), a talented 46. art critic As an historianart Richard Harepoints outin his book: accomplishing his dream “exaltingof Russian artists in the eyes of the West”. West, the to art Russian new the promoting and introducing of task the on exclusively activity of the members of the World of Art group headed by Diaghilev concentrated 89 2d ed. (Newtonville, MA: Oriental Research Partners, 1982), 10. between the 19 the between poetry. RussianModern period leftits mark in architecture and the fine arts, theatre and literature, music and Symbolism,Russian life butEuropean art well,havingas outstanding innovative significance. The Style especiallyagree with John Bowlt,astheWorld group of Arthad remarkable significance notonly for the RussianWorld avant-garde of Art, withpredetermined its future development of whichRussian art resulted in birth the Moscowof the served as the scene foras it. Rose exhibition existencethe demonstrated of newtrendsthe and inRussian art a At vitalthe same time, connection one cannot fully subject other than mood or ambiance. or mood than other subject garde, was not especially innovative and was not of universal significance”. universal of not was and innovative especially not was garde, avant- by painters wasnot and World Artgraphics 1904-1908) “theof produced the art between of (active artists group Moscow of BlueRose the original artcompared the that to 88 87 86 by described critic in as “dreams one flowers”, azure” and“mystical Compared with what had been seen before, the paintings by the artist of the Blue Rose were Quoted from: Vsevolod Petrov, Vsevolod from: Quoted John E. Bowlt, Ibid. Ibid., 23. The Silver Age: Russian Art ofthe EarlyTwentieth Century and the“World of Art” Group th and 20 and th centuries, between the old and the new in art. From 1906 the Russian Art Nouveau: The World of Art and Diaghilev’s Painters 87 Some art historians, such as John Bowlt, emphasise Bowlt, John as such historians, art Some Ballets Russes 86 as they noreal as had they inexile in 1909, which 88 89 The last Blue last The (England: , 35 CEU eTD Collection 90 Russian centre at his Abramtsevo estate. aNeo- of creation Mamontov’s Savva and exhibitions, art contemporary of organisation Ryabushinsky’sin publicationof“Zolotoye Prince Moscow, Runo” SergeiSherbatov’s subsidies for publication the of of World ArtmagazineNikolai the in Saint-Petersburg, money in art. Examples each period large All niche. of his/herof them find amounts could invested people these of this type of lifethe of art of character multifaceted the to Due various pursuits. and in art preferences support of art and tastes different had patrons were these All Morozovs). the Mamontovs, the Ryabushinskys, Princess Mariya industrial bourgeoisie Tenisheva’sdifferent developingcommercial background, the and classof (the they WhereasinMoscow and Stroganovs camefrom Yussupovs, Sheremetievs. a the the Petersburg the patrons of art were usually members of the hereditary aristocracy, such as the in The heyday In Russiacoincided of with period Modernism the Saint- patronage. of valuable for all generations of Russian people because of its inexhaustible artistic richness. indigenous culture. heritage The cultural left wasby the twoartistic extremely groups herown appreciate to Russia circle inspired Artand Abramtsevo the World of the was that very fruitful. Perhaps, the mostimportant resultof the artistic development of the period capitals and wasasusually two period. TheMoscow rivalry of Saint-Petersburg the of the stronger appreciation in of a Russia, of taste a finer theappearance searchpredetermined spiritual Perhaps, this beauty and the revival of art life that characterized the art life of Richard Hare, Richard mutually incompatible endeavours – the craving to develop a develop to craving the – endeavours incompatible mutually Russian art,throughout thiscrucialperiod, seems tohave beentortured andtornby three fashionable desire to be considered up-to-date and abreast in Western Europe. inWestern abreast and up-to-date beconsidered to desire fashionable maintaininternational higher standards achievement, of and inheritedtaste past, the from and the The Art and Artists of Russia Artists and The Art (Connecticut: New York Graphic Society, 1965),223. national style, the struggle to 90 36 CEU eTD Collection success at the turn of the 20 v kontse 19 – nachale 20 vekov” (“Exhibiting prose: notes on collecting, market and criteria of exhibiting 92 Press, 1983), 26. Russia art groups replaced art gallery specialists, art agents, and art dealers, who playeddealers, a and agents, who art art gallery replacedspecialists, groups art Russia art in In fact, and an abuyer. intermediary artist between performing role of the Moscow the same time, they in werethemainSaint-Petersburg organising differentexhibitions. At and Moscow actors were also major mounted. were art) players on twenty five exhibitions of hundred exhibitedpaintings (each two hundred of tothree works the art market march “Petersburg from According 1899to the Newspaper”,only to 1900 September of Saint-Petersburg of turn the exhibitions century.the thatbecame evidentat andof marketnumbergrowing and Intensive art life of Saint-Petersburg and Moscow resulted in the developmentand intensified its development. of the art life art –enriched andMoscow –Saint-Petersburg art centres of two existence whole. The andinstitutions, groups oftraditions, but sets also art aslandmarks asa Russian culture of culture, its distinctive centres,each with as cultural only not served and Saint-Petersburg 91 its divided soul”, became inseparable from at high patronage this period sum of time. To up, Russia, “asbefits day life peopleof preserving highartistic standards. In addition, rapid development of art every enter allowed popularisemagazines it art, to helped publication art a number of of to press and art of The growth more global. became and features international acquired Russian art losing national itsuniqueness, without Moreover, choices and perspectives. artistic of variety by the be characterised could and intensive was life period the of The art Vladimir Lapshin,“Vistavochnaya proza: zametki o sobiratelstve, rinke i kriteriyakhvistavochnogo uspekha Theofanis George Stavrou, ed., Stavrou, George Theofanis 2. 2. Exhibitions and Art Market inSaint-PetersburgandMoscow Exhibitions andArtMarket 2. 91 92 has two capital cities. Throughout the 18 the capital Throughout cities. has two Itis art worth noting better groups that or to say exhibiting of societies th century”), Art andCulture inNineteenth-century Russia Pinakoteka ( ʋ 6-7, 1998): 64. th and 19 and (Minnesota: Indiana University th centuries Moscow centuries 37 CEU eTD Collection Chernysheva,1992). SSSR, 1820-1932 94 12. prose” of Saint-Petersburg: on the history of art market) (Saint-Petersburg: Izd-vo im. N.I.Novikova, 2003), 93 held exhibitions. Unionthe of Russian Artists were (1903-1923) among the leadinggroups and art regularly (1880-1918), Saint-Petersburg Artists Group(1890-1918), NewArtist’s (1903-1917), Group traditionally organised their own exhibitions.In Society addition, the of AquarellistRussian lost theirimportance. Those artists who belonged the to school of the Academy Fineof Arts The 1870 -80sweremarked by Wanderers exhibitions.a numberof Bythe end of 90sthey In respect,this groups -exhibitionsome art societies of periodthe should bementioned. and and artists collectors artgroups. art between establishpatrons, buy, contacts to to wereplaces asexhibitions exhibitions market. inart WestEuropean leading role addition, the World of Art exhibitions revolutionized the aesthetic outlook Artexhibitionsof aestheticaddition, outlook Russian the revolutionized the World of the In well. as one international the on but level, national the on only not art of development as important Itprovided impulseforan theRussianart. astimulusawakening for However,firstWorld this Artby organisedexhibition, of Diaghilev, wasextremely yetready for werenot changes. any theseoldit groups sobecause Perhaps, happened infirst one,held were vastly byboth Wanderersandthe Academicians. the 1898, criticised His organised (1898-1906). Worldexhibitions Artexhibitions, especially aseries the of of The organisedexhibitions byDiaghilev out from stood all exhibitions. other inspired He and societies. art many so See more about artgroups Dmitryin: Severyukhin, Dmitry Dmitry Severyukhin, (Golden ageof groupsart in Russia and in USSR,the 1820-1932) 94 Obviously, art life Obviously, and art becamemore of more emergence public with the “Vistavochnaya proza” Peterburga: iz istorii khudogestvennogo rynka 93 Zolotoy vek khudogestvennikh obedineniy v Rossii i Art collecting is inseparably linked with art with linked inseparably is collecting Art (Saint-Petersburg: Izd-vo (“Exhibiting 38 CEU eTD Collection 96 mentioned). Each exhibition was followed by progressive propaganda of Each mentioned). of exhibition propaganda by was followed stylechosen in progressive art already was (as patron important an became buyers noble or middle-class the than exhibitions. rich to people The imperial familyRussian from boughtregularly exhibitionsthe inspiringinterest theof wife Alexandramother andhisfrequented Maria,exhibitions the by organised Diaghilev. his was Nickolas“small exhibitions. II,his at calledalways Theemperor court” present public importantof figures. theFine Arts, directorThe andImperial manyother so- theatres vice-president Academy of the ministers,of the foreign ambassadors, of government, the many distinguished wereinvited.guests Among the of guests his exhibitionsmembers were exhibition when theeach day of specialdesign. Diaghilev opening attention to attributed combined inone exhibition. Diaghilev’s exhibitions werealsonotable forinterior their sculptures,great deal of attentionthe arrangement.to Different exhibits,works such as paintings, graphic arts, of applied participants forhe an paid chose a the exhibition hisexhibitions. Hecarefully and organised way the in was strategy commercial Diaghilev’s arts exhibitions. quality artistic high introduced and decorative commercial and strategies headopted deservesrecognition as Diaghilev this respect works for theatre performances, were criteria of exhibiting success at turnthe of 20 the vistavochnogo uspekha v kontse 19 – nachale 20 vekov” (“Exhibiting prose: notescollecting, on market and 95 success. commercial for ideas new introduced he because importantly most but view, of point artistic an from only not innovative were Diaghilev by organised exhibitions Art of develop new ways of exhibitionsorganising and finding new wealthy clientele. TheWorld 20 of the thebeginning marketof theart of The development in art general. of concept a new and tastes new cultivated and development, cultural its enhanced intelligentsia, See more in: Ibid., 62. See more in: Vladimir Lapshin, “Vistavochnaya proza: zametki o sobiratelstve, rinke i kriteriyakh 96 Besides, from from more buying Besides, late1880sthe the were who tsars, th century”), Pinakoteka ( th ʋ century required art societies art required century 6-7, 1998): 62. 95 In 39 CEU eTD Collection Saint-Petersburg were privileged to see the exhibitions of numerous art societies without leaving theircity. 99 (Saint-Petersburg: O-vo zashchiti i sokhraneniya vRossiipamyatnikov iskusstva istarini, 1914), 12. Tian-Shansky as a collector”), in collector”), a as Tian-Shansky 98 commercial places, handicraft industries etc. in 1849) (Saint-Petersburg, 1849), 158. remeslennikh zavedeny i.t.p. na 1849 god 97 Petersburg. shops inSaint- art nineteen were there 1849 In for hiscollection. find pieces to potential hadachance collector an art where places other were there However, works. latest buy the to aplace was asan exhibition collectors for art significance great of were exhibitions Art commercial strategy. and ideals artistic aesthetic of combination wise his of because Russia in exemplary Worldthe Artmagazine. exhibitions of approach Diaghilev’s organisingto art became Saint-Petersburg was“heaped Saint-Petersburg up with paintings”. and art treasures. Thus, the number of paintings available on the artmarket was so great that there was less free money available abolished was serfdom Once cities. these of formarkets art to Moscow and in Saint-Petersburg the wealthy, therefore they sold out their Country caused anafflux of paintings from and Russian the province palacesof nobilitythe paintings reform of 1861, the abolition of serfdom. The change of social and economic situation in the after thegreat very frequent became capital. of Auctions the - centres dvor commercial the So, most paintings were never even displayed in Saint-Petersburg. displayed even never were paintings most So, the activity Moscowof art collectors who bought paintings straightaway from an exhibition. Partly, could masters situation bemorewas causedby latter. the easilyobtained from this contemporary by works then market, Moscow the on available those with balance in were buyers around1900.If paintings by masters old available onthemarketof Saint-Petersburg offerlotto to hada marketstill the reducingby 1880-90s, market started the coming to Fora long time until the advent of the World of Art exhibitions Moscovites incontrast to artistic elite of Vasily Shchavinsky, “Piotr Petrovich Semyonov-Tian-Shansky kak sobiratel” (“Piotr Petrovich Semyonov- Petrovich (“Piotr sobiratel” kak Semyonov-Tian-Shansky Petrovich “Piotr Shchavinsky, Vasily Tsilov, Gorodskoy ukazateladresnaya ili kniga vrachey, khudognikov,remeslennikov, torgovikh mest, 97 In addition, artauctions were regularly heldin Passage the inand Gostinny Pamyati Petra Petrovicha Semyonova-Tian-Shanskogo, (City directory or the address book of doctors, artists, artisans, artists, doctors, of book address or the directory (City 98 Even though the amount of works of art 99 It is notan exaggeration ed. Nikolai Vrangel Nikolai ed. 40 CEU eTD Collection (Russian art life at the turn of 20 the Sternin, Grigory in: See more of all. at works time a long Saint-Petersburg for in known not Thus, were Vrubel Saint-Petersburg. to came or rarely never paintings Moscow in exhibited Being which remained active till 1915. An art journal,“Zolotoye Runo” and “Blue Rose” art group of Artist’s activitySaint-Petersburg Group” matchedby“New Its was regular exhibitions. couldnotbe assembled. From 1902 until “Union1923 the Moscow Russianof Artists” held largediffered itschose owncommercial from Therefore, others. policy exhibitions the that did with tended cooperate andremainedisolated. Each group to groups another one not pointof the as art extinction to reduced large-scaleexhibitions numberof From 1910 the of trends andcontemporary market new fashion. existing acollector, of preferences individual as such factors of combination the of result the époque of feature characteristic wasAnother Flemish. or Dutch theFrench, Italian, school, chosen growing one of popularity 19 the of middle the from then, simultaneously; of contemporary masters Flemish and Dutch French, Italian, of works have would artSaint-Petersburg of with art collectors. collectingin to art of 18 collectors approach the In the general. It wasinfluenced art of works for prices low a relatively and paintings of accessibility growing The time. the by andat collectors not galleries public weremadeby mostprivate purchases Nevertheless, Tretyakov Gallery likely was beto theleadingfrom buyer artgroups.different the Museum Comparedof development the Tretyakov market. affected the the was inMoscow gallery to of Alexander factthat the addition, In dealers. better andwere more practical were say Moscovites to that III in Saint-Petersburg or the Academy of Fine Arts, the 101 success at the turn of the 20 v kontse 19 – nachale 20 vekov” (“Exhibiting prose: notes on collecting, market and criteria of exhibiting 100 Ibid. Vladimir Lapshin,“Vistavochnaya proza: zametki o sobiratelstve, rinke i kriteriyakhvistavochnogo uspekha 101 th century”), Russkaya khudogestvennaya kultura vtoroy poloviny 19 – nachala 20 veka th century) (Moscow: Sovetsky 1984),khudognik, 144. Pinakoteka ( ʋ 6-7, 1998): 64. th century they would form collections only th century every art collector art century every 100 41 CEU eTD Collection 103 1993), 15. from Hermitage, the Saint-Petersburg, and Pushkin Museum, Moscow) Knizhnoe (Keln: izdatelstvo Diumon, muzeya im. A. S. Pushkina, Moskva 102 willfeatures be thoroughly in described followingthe chapter. specific its Therefore, ways. in many collecting art determined period the life of art The lifeleading dominate there. art players asthey were unionsto andgroups allowed artists art the development of art life in Russia. The specific features of the art market described above establishpossiblecommercial between to and whichfostered connections artistic worlds, transparent. Exhibitions played a significant role in shaping art taste. Art exhibitions made it inmore weremounted exhibitions thusmaking period, the process more art the open and The art market was responsive to the new tendencies “truly marked Russia’s entry stageof the onto European painting”. in art life of the Country. Expositionand Universellein the in1900atthe exhibition its triumph enjoyed Paris, that More and French Art in Russia” was organised. At the same time, Russian art was brought to the West in Moscow. Millet, RenoirinCourbet, Monet, first and Sisley,wasmounted and then Saint-Petersburg inboth Russian capitals. In 1896 the exhibition of such French artists, such as Corot, Western introduce art held to were exhibitions Anumber Western of with art. interrelations wasactive of époque artexhibiting the of feature typical sense, international.this In the on also but level, national the on only not active were above mentioned groups art the All and Hvost”. “Oslinny such Valet” “Bubnovy as groups, byart organised events the exhibitdue to to their chance exhibited artists emergingFrom 1906respectively. in1907and 1910 avant-garde obtained University Press, 2007), 57. Painting, Architecture, and Decorative Arts ElizabethKridl Valkenier, “Opening to Europe,” in Morozov, Shchukin, kollektsionery: ot Mone doPicasso: 120 shedevrov iz Ermitaga, Sankt-Peterburg, i 102 In French1910 an exhibition dedicated to called years“Oneart of hundred (Morozov, Shchukin, collectors: from Monet to Picasso: 120 masterpieces 120 Picasso: to Monet from collectors: Shchukin, (Morozov, , ed. Rosalind P. Blakesley and Susan E. Reid (Illinois: Illinois Russian Art and theWest: a Century ofDialogue in 103 42 CEU eTD Collection ago) (Moscow: Gorodskaya tipografiya,1917), 9. 106 105 imeni A. S. Pushkina, 1995), 45. “Vipperovskie readings 1994”, editionXXVII) (Moscow: Gosudarstvenny muzey izobrazitelnikh iskusstv “Vipperovskie chteniya 1994”, vypusk XXVII in Korsakov”), Ivanovich 104 in more than hundredyearstwo (1700-1917). artcollections inRussia There wereatleast hundred private three Petersburg. considerable Saint- and Moscow from colleagues their among collectors as Yussupovs last the of place understand the is task The to period. the of inartcollecting newtendencies the highlighting cities of two the collections private remarkable most the mapof history the aims to chapter andtrends new commercial conditions influencing the development collecting,of art this new art the characterising and Saint-Petersburg lifeMoscow of art of the overview After the paintings!” “Only with couldEngland Moscowin compete quality and quantity authenticof in entailedtaste. changes collectors in in theabolition tsarafter of 1861. the serfdom Russia in social background had of its rootscollectors in the period of reform wasinitiatedthat by shift This actively. art collecting began birth by merchants and intelligentsia the also period still existed among the aristocracy, inboth artcollectingamassed inMoscow. Even Saint-Petersburg 1900and though around the turn of the century was not its golden age. In this art collectors in Moscow. The growth in number of collectors was rooted in the economic Aleksandr Chayanov, Aleksandr Oleg Neverov, Oleg Alexey of ageneral (“Collection Korsakova” Ivanovicha Alexeya generala “Kollektsiya P. Bannikov, A. 3. Art Collectors: Contemporaries ofthe last Yusupovs in Saint- 106 – commented the contemporary press on the existence of a great number of Great Private Collections of Imperial Russia Moskovskie sobraniya kartin sto let nazad Chastnoe kollektsionirovanie v Rossii: materialy nauchnoy konferentsii 3.1. Art Collectors in Moscow Art Collectors 3.1. Petersburg andMoscow (Private collecting in Russia: conference materials 104 A significant number of collections were (London: Thames & Hudson, 2004), 157. (Moscow art collections one hundred years hundred one collections art (Moscow 105 The change of social status of status social of Thechange 43 CEU eTD Collection imeni A. S. Pushkina, 1995), 131. “Vipperovskie readings 1994”, editionXXVII) (Moscow: Gosudarstvenny muzey izobrazitelnikh iskusstv “Vipperovskie chteniya 1994”, vypusk XXVII of art at the 20 intelligentsii vtoroy treti 20 veka” (Moscow intelligentsia collectors of West- Europeanengravings and works 111 110 & Hudson, 2004), 245-49. Russian schools. See more in: Oleg Neverov, Oleg in: See more schools. Russian 109 of Imperial Russia Neverov, in:Oleg Seemore Repin). Serov, (Vrubel, masters Russian contemporary Manet, Matisse, Renoir. The most valuable part of his collectionwas made of 117 icons and 237 paintings by 108 century: encyclopaedia) (Moscow: RIPOL classic, 2005), 367-69. relatively free from influences and more independent in their choice. Their collection in influences freetheircollection often Their morechoice. from independent relatively and with a certain tastecollectors did notof follow a family thetradition of collecting or societydid not feel obliged to be in line or descended himself, from havingnopredecessorsof any kind. group of people their from he nowhere, originated collector merchant-art Moscow is that There an opinion belonged to. Thus, they werephenomenon. new was in Moscow patornage art and collecting of art styles. rapid development and The in latest applied design arts the architecture, (Mamontov). (Kharitonenko sugar trade highlights of his collection were works by Levitan, Ivanov, Tropinin and Fedotov. See more in: N. Polunina, N. in: more See Kollektsionery Fedotov. Rossii 17-nachalo and 20 vv.:entsikolpedichesky slovar Tropinin Ivanov, Levitan, by works were collection of his highlights 107 Morozov, trade andfamilies), tea (Ostroukhov, Shchukin the (Soldatenkov, business textile in the fortunes their eminent art collectors of Moscow were in most cases prosperous merchants who had made Many for art. majorof patronage whobecame source a merchants strengthened enterprises the from Wealth in transport. and construction, in railway industries, mining and chemical turn of century.the Asa result of fortunes Industrial Revolution, were madein textile, phenomenon of Moscow. This city became a place where wealth was concentrated at the S. S,Stepanova, “Sobirateli zapadnoevropeiskoy gravury i zhivopisi sredi iz moskovskoy khudogestvennoy Oleg Neverov, Oleg Pavel IvanovichKharitonenko (1852-1914) collectionhis comprised works of 19 Ilya SemenovichOstroukhov (1858-1929) somehad works of contemporary French masters such asDega, Kozma TerentevichSoldatenkov (1818-1901) amassed a collectionof 269 Russianworks of art. The th century), in 110 Great Private Collections of Imperial Russia (London: Thames & Hudson, 2004), 187-89. All these people not only collected paintings but also commissioned also but paintings collected only not people these All Chastnoe kollektsionirovanie v Rossii: materialy nauchnoy konferentsii 109 ), banking (the Ryabushinsky family), and building and family), Ryabushinsky (the banking ), (Private collecting in Russia: conference materials Great Private Collections of Imperial Russia (London: Thames & Hudson, 2004), 156. (Russiancollectors 17 107 the Tretyakov, Ryabushinsky, Tretyakov, the 111 108 Indeed, most of the new the of most Indeed, the Botkin family), the family), Botkin the th Great PrivateGreat Collections century French and th (London: Thames (London: -beginning 20 th 44 CEU eTD Collection art at 18 iskusstva 18 – pervoy poloviny 19 veka 116 Nauka, 1989), 168. 115 public. for easily wasnot accessible museum, which 114 113 Nauka, 1989), 9. Until the end of the 19 Morozovs, the Shchukins, Ostroukhov, Botkin, Mamontov and Kharitonenko. collections,significantmost Tretyakov, suchasSoldatenkov, Ryabushinskys, the the understand the nature of Moscow collecting itis important to map history of some of the lifetime”.in art our supported intelligentsia who of merchants were Russian “these outthat époqueStasov pointed the critic art.An art supported whopatronised of and bankers and entrepreneurs industrialists, merchants, Russian were these time the of most construction of the Museum of Fine Arts in Moscow and on buying art collections for it. But memoirs; by arts incommunity an organising village Talashkinoart Rumyantsev founded applied Tenisheva famous Rumyantsev Museum; Princess supported 112 sciences forthegood of Russian people. historian Bohanov claimed that it was not very common for aristocrats to patronise arts A ofthecentury. turn and atthe of number people for alimitedmeant were and general public for accessible not as a of were Russiannobility family the rule,In contrast, collections for wereopened public.collections their rule, As ageneral of collecting. strategies progressive adopted also collectors became their way of self-expression rather than blind pursuit of fashion or tradition. New Irina Irina Salnikova, Aleksandr Bohanov, Aleksandr Maria Tenisheva, Zhuravleva, in:Larisa Talashkino about See more Aleksandr Bohanov, Aleksandr th – first half of19 half –first 114 a nobleman Nechaev-Maltsev spent more than two million rubles on the on rubles million two than more spent Nechaev-Maltsev nobleman a Mi bili…Iz istorii gosudarstvennogo i chastnogo sobiratelstva proizvedeny russkogo Vpechatleniya moey zhizni Kollektsionery i metsenaty v Rossii Kollektsionery i metsenaty v Rossii th century) th century hadstate museum,forMoscow century no Armoury the except (Saint-Petersburg: Blits, 2003), 230. (We were…From the history of state and private collecting of Russian (Impressions of my life) (Moskva:Molodaya 2006). gvardiya, 112 Obviously,Count exceptions: weresome there Talashkino (Collectors and patrons of art in Russia) in of art patrons and (Collectors (Collectors and patrons of art in Russia) in of art patrons and (Collectors (Smolensk: B.i., 2003). 116 So, many collectors of of Moscow many collectors So, 113 which she described in her which she described (Moscow: (Moscow: 115 To 45 CEU eTD Collection Ryabushinsky’s plans were realised. ahotel with together and shops. a restaurant, opera he wanted to build a cultural and commercial centre in Moscow to accommodate his private 121 revolutionary Russia 120 119 beginning 20 Ryabushinsky wasfinancially inruined 1909. combining initselfproject, and culture wasneverrealised commerce, because gallery This house. museum,of acombination wouldart and an a an auction represent Ryabushinsky In addition, artists. initiated European of contemporary works latest the with themselves familiarise a project of construction of a Palace of the Arts in Moscow that 118 imeni A. S. Pushkina, 1995), 131. “Vipperovskie readings 1994”, editionXXVII) (Moscow: Gosudarstvenny muzey izobrazitelnikh iskusstv “Vipperovskie chteniya 1994”, vypusk XXVII of art at the 20 intelligentsii vtoroy treti 20 veka” (Moscow intelligentsia collectors of West- Europeanengravings and works 117 1.00 pm). visitorsto every Sunday 11.00 am lefttaste”, of “academy by works Lepage.Bastien see to Sunday every house-gallery private Tretyakov’s to came Serov Valentin artist An inspired.getlearn to and masters, to and Russian see worksof European contemporary to artists Russian This allowed some others. and Morozov suchasShchukin, contemporaries, followed byhis was example public, for which the accessible made his collection eagerly artto lovershisinHe made 1881. theaccessto free home of gallery Tretyakov charge. andpoets, other collectors. Tretyakov onewas ofthe first who collectors openedhome his opened their private collections even if not for public then, at least for scientists, artists, Ibid. Kean, Whitney Beverly Ibid. N. Polunina, N. S. S,Stepanova, “Sobirateli zapadnoevropeiskoy gravury i zhivopisi sredi iz moskovskoy khudogestvennoy th century: encyclopaedia) (Moscow: RIPOL classic, 2005), 499. th Kollektsionery Rossii 17-nachalo20 vv.: entsikolpedicheskyslovar century), in , rev.and updated ed. (London: Hodder &Stoughton, 1994), 73. French Painters, Russian Collectors: the Merchant Patrons of Modern art in Pre- Chastnoe kollektsionirovanie v Rossii: materialy nauchnoy konferentsii 118 117 gained popularity youngwith Moscovites was (it opened for From From 1910s Sergei’s Shchukin’s gallery,private nicknamed (Private collecting in Russia: conference materials 120 119 Savva Mamontov SavvaMamontov had similaridea in 1899: In addition, young artists came there to 121 Unfortunately, his neither nor (Russian collectors 17 th - 46 CEU eTD Collection and Kuznetsov. ininterested buyingcontemporary of Russian art works Sudeikin, Utkin, Sapunov, Saryan much very he was time, same the At Dongen. van Poussin, and Cranach Bruegel, as such Corot. and Monet Pissarro, Dega, as such artists, French by paintings of and Makovsky, and Vrubel Vasnetsov, Repin, Benois, Serov, as such masters, Russian by works of consisted It largeRyabushinsky’s not collection was only (made butprecious. oneof hundredpaintings) collect art. Russian also choseto Mikhail (1880-1960) Ryabushinsky Pavlovich In this sense, Tretyakov demonstrated patriotism and desire to serve the best of his Country. made gallery”.of Tretyakov the works part Nesterov said: “…every young young) (and notonly lifelong artist’s dreamwasthathis artist an As painting. his bought Tretyakov when artist an for recognition social of sign Russian artists, such of five thirty his life collectingin dedicated works of years to his testament 1892. Tretyakov as Kiprensky, Tropinin, Brullov, Fedotov and many others. It was a collectors 17 collectors 125 revolutionary Russia 124 Alekseevs, the Tretyakovs, the Morozovs, the Guchkovs) (Saint-Petersburg: Pirs,Tretyakovy, 1993), Morozovy, 45. Guchkovy 123 State(The Tretyakov gallery: history studies 1856-1917) (Leningrad: Khudognik RSFSR, 1981). 122 mentioned above. asdid collectors all the collections Gallery, Tretyakov museum, the which formed art his assembledthecollection Russian Pavel of (1832-1898) Tretyakov 126 See more in: N. Polunina, Kean, Whitney Beverly Martinov, Sergei from: Quoted See more in: Ya. V. Bruk, ed., See more in: Ibid., 335-36. neglected masterpieces of the past and develop an audience for a new national art. national a new for audience an develop and past the of masterpieces neglected to reveal a completeTretyakov wished to assemble notimage merely the works of a few favoured Russianof artists, but Russianrather painting, a survey which would rescue and preserve the 125 Mikhail’s brother, Nikolai Pavlovich (1880-1960), collected works by masterscollected works brother, old Nikolai (1880-1960), Mikhail’s Pavlovich th -beginning 20 126 , rev.and updated ed. (London: Hodder &Stoughton, 1994), 55. The Ryabushinsky brothers regularly exhibited paintings from their from paintings exhibited regularly brothers Ryabushinsky The French Painters, Russian Collectors: the Merchant Patrons of Modern art in Pre- th Kollektsionery Rossii 17-nachalo 20vv.: entsikolpedichesky slovar century: encyclopaedia) (Moscow: RIPOL classic, 2005), 333-34. Gosudarstvennaya Tretyakovskaya gallereya: Ocherki istorii 1856-1917 (Entrepreneurs, philanthropists, patrons of art: the Stroganovs, the Stroganovs, the ofart: patrons philanthropists, (Entrepreneurs, Predprinimateli, blagotvoriteli, metsenaty: Stroganovy, Alekseevy, 122 which was donated to the city of Moscow according city to of tothe which was donated 123 A historian Martinov observed that: 124 (Russian 47 CEU eTD Collection 127 by1904-1910,the Monet, get works he to collecting mostly activity:1898-1904 when tried historians ofhis three Artstages distinguish of époque. the French contemporary art of famous collections most of the one he amassed himself for Sergei As impressionists. collectinginfluenced of andbrother, his works Ivan started Sergei histaste (1854-1936), be inLouvre. a“specialist” to Ivan considered contemporaries “Vesi”.His artjournal Vremya” andMoscow “Novoe news for newspaper art there. service inworked Louvrethe for awhile andhe waseven awarded upon a Legion for hisof Honour drawings). Ivan (1869-1908) collected prints and old When masters. he moved toParis he and paintings six forty hundred one had (he German and Flemish Dutch, Italian, masters: impressionists. brother, Dmitry His wasin interested(1855-1932), of collecting works old than items historical among23,911 pieces documents, them and of applied arts of works more comprised collection Piotr Shchukin’s (1853-1912) Russian generation collectors. of new the to belonged and family merchant a Moscow from came brothers Shchukin The It helped them buildto up their remarkable collections of contemporary French art. merchants, such as Savva Morozov and Sergei Shchukin,also travelled a lotaround Europe. Moscow masters. extensively termsgood with and wereon some European Europe in travelled artists Russian censorship. from escape to lot a travelled intelligentsia Russian Traditionally, faster. travelled news and improved cities the between communications progressed, century the ones. As European the andto capital of the tothose connected Saint-Petersburg wereinfluenced byWestern ideas. Many Moscow collectors were closely of asthose aswell collectors Moscow West. the from collectors Moscow by borrowed were forart, of Russiaideas,such as widepopularisation Perhaps, some innovative of the 128 Natalya Dumova, Ibid. 127 Ivan wrote articles on art exhibitionsin Paris, on the Louvre collections and Moskovskie metsenaty (Moscow ofpatrons art) (Moscow: Molodaya gvardiya,1992), 34. 128 During Ivan’s stay in Paris 48 CEU eTD Collection Gauguin, Goghand Bonnard Van Renoirs, as such masters French contemporary of collection Mikhail’s amassing continued hundred inhisAfter and the Russian works death brotherthirty his possession. Ivan of four comprised and collection lay his inart Russian interest collecting everlasting his major works of linearformality and Wanderes”. Saint-Petersburg’s the fervid the modes, prevailing stands the Russian outagainst two acollector “Mikhail’sas audacity in Russiannew type Moscowof collector as well as the Shchukin brothers. Mikhail was one of the first who turned Abramovich belongedMikhailand to Morozov Abramovich Ivan (1870-1903) (1867-1921) to collecting Russian people”. worksfor“I declare: myselfcontinued not for to collected my but for great Country the and of art – saidby Sergeicontemporary Shchukin. It is worth noting that evenFrench after Sergei Shchukinmasters: left Russia he group of group but artistsrivals they were not for instance, intheirartistic taste: would Morozov same the among from choice collectors their made Shchukin Sergei and Morozov Ivan Russia and Maurice Denisbecame hisfriendin andadviser artistic matters. 131 Veche, 2003), 321. 130 1993), 63. from Hermitage, the Saint-Petersburg, and Pushkin Museum, Moscow) Knizhnoe (Keln: izdatelstvo Diumon, muzeya im. A. S. Pushkina, Moskva 129 Picasso. and Duren by Matisse, fascination by his wascharacterized 1910-1914,which one last of Cezanne and the period 134 133 revolutionary Russia 132 U.S.S.R Quoted from: Quoted E. Lopukhin, Morozov, Shchukin, kollektsionery: ot Mone doPicasso: 120 shedevrov iz Ermitaga, Sankt-Peterburg, i Ibid. Ibid., 96. Kean, Whitney Beverly (Chicago: Art Institute of Chicago; New York: Metropolitan Museum of Art, 1990), 33. From Poussin to Matisse: the Russian taste for French painting: a loan exhibition from the Samie znamenitye metsenaty Rossii 131 , rev.and updated ed. (London: Hodder &Stoughton, 1994), 94. French Painters, Russian Collectors: the Merchant Patrons of Modern art in Pre- (Morozov, Shchukin, collectors: from Monet to Picasso: 120 masterpieces 120 Picasso: to Monet from collectors: Shchukin, (Morozov, 129 “If having seen a picture, you experience shock, buy it” 133 . In Ivan Morozov Bonnard found his major patron in (The most eminent Russian patrons of art) (Moscow: 134 132 As for Ivan, 130 49 CEU eTD Collection 137 136 135 some, naked social ambition“…forming art collections was, again, a means of wasconfirming their socialtempered standing. Yet for “merchant-Princes” so-called the for that argues Oleg Neverov Thus, status. social of by a degree of disinterestednessAmong the major motives of Moscow merchants for collecting art historians and highlight that altruisticby explained acquirefamily in prestige theirto desire Russiansociety and inEurope. offamily merchants Perhaps, this feature can be amongMoscow specific collecting atthe collectors asamongturn of century. familythe character Moscow such extensive not but collectors) Sheremetevs the of generations (five collectors generational of examples before.demonstrated The aristocracy in family intensive world of the ties such collectors known not Ryabushinsky; cousins had IvanandBakhrushins.Russia Mikhail Morozov, Nikolai, Sergei, Piotr, Dmitry and Sergei, Ivan;brothers Nikolai Stepan, and Michail collectors: were brothers five family Shchukin in the collecting: for passion had family world of art,the in and money of collecting world the in themselves glorified They people. self-made of generation works of art and patronisingMorozov, Soldatenkov, Ryabushinsky mostthe famousamong represent wholethe artists. It happenedShchukin, Mamontov, of Tretyakov, The names elite. thebackbone of Moscow constituted so that the whole manufactures andentrepreneurs merchants, bankers, builders railroads, The industrialists, of less complicated, ‘plein de force’, whereas Shchukin in comparison was ‘plus aigu’. and Morozov to art dealers commented on their taste observing that “Morozov was simpler, Shchukin often accompanied who Matisse differences. taste their of illustration best is the fifty Shchukin’s against by Picasso threepaintingsowned Morozov that Perhaps, thefact inbiggerMonets collect quantities. Shchukinwhereas rather would prefer Bonnard, Ibid., 105. Ibid., 104. See more in: Ibid., 100-101. 137 136 135 50 CEU eTD Collection centuries). His collection became the core of the museum of Fine Arts in Saint-Petersburg in1758. in Saint-Petersburg Arts ofFine museum ofthe core the became collection His centuries). was formed parallel to the collection of the Hermitage (Italian, Flemish, Dutch, French schools 17-18 140 139 138 was: patrons among new inkeenness on art Moscow that wrote hismemoirs Sherbatov Count activity. zeal”. Borisovich Yusupov (1750-1831), Count IvanBorisovich Count Yusupov (1750-1831), Ivanovich Shuvalov (1727-1797), noble Nikolai collections familiessuchasPrince private nobility.Members the of of the importance, therefore building example of inRussiawas monarch The a great withinemerged. aristocracy the collectors of the tsar’s collectionthe enlightened went hand in empresshand belongedwith to the nobility, whocreation to the Russiandemonstrated rulers’ inner circle.of Under the reign of Catherine II, capital,strong interest inSaint-Petersburg art,his from of colleague.collector As differedMoscow Undoubtedly,Saint-Petersburg anart a a number of remarkable was home to a special type of anwhose importantpatron-collector contribution in life art époqueisthe of undeniable. art collector,the eyebrows of their contemporaries. In a word, Moscow gave a new type of wealthy the one raised activity often newartistic their and everything supported sincerely Merchant-Princes who supportand bethem proved their developto successful. Russiancultureto and attempts didon Moscow of as patrons collectors dependant arteverything acknowledged. However, socially status their have to themselves, establis to way a was collecting art merchants For Count Ivan Shuvalov possessed the largest private collection of the second half of the 18 ofthe half second the of collection private largest the possessed Shuvalov Ivan Count Sergei Sherbatov, Sergei Oleg Neverov, Oleg hard to say. true passion and interest and to what extent it was showing off, bragging and desire to epaterwas in part snobbish, in part sincere but not profoundly cultural…To what degree it had to do with 138 Some contemporaries criticised Moscow merchant collectors for their for collecting collectors merchant Moscow criticised Some contemporaries Great Private Collections of Imperial Russia 139 Khudognik vushedshey Rossii 3.2. Art Collectors in Saint-Petersburg Collectors Art 3.2. (An artist in Russia) gone (Moscow: Soglasie,2000), 31. (London: Thames & Hudson, 2004), 12. th century which 140 th Prince 51 CEU eTD Collection of of Italian, AustrianandFrench Dutch, (17-19 by enlarged four generationsof family.the gallery works The Sheremetev picture included and consequently theGreat was Peter in of times (1652-1719) Sheremetev Petrovich collectors 17 collectors 142 was sold out in1817-1818. 141 beginning 19 the of 18 wasFrench endof the the school of of pride collection the Yussupov.The Borisovich IIby in of Nikolai formed wasalsotimes Catherine its core collection, Yussupovs school modestly Rubens, vanDyke),whereasFrench was represented. (Rembrandt, represented well were schools Flemish and Dutch Tintoretto), Bassano, about one third of which constituted artists: European of works west up of the was made his of time.collection His collections works by Italian masters thelargest oneof in amassing It resulted Catherine II. of époque in the his collection of High Renaissance (Sarto, was Sergei Grigorevich (1707-1756). HisStroganov Alexander son Sergeievich continued collection Stroganov the of founder The Sheremetievs. the and Yussupovs the Stroganovs, the of those ranked nobility Saint-Petersburg of collections family famous most the Among collecting. art to lives their dedicated aristocracy Russian of manymembers approach individual and enthusiasm passionate impeccable Demonstratingart dealers taste, with European and artists. stay visit contact in to travel, and exhibitions hadopportunity to to highly these educated and grandees, Highly diplomats ranked collections. remarkable together collecting putting in art involved became they So in Russia. collecting art of – epicentre the court the to close Alexander (1751-1809), Count many were andothers Sergeevich (1733-1811) Stroganov AlexandrMikhailovich Golitsin (1723-1807), See more in: N. Polunina, Collectionof West-European art of Alexander Golitsinwas assembled along with that of the Hermitage. It th -beginning 20 th century. The art collection of the Sheremetevs was initiated by by Boris initiated was the Sheremetevs of collection art The century. th Kollektsionery Rossii 17-nachalo 20vv.: entsikolpedichesky slovar century: encyclopaedia) (Moscow: RIPOL classic, 2005), 370. th century) masters. Italian and Dutch schools 141 Count Nikolai Petrovich Sheremetev Nikolai Petrovich Count 142 As for the for As (Russian 52 th CEU eTD Collection including apainting“Madonna” by Simone Martini; restof the his collection was atsold out Hermitage, the to his from collection pieces gavesixteen hisheirs After his death collection. from his of anumber Hermitage pieces donate histo the endIn the ready he lifeto of was of becomparedhis ancestors-collectors. tothat not could activity scaleof his collecting the in Italy and was a well-known art-connoisseur and assembled his collection there. However, lived (1829-1911) Sergeevich Stroganov Grigory last of Countof collection owners the the One itpublication. WarbutWorld Iprevented collection of acatalogue their also prepared Alexandrovich hissister Olgaopen or decidedto their for palace general public. intact. ancestors from thatthey keepinginherited their of collections anything the great possessions, their paintings to add to their 1900.Brothersépoques around Sheremetievs Sergei buy Alexander– didandnot any collection at the enlargedfastastheywereinprevious not of familyThe as were collections nobility old the turn of the century. However, they did not sellPetersburg offeringintoinsight tastes nobility. of Russian till 1917 146 imeni A. S. Pushkina, 1995), 25. “Vipperovskie readings 1994”, editionXXVII) (Moscow: Gosudarstvenny muzey izobrazitelnikh iskusstv konferentsii “Vipperovskie chteniya1994”, vypusk XXVII in art”), of West-European collectors the 145 the others. paintingsthe were taken tovarious museums of the Country,such as Hermitage,the the Russian museum and Some of the mansions and estates of the Sheremetievs were tuned into museums after the revolution. Soon allMuseum of Fine Arts in Moscow and the others. paintings from thisdepartment were taken to Hermitage,the Russian the museum, the Tretyakov gallery,the 1919 and in itwas turned into departmenta of Hermitagethe in museum in 1924. Though very apalace-museum soonall the declared was mansion Stroganoff the 1918; in nationalized was collection Stroganoff The 144 143 schools. all more fully to other compared were represented an exhibitionan catalogue) (Saint-Petersburg: Slaviia, 2003), 48. Stroganovy: metsenaty ikollektsionery: katalog vistavki – Sheremetievs (“The zhivopisi” zapadnoevropeiskoy sobirateli – “Sheremetevy Rakin, V.A. in: See more Afterthe Russian Revolutionof 1917 great private collections of the Russian nobility seized theirexistence.See more in: Ibid., 464-76 144 and served as perfect example of art collecting within the aristocracy of Saint- aristocracy the within collecting of example art served asperfect and 145 At the same time, in At samethe time, 1914 one of CountSergei Stroganovs, the Chastnoe kollektsionirovanie v Rossii: materialy nauchnoy (Private collecting in Russia: conference materials conference Russia: in collecting (Private (The Stroganovs: the patrons of art and collectors: and ofart patrons the Stroganovs: (The 143 All survived collections three 146 They 53 CEU eTD Collection 147 collectionslargest of andmost famous The determined private creation. that tendencies their underline to and collections such of overview an give to essential seems It money. little collectors as the art market of Saint-Petersburg was overfilled and offered a lotfor relatively different as intelligentsia, officials, students merchants, soldiers, and around 1900.People from strata of collecting such socialwith art popularity gained nobility, of people status, thedifferent private society, the with associated traditionally was collecting Saint-Petersburg though Even family. even noble the to belong necessarily not did ofin Saint-Petersburg collectors Russian However, the most modest means,Romanovs. were ablePetersburg to becomeSaint- for true was collecting in art from private and imperial of interrelation theintimate Close, first days of the of Saint-Petersburg. and Imperial by tastes culture was inspiredthe of character collection city as the capitalYussupovs, kepttheirtreasures in the Sheremetevs) the theirmansions art inMoscow, of the Empire till viewsinterests.even and many So, though noblethe of ofRussia connoisseurs (the the fall of the imperial to them tastes of by touch as aristocracy the theirwere predetermined political had aristocracy Russian of collections Moreover, elite. European the partof constituted elite Russian as context international the in seen be also should activity Their Country. their importantly, asbeing they beneficialtheir activity for notregarded only for themselves but In this sense, for Russian nobility art collecting was more than personal pleasure. Most serve publicgoals. collections to their private wanted nobility the that demonstrated death his after right Hermitage the to collection his inofyears. auction the acouple Ibid. 147 The fact that his heirs donated some of the works from 54 CEU eTD Collection Ostade, Terborch, Teniers, van Dyke and the others. the and vanDyke Teniers, Terborch, Ostade, works by the Netherlands School and Dutch masters, such as Breugel, van Goyen, Molenar, Petersburg”), 150 (Petrograd, 1917). 149 Hermitage”), 148 Hermitage. the to went collection his from paintings six forty aconsequence as and museum the of collection Hermitagechoose paintings wasgivenhis add permission histo the from to to collection the will his to according 1916 In masters. English and German French, Flemish, Italian, old Vladimir Zurovcollected Pavlovich masters. predominantly Healso Dutch old of had works briefly. bureaucracy Russian of collections art to characterise isit ofinterest In this sense, case. in this collection Yussupov the ones, aristocratic tothe as opposed capital the allow us to deduce more information about the character they as of non-aristocratic attention special art collection deserve Delarov and in Semyonov-Tian-Shansky of those type, this among his contemporary fellow-collectors among fellow-collectors hisof A. contemporary asonlytheYussupovs,Saint-Petersburg I. portraitby Romney George and alandscape byGeorge Morland. Itdistinguished Uteman furniture.by French and masters he works However, some among a Dutch possessed foronly Russia but forEurope”. not significance great “…of was Benois, of opinion in the nevertheless, small, relatively Alexander Benois, “Sobranie F. F. Uteman v Sankt-Peterburge” (“Art collection of F. F. Uteman in Saint- in F. Uteman ofF. collection (“Art v Sankt-Peterburge” Uteman F. “Sobranie Benois, Alexander Sobranie kartinV. A. Shchavinskogo: katalog D. A. Shmidt, “Dar V. P. Zurova Imperatorskomu Ermitagu” (“Gift of V. P. Zurov to the Imperial Starye Gody Starye Starye Gody 148 Chemist by profession Vasiliy Aleksandrovich Shchavinsky collected Shchavinsky Aleksandrovich Vasiliy by profession Chemist 3 (1916):24. 4 (1908): 181. 150 Uteman collected mostly pieces of applied art and (Art collection of V. A. Shchavinsky: acatalogue) 149 Collection of F.F. Uteman was . 55 CEU eTD Collection (Saint-Petersburg: TipografiyaE. E.Novitskogo, 1906). 154 153 famous for a number of outstanding works of English masters of the 18 of the masters of English works of outstanding a number for famous 151 Vsevologsky Khitrovoand A.Z. and the core of his collection was already formed by the beginning of the20 of beginning bythe formed already was hiscollection of core the and hisinCommunicationsstarted in the of collecting activity end He 1880s Saint-Petersburg. Pavel worked Viktorovich (1851-1913) Delarov as ina lawyer Ministry the of 1900. around famous andmost largest were the collection their as attention deserve special Semyonov-Tian-Shansky Piotr and Delarov Pavel Saint-Petersburg of collectors the Among Petersburg”), 152 Khitrovo”), Z. A. Kollektsionerov past. of the antiquarians and (“Collectors Khitrovo” Z. A. proshlogo. antikvary i “Sobirateli Lazarevsky, I. in: See more collection. Hermitage of the part became paintings his all collector the was not typical to collect English masters in the beginning of the 20 Reynolds, Rayburn, Romney, Lawrence, Hopner and some others. His collection was unusual forits time as it centuries. In the opinion of in“therecenturies. 1912, hispaintings In was of Trubnikov, studied who opinion the schools by of 15-19 all European sculptures and paintings, comprised drawings collection Flemish, Dutch, French, German and Spanish schools (15-17 Italian, by paintings two sixty seventy two represented second part catalogue; part of the first in the appear inRussia worked who masters foreign and artists Russian sixty hundred resulted in publication of hundred of catalogue the his two thirty collection: by works one connoisseur”. an art but collector, art an and art of lover a passionate only “…not was he that Fabricius about wrote Shchavinsky Fabricius. Platonovich Mikhail official a tsar’s engineer, a military to belonging was by thecollection Large innumber ofartists made Russian and European old and works century. M. P. Fabricius, “M. P. Fabricius. Nekrolog” (“M. P. Fabricius. An obituary notice”), Alexander Zakharovish Khitrovo was a privy counsellor at the Russian court whose art collection was collection art whose court Russian the at counsellor privy a was Khitrovo Zakharovish Alexander Alexander Benois, “Sobranie F. F. Uteman v Sankt-Peterburge” (“Art collection of F. F. Uteman in Saint- in F. Uteman ofF. collection (“Art v Sankt-Peterburge” Uteman F. “Sobranie Benois, Alexander 152 Starye Gody 6-7 (1923): 30. Kartiny Sobraniya M. P. Fabricius 4 (1908): 182. 151 possessed atthe beginning masters byEnglish 20 the of 153 His collecting activity that lasted for thirty lastedforyears thirty that His collectingactivity (Paintings from the collectionof M. P. Fabricius) th century. In 1910 according to the will of th Starye Gody Starye century such as Geinsborough, th century). 7-8 (1915): 116. 154 th century. His century. Sredi 56 th th CEU eTD Collection Netherlandish and Italian art. 162 collectors. 161 Gody”. “Starye magazine of anart publication to articles by writing a lot Contributed 1906. since a museum in curator 160 159 158 beginning 20 In the opinion ofhis is possession very surprising for acollector of his level. Vrangel,neglected systematic approach to storing his collection and did not classify the paintings in criticart works highlighted by Giordano, Jordaens and Snyders. Benois Delarov’sstudy alsowork full visited large at sizedwith paintings,among which an memoirs: in his impressions his about wrote and house collector’s the visited Benois masters. byRussian thousandpiecesfive outof two counted hundredwhich werepaintings by activity beginning of 20 the the 157 156 imeni A. S. Pushkina, 1995), 53-54. “Vipperovskie readings 1994”, editionXXVII) (Moscow: Gosudarstvenny muzey izobrazitelnikh iskusstv “Vipperovskie chteniya 1994”, vypusk XXVII in Korsakov”), Ivanovich 155 hiscollection. for newpieces for seeking dealersof capital the clothes main the for Delarov buildingsource of uphiscollection: hevisited every day all old- had a lotto offer an to art collector at the époque so along with European auctions it became characteriseany époque”. school any and material to Ibid. Nikolai Vrangel, “Pavel Viktorovich Delarov,” Viktorovich “Pavel Vrangel, Nikolai Baron Nikolai NikolaivichVrangel (1880-1915) – an art historian, specialistRussian in art.Worked as a Ibid., 325. Benois, Alexander N. Polunina, N. Ibid., 53. Alexey of ageneral (“Collection Korsakova” Ivanovicha Alexeya generala “Kollektsiya P. Bannikov, A. toilet! bedroom weremerits! The walls not only of the living room, the study and the dining-roomcovered. but also of the proper museum…but how messy was it arranged! all And what amedley of schools,époques and PaintingsI was amazed by Delarov’s collection, of which I have heard so much. Quantitatively it was a hang over children’s beds, in the corridors and even in the 157 161 158 Delarov’s collection was well-known with the contemporaries. Alexander th century: encyclopaedia) (Moscow: RIPOL classic, 2005), 146. He was also known with contemporaries as an art connoisseur of the Kollektsionery Rossii 17-nachalo20 vv.: entsikolpedicheskyslovar Moi vospominaniya Chastnoe kollektsionirovanie v Rossii: materialy nauchnoy konferentsii 162 160 Hedeliveredlectures in brilliant Institute the of of Fine Arts Delarov was one of the most prominent Russian art (My memoirs), Vol. 2(Moscow: Nauka,1980), 324. th (Private collecting in Russia: conference materials century his collection century paintings andof sculptures Starye Gody Starye (March, 1913): 62. 155 The art market of Saint-Petersburg 159 The fact that Delarov Thefactthat (Russian collectors 17 156 As a result of his th - 57 CEU eTD Collection Kuteinikova (Saint-Petersburg: Institut zhivopisi,skulptury i arkhitektury, 1992), 54. Znatochestvo, kollektsionirovanie, metsenatstvo series of articles about Delarov’s collection Delarov’s about of series articles in Russia. reluctantly hiscollection he reason showed why the was this that explained Delarov view. in his unknown, almost was Country his in collecting it acquiredin hewould seekfornot abroad, Russia scientifically-grounded piece as than in Russia. The collector complained that if he needed a word of advice on a newly 168 historians. placeexhibitions that Haguewhere took inLondon,Berlin by studied and they art were various for paintings his gave Delarov collection, his of value artistic high of aware Being very soon he was nolonger trusted in the circle of collectors. often exchanging them or soatsellingrestorer, certain gettinghepoint started of rid paintingsthe with doubtful ascriptions to other collectorsof an art collector was dubious. Delarovas considered himselfgenuine beto great art connoisseur and a masterpieces.abroad. inAtthe samenot but only hisreputation Russia time, connoisseur wasrecognised As a result, offered to the state but neither the Hermitage nor different public funds or organisations did organisations or public funds differentnor neither but Hermitage the state the offered to of collector’s death. In1913 Delarov’s heirs sellhis decided to collection.it First, was 167 Brullov and a book about the Imperial Hermitage. abouttheImperial andabook Brullov ʋ 166 165 164 Kuteinikova (Saint-Petersburg: Institut zhivopisi,skulptury i arkhitektury, 1992), 54. Znatochestvo, kollektsionirovanie, metsenatstvo 163 worked. others and the Lipgart Kurbatov, Count V.P. Zubov where the best arthistorians theof time such as Benois, Vrangel, Shmidt, A.P. Bannikov, I. Lazarevsky, “Po povodu” (“On the occasion”), Nikolai Vrangel, “Prodaga sobraniya P. V. Delarova” (“Sale of P. V. Delarov’s collection”), V. Delarov’s P. of (“Sale V. Delarova” P. sobraniya “Prodaga Vrangel, Nikolai Ibid., 52. Ibid., 53. A. P. Bannikov, 11,1913): 47. 166 Delarov preferred to establish contacts in the world of collectors abroad rather abroad collectors in of world the establishcontacts to Delarov preferred “Kollektsiya P. V. Delarova i ee sudba” (“Collection of P. V. Delarov and its fate”), in “Kollektsiya P. V. Delarova iee sudba” (“Collection of P. V. Delarov and its fate”), in (Connoisseurship, collecting, patronage of art) (Connoisseurship, collecting, patronage of art) 163 168 Sredi Kollektsionerov Delarov wrote an article about Russian artist but this plan was never accomplished because never accomplished butplan was this 164 His authority of an outstanding an of authority His 165 ( ʋ 167 1, 1922): 37. Benois wanted to write a , , Starye Gody ed. N. S. ed. N. S. 58 CEU eTD Collection 173 (Sankt-Peterburg: Gosudarstvenny Ermitag, 1995), 34. 1703-1917: Tezisy dokladov konferentsii the pictures by West-European masters from P. V. Delarov’s collection”, in 172 171 Kuteinikova (Saint-Petersburg: Institut zhivopisi,skulptury i arkhitektury, 1992), 55. Znatochestvo, kollektsionirovanie, metsenatstvo (Newtonville, Mass.: Oriental Research Partners, 1980). 170 ʋ 169 findbuy notmoney to unique this forcollection Russia. when he went to Switzerland, Italy, Germany and France to study andgeology. France to Switzerland,geography and Italy, when hewentto Germany Semyonov-Tian-Shansky became interested in during hisart firsttravel (1853-1855)abroad committee, who did alot for development of Russia. of statistics the adirector and societies, scientific andforeign Russian forty more than member of Asia,honorary an explorerof Central an Society, Russian Geographic a head of an art connoisseurbut as a scientist-naturalist, ageographer, a permanent vice-president and Shansky (1827-1914).ChieflySemyonov-Tian-Shanskyisas an knownnot collector andart Semyonov-Tian- Piotr to belonged value artistic of equal collection outstanding Another museums of Amsterdam, Berlin,Warsaw, New York, Madrid and some others. was lostfor Russia A forever.number of from works his collection can befound in in to France Saint-Petersburg. recommend weresold totake Russian school Paristaken beto tosold in ninety intheauction nine April 1914; and paintings drawings of together masters. the with someMessina andFrench, Fragonard,name Boilley,Barbier Bouchet, to some and Robert just of works of EuropeanFlemish, Jordan,Ruysdael; Terborch, Hooch, Lastman, Goyen, Steen, masters Rembrandt, Teniers, as such masters, Dutch by Sneiders; which Italian, experts Mantagna, Bronzino,did not Fetti, Cambiaso, Guardi, See more in: Bruce W. Lincoln, W. Bruce in: See more See more in: P. I. Myagkov, “O kartinakh zapadnoevropeiskikh masterov iz kollektsiiIbid. P. V. Delarova” (“On A.P. Bannikov, Nikolai Vrangel, “Prodaga sobraniya P. V. Delarova” (“Sale of P. V. Delarov’s collection”), V. Delarov’s P. of (“Sale V. Delarova” P. sobraniya “Prodaga Vrangel, Nikolai 11, 1913):46-47. 170 The biggest part of the collection was estimated in one million franks and franks million in one estimated was collection the of part biggest The “Kollektsiya P. V. Delarova i ee sudba” (“Collection of P. V. Delarov and its fate”), in Piotr Petrovich Semyonov-Tian-Shansky: the Life of a Russian Geographer (Saint-Petersburg collectors 1703-1917: conference materials) (Connoisseurship, collecting, patronage of art) 173 169 The collection included paintings 171 Kollektsionery v Sankt-Peterburge Thus, remarkable collection remarkable Thus, , 172 Starye Gody ed. N. S. 59 CEU eTD Collection Semenov-Tian-Shansky, 177 in Saint-Petersburg”), in 176 Shansky as acollectorof Dutch art) (Leningrad, 1928), 2. 175 174 in Europe. masters Flamish precious collection which was ofconsidered the 17 to mainly be masters, the Flemish and Dutch of secondcollection his assembling on efforts his largestconcentrated collection of Dutch and His activity collectorstartedas an around art 1861and very soon fully collector the in art. interested deeply became Semyonov-Tian-Shansky Louvre, asthe such museums, European visited Having his life. of part became integral art when time This wasthe Tian-Shansky assembled his own. his assembled Tian-Shansky complete already existing Hermitage collection (that he was well familiar with), Semyonov- idea to itWith add to day.the one rather to but collection, Hermitage with the compete Rubens but lacking some workscollection differto from that of the Hermitage – rich inby works by Rembrandt, Van Dyckmany and of the smallhis Hewanted époque. the at affordable werequite whose works masters small Dutch Dutch masters. collect to chose he is why That He means. modes did relatively with person, not rich exceptionally want to not was Semyonov-Tian-Shansky Although, masterpieces. contain did collection his Indeed, by Fabritius.Boaz” Barent and in“Ruth grisaille byD. Tivart, the “Joseph Egypt” Lawrence”and byWillemdePorter, of St “theTorment van Aldewerelt, by Herman “The Concert” Stomer, byMathhias Coins” worksimportant cameintoin “An OldWomansuch Counting hiscollection the as 1870s collectorof Dutch art)(Leningrad, 1928), 2. 178 A Collector’s Taste: Dutch Paintings of the 16 "Sobranie Petra Petrovicha Semyonova v Sankt-Peterburge” (“Art collection of Piotr Petrovich Semyonov Petrovich of Piotr collection (“Art v Sankt-Peterburge” Semyonova Petrovicha Petra "Sobranie See more in: D. A. Shmidt, Piotr Semyonov-Tian-Shansky, D. A. Shmidt, th century. Semyonov-Tian-Shansky kak sobiratel gollandskoy zhivopisi Khudogestvennye Sokrovisha Rossii 175 http://www.codart.nl/exhibitions/details/1049/ As a result, by the end of his life Semyonov-Tian-Shansky formed Semyonov-Tian-Shansky life his of end by the Asaresult, Semyonov-Tian-Shansky kak sobiratel gollandskoy zhivopisi 177 176 Memuary The collection was of remarkable significance, for instance, for significance, remarkable of was Thecollection 178 Such determination Suchdetermination andverymodern was exceptional (Memoirs),Vol. 1 (Petrograd, 1917),252. th and 17 and th Vol.1 (1901): 119. Centuries from the Collection of Piotr Petrovich . Last accessed 18.05.07. (Semyonov-Tian-Shansky as a (Semyonov-Tian- 174 60 CEU eTD Collection Stasyulevicha, 1885, 1890). Petersburg: a supplement to “Vestnik Izyashnikh Iskusstv”) history of the Netherlandish art based on its examples kept in public and private collections of Saint- publichnikh i chastnikh sobraniyakhPeterburga: prilogenie “Vestnikuk Izyashnikh Iskusstv” 182 181 Gosudarstvenny Ermitag, 1995), 30. dokladov konferentsii of PetrovichPiotr Semyonov-Tian-Shansky”), in 180 Vrangel (Saint-Petersburg: O-vo zashchiti i sokhraneniya vRossiipamyatnikov iskusstvastarini, i 1914),14. Tian-Shansky as a collector”), in collector”), a as Tian-Shansky 179 holidays. on even rest without day a hours ten intensively worked In 1913 he was writing abook on the history of the Netherlandish Art. In spite of his age, he art. of works collecting on focused exclusively not was activity Semyonov-Tian-Shansky’s mail. by sent or train Saint-Petersburg thecatalogues by paintings weredelivered and by them post; to ordering as Muller and Mezing. some inwith dealers such art Amsterdam in correspondence was Semyonov-Tian-Shansky He bought some paintings using withoutboughtstraightaway collectors from services of a mediator. private with their help were works anumber of However, choosingcollection. hisart for for works searching Moscow them through markets ofSaint-Petersburg andvisitedfor hislot travel art Healso opportunity work. to a Semyonov-Tian-Shansky acquired of most in his as works in auctions the heEurope had an meantto serve publicfrom goal its very foundation. was thought own his in Semyonov-Tian-Shansky of collection private Thus time. the for collections publiques et privées de St. Petersbourg” in etprivées publiques collections deSt. 1885. lesnéerlandaise dans flamandeet et trouve Semenov hollandaise, lacollection qu’on autres desvolume entitled les peintres his ècoles after work sur “Etudes a two of publication death prevented himfrom finishing this Hisauthority work. was recognised by historiansart Piotr Semenov, Piotr Vasily Shchavinsky, “Piotr Petrovich Semenov-Tian-Shansky,” Petrovich “Piotr Shchavinsky, Vasily collection the on (“New Semyonova-Tian-Shanskogo” Petrovicha Petra o kollektsii “Novoe Sokolova, A. I. Vasily Shchavinsky, “Piotr Petrovich Semyonov-Tian-Shansky kak sobiratel” (“Piotr Petrovich Semyonov- Petrovich (“Piotr sobiratel” kak Semyonov-Tian-Shansky Petrovich “Piotr Shchavinsky, Vasily Etudy po istorii Niderlandskoy zhivopisi na osnovanii ee obraztsov nakhodyashchikhsya v (Saint-Petersburg collectors 1703-1917: conference materials) (Saint-Petersburg: 180 Pamyati Petra Petrovicha Semyonova-Tian-Shanskogo, Kollektsionery vSankt-Peterburge1703-1917: Tezisy , Vol. 1-2 (Saint-Petersburg: Tipografiya M.M. Tipografiya (Saint-Petersburg: 1-2 Vol. Starye Gody 182 Art collectors often Artsought ( ʋ 3, 1914): 59. 181 Unfortunately,his comp. Nikolai (Studies on the 179 61 CEU eTD Collection carefully systematised his collection systematised carefully Semyonov-Tian-Shansky publishedof acatalogue importantly,his Most collection. he paintings. nineteen hundred seven Petrovich Semyonov-Tian-Shansky) Petrovich Tian-Shansky often repeated one phrase: “Above all – system, system is all!”. – this “Above all system phrase: – system, one repeated often Tian-Shansky thoroughly. In this respect, his approach differed a lot from that of Delarov. Semyonov- (“Piotr Petrovich Semyonov-Tian-Shansky as a collector and a connoiseur of Dutch art”), in Dostoevsky, A. Dostoevsky, in art”), of Dutch A. connoiseur a and collector a as Semyonov-Tian-Shansky Petrovich (“Piotr 183 of Hermitage. in the collection the represented masters be could found inhis onehundred of collection,which out were not ninety this worksbelonged toSemenov-Tyan-Shansky;in by 1901 works hundredthree forty couldbe in found at beginningthe Saint-Petersburg of 20 the Around two painted thousand works by four hundredabout fifty Netherlandish masters famous Russian connoisseur of Dutch art and an art collector. with Tian-Shansky, Semenov of fiftycontacts years celebrated &Co” Muller “Frederick company In1911 Dutch of in waswell-known commercial Europe. circles The collector Hofstede deGroot,leadinghistoriansart whoappreciated Semenov-Tian-Shansky alot. and Bredius Abraham Bode, von Wilhelm with in touch was Semyonov-Tian-Shansky see his collection. who wanted to art in specialists the for opened always home was his and masters Dutch small of paintings attributing in Semyonov-Tian-Shansky of help historian and an art collector”), collection. in his work every of a photo took 188 painter; of a works the among in place its defined 187 Semyonov-Tian-Shansky”),in 186 in Saint-Petersburg”), in 185 184 his life and activity) (Leningrad, 1928),240. Shmidt, D. A. “Piotr PetrovichSemyonov-Tian-Shansky kak sobiratel i issledovatel gollandskoy zhivopisi.” L. Finogeeva,“Semyonov-Tian-Shansky – iskusstvoved ikollektsioner” (“Semyonov-Tian-Shansky – an art Semyonov-Tian-Shansky classified the paintings in his collection; studied every work in his collection, Petrovich Piotr of memory (“In Semyonova-Tian-Shanskogo” Petrovicha Petra “Pamyati Vrangel. Nikolai "Sobranie Petra Petrovicha Semyonova v Sankt-Peterburge” (“Art collection of Piotr Petrovich Semyonov Petrovich of Piotr collection (“Art v Sankt-Peterburge” Semyonova Petrovicha Petra "Sobranie Ibid., 241. Piotr Petrovich Semyonov-Tian-Shansky: ego zhizn i deyatelnost Khudogestvennye Sokrovisha Rossii Pamyati Petra Petrovicha Semyonova-Tian-Shanskogo Khudognik , comp.Nikolai Vrangel (Saint-Petersburg, 1914), 5. 186 9 (1976): 31. 187 at the time when some museums did not do it so it do not did museums some when time atthe 185 Vol.1 (1901): 119. In 1914 the collector already possessed (Piotr Petrovich Semyonov-Tian-Shansky: Petrovich (Piotr 184 th century. About one forth of (In memory of Piotr 188 183 62 CEU eTD Collection collectorof Dutch art) (Leningrad, 1928), 3. 193 impossiblein 18 the be would which Saint-Petersburg leaving without masters English Italian, Flemish, Dutch, assemble of old to offeredcollections market Local them opportunities toothers. preference in school certain two or one in assembling specialise to tended collectors époque: any other in than more differentiated became collecting century nineteenth of end In the century. the toacertainbureaucracy even for beginningof true which remained the extent 20 the and by court formed wastraditionally collectors of Saint-Petersburg taste the In conclusion, level. modern idea”.“the Boston to gallery according Shansky, the (Studiensammlungen) special research department opened Hermitage the of Netherlandish School. Moreover, having acquired the collection of Semyonov-Tian- masters. by Dutch works of number largest the with gallery the became Hermitage the collection 192 191 (Newtonville, Mass.: Oriental Research Partners, 1980), 75. 190 (1910): 204. flatinhis hisdeath1914. till giftin 1910. a as themuseum hegaveto which engravings 3,500 of his collection Hermitage acquired 189 a million roubles. half constituted that for thecollection, cost half only price estimated The of the was owner. Hermitage agreed purchase itfor rubles to price of the which 250,000 byits was determined In 1910 Semyonov-Tian-Shansky suggested Hermitagethe tobuy his collection. The D. A. Shmidt, “Otradnie vesti iz Ermitaga” (“Good news from the Hermitage”), the from news (“Good Ermitaga” iz vesti “Otradnie I. V. Kozlov, Lincoln, W. Bruce D. A. Shmidt, “Novoe priobretenie Ermitaga” (“New acquisition of the Hermitage”), 192 Now museum demonstrated Now enlarged the collection evolutionthe the of 190 Piotr Petrovich Semyonov-Tian-Shansky,1827-1914 Semyonov-Tian-Shansky kak sobiratel gollandskoy zhivopisi According to the wish of Semyonov-Tian-Shansky, his collection stayed in stayed collection his Semyonov-Tian-Shansky, of wish the to According Piotr Petrovich Semyonov-Tian-Shansky: theLife ofa Russian Geographer 189 Along with Semyonov-Tian-Shansky’s collection of paintings the paintings of collection Semyonov-Tian-Shansky’s with Along th century. The most popular among the collectors remained old remained collectors the most among popular century. The 191 Contemporaries observed that after the acquisition of this of acquisition the after that observed Contemporaries 193 Thus the museum started functioning Thus themuseum started onthenew (Moscow:Nauka, 1991), 197. Starye Gody Starye (Semyonov-Tian-Shansky as a 7-9 (1910): 203. Starye Gody 7-9 63 th CEU eTD Collection contemporary developments in art”. developments contemporary Russia“…in in 1858-59: Petersburg artcollectionsSt. had alwayslagged behind 195 revolutionary Russia 194 special attention that has been traditionally attributed to them. hence,the its in own right, andtaste tradition of unity acertain andformed Petersburg in Saint- of collecting core the constituted nobility of the collections same time, the At the period. at the significant very collecting in were art efforts dealers whose and art know about were diplomats, soldiers, courtiers, officials, travellers, university professors we collectors the of Some day. one collection of public become part to collections private with their andhoped Imperial establishedthe Hermitage Most contact of collectors the and books articles.catalogues, wrote publishedart collectors period Art of at that time. inrather establishedbut networking. most was their own Collecting cases connoisseurship nobility the of collections ‘old’ the compete with not did intelligentsia of ‘New’ collectors ofmodern artcollections art. private significant boast couldnot asthe latter and Saint-Petersburg Moscow between difference influences”. latestthe European in in valued capital:the “…public acity which painting remainedold-fashioned taste oddly of collectors by neglected was art Contemporary taste. their conservative to corresponded that collectors, Saint-Petersburg with popular pieces most the were becausethey partly and could because Partly, inabundanceonthemarket, befound works these European schools. Oleg Neverov, Oleg Kean, Whitney Beverly Great Private Collections of Imperial Russia , rev.and updated ed. (London: Hodder &Stoughton, 1994), 24. French Painters, Russian Collectors: the Merchant Patrons of Modern art in Pre- 194 As Théophile Gautier truly observed on his travels in travels his on observed truly Gautier Théophile As 195 In this sense, the subject of collecting constituted the (London: Thames & Hudson, 2004), 159. 64 CEU eTD Collection Vol.1 (Saint-Petersburg, 1866). of 19 196 family: aset of their biographies, documents and letters to them of the Russian rulers from 16 bumag, s prisovokupleniem pokolennoy rospisi predkov knyazey Yussupovikh s 14 veka gizneopisaniy ih,gramot i pisem k nim rossiiskikh gosudarey s16 do poloviny 19 veka drugikhi familnikh the right feel of the époque. and openness them from demanded that reality new the Country; the of reality artistic new tothe adjusted Yussupovs, suchasthe Russian collectors, theway demonstrate traditional life of Russian society as a wholestage of atits developmentthe turn and aim to defineof itsthe role incentury. the life of the family andThe in the to artisticthe lastaim days of its existence,of Ifocus on the analysesthis of history of the collectionchapter on the last is to its of fate from foundation the Tracing collection years activity.the hundredits of collecting one more than over family amassed Yussupov thatthe collection art for remarkable the also family not knownin RussiaandinEurope was onlyfor service their good tothestate, but traditionally the loyal tsarsandfaithfully Russian served to Country.their mines and factories, by adistillery of beginning the 20 the asaw-mill, brick textile plants, of andownedbeet-sugar, seventeen Country, provinces the oldest noble families in Russia and hadthe private largest landin possessions Russia, in the place of the Yussupov s among them. The Yussupovs belonged to one of the richest andin highlighting thus it, werecharacterised of époque the leading collectors the Petersburg; and Saint- in Moscow collecting of art an overview represented chapter The previous See more about the family and their service in: Nikolai Yussupov. Nikolai in: service their and family the about See more th century and other family papers, with signatures of ancestors of Princes Yussupov of 14 4. The Yussupovs –the Family of Collectors O rode knyazey Yussupovikh: sobranie th century. The Yussupovs were (On the Yussupov 196 However, this However, th till the middle th century) , 65 CEU eTD Collection 199 Petersburg. Saint- in manufacture oftapestry charge in was and factories, glass and porcelain for responsible was theatres, of Fine Arts”. Nikolai Borisovichwas appointed the director of the Hermitage; he also administered the activitiescourt as a courtier had something to do with the arts so that he was considered to be a kind of “a minister 198 197 interested much very became Nikolai his Prince stage of activity, first the started that travels his for neverrestrained. thepassion collectingDuring Yussupov, asoncearoused was world and make His commissions. grand tour must have beenvery inspiring forPrince years. initial firstpurchases hisduring trip the West in to undertaken 1774 andlasting three made isNikolai likely the Yussupov once of andfor all.charter collection family that the It court. agrandeecollection of (1751-1831), Yussupov Borisovich Prince Nikolai Russian the was for analysis its of history last on stage itsof development, around 1900. Thefounder of the Good understanding of different stages of assembling the Yussupov collection is essential in collection did not change considerably over the years. of the character the established, once Though composition. its greatly affected fact this immediate process of building long and Yussupovcollection not upthe was relatively and by known for “allits luxury, contemporaries riches fineand wonders of arts”. inwrote herlifetime memoirs publishedin1894 her Yussupovs’during the that house was see thecollection, to who hadachance Kamenskaya, fame. Countess valueand special wasof collection art family’s the Yussupovs, of the in possession treasures the Amidst Oleg Neverov, Oleg Prince Nikolai Yussupov was charged with different responsibilities at the court. And almost all his M. Kamenskaya, 198 199 His taste in art combined with his understanding of art collecting determined the When in Europe, he got a chance to visit auctions, establish contacts in artistic the contacts visithe establish gotachanceto auctions, Whenin Europe, Great Private Collections of Imperial Russia 4.1. The History of Development oftheCollection of Development The History 4.1. Vospominaniya (Memoirs) (Moscow: Khudogestvennaya literature, 1991), 249. (London: Thames & Hudson, 2004), 89. 197 The 66 CEU eTD Collection 202 (Saint-Petersburg: Beloe i chernoe, 1995), 174. the 20 the of beginning in the that So tsars. Russian the of that with be ranked to meant was collection collecting, Russian securedthisof passion emperors, The position. Yussupovprivate butstandingundoubtedly very interestedin securing they court.Art atthe their position high social acquired Yussupovsthe hadalready the Great of Catherine By activity. time the collecting tsarist the of impression strong the under formed was collection Yussupov drawings,underlinesculptures, itis In to andrareprints. the sense important this that paintings, west-European of collection awonderful amassed he time short a relatively For forforgetmatters nothis Russian royalty, Borisovich hedid gallery. ownprivate Nikolai for galleries of the andin Hermitage,Gatchinathe andPavlovsk, acting asan agent artistic Houdon. Jean-Antoine and Greuze, Jean-Baptiste Robert, Hubert Vernet, Claude Angelika Joseph Hackert, PompeoPhilipp Kauffmann,artists Jakob Batoni, suchas European Together grand they tour. visited thestudios of famous mostthe contemporary Nikolai Yussupov accompanied in 1782, Prince toassistassemblingthecollection tsars.In the of couldfind in Europe the heir to the thrown, Paul, and his wife Maria on their 201 (Chicago: Art Institute of Chicago; New York: Metropolitan Museum of Art, 1990), 18. 200 the best” Princeletters, Russian his“bring throne,Paul.expresses Yussupov sincere desire In all to the to heir the son her and Great the Catherine with correspondence in was Yussupov Prince by those of the empress, Catherine the Great, an avid collector herself. In this period of time influenced and fostered have must beenconsiderably interest inartandcuriosity His private Honoré Fragonard, nevertheless he appreciated the Dutch genre masters as well. andJean VanLoo, Boucher, buying byFrançois Carle French art, works in contemporary Oleg Neverov, Oleg T. A. Soloveva, From Poussinto Matisse: the Russian taste forFrench painting: aloan exhibition from the U.S.S.R th century is century there nohint on rivalry the Yussupovsof with the emergingthe new 201 of the artistic world to Saint-Petersburg. He bought the most excellent works he works excellent most the bought He Saint-Petersburg. to world artistic the of Great Private Collections of Imperial Russia Osobnyaki Yussupovikh v Peterburge (Mansions of the Yussupovs inSaint-Petersburg) (London: Thames & Hudson, 2004), 89. 202 Though buying 200 67 CEU eTD Collection 206 Musey 8: Khudogestvennye Sobraniya SSSR “Arkhangelskoe””), of museum-estate collection the from art ofDutch Catalogue (“A “Arkhangelskoe”” 205 (Saint-Petersburg: Beloe i chernoe, 1995), 179. to the works of contemporary painters including Mengs, Demarne and works including Boilly. to the of painters contemporary in LeBrun, and la de Boulogne, Hyre) school Valentin addition (Poussin, Bourdon, Claude, French the and Dujardin) and Wouwerman, Potter, Bol, (Victors, school Dutch the Ricci), Italian school Domenichino,(Titian, Correggio, Albani,Furini, Caracci,Schedoni and of these,masters about oldReimers talks inhis In the von addition to Rembrandt acCount. Reimers mentioned Cupidand Canova’s by Psyche,works andportraits Tiepolo two by description thorough of Yussupov the collection. 204 203 havecome around1900. up,wereto collection, later, professionally them to written popularisation collection the of together with toexhibit attempts from conscious works the at aimed activity the of Intensification age. the of spirit the to corresponded openness of level the yet, wide been have not must it of scale The on. reflected and seen was it that its earliest days of the collection’s existence it was not hidden away. There are evidences Rembrandt. by “An a Child” Man with Old Titian,maleby Velasquez, portrait to attributed Venice” were “Lying paintingsworks byVenixandof highestquality: two Domenichino, the notes. in his Bernoulli astronomerby as travel described collection Iogann a remarkable a German The first mention of the ofthetsars. collection to the Yussupov was meanttobeunrivalledYussupov collection andithas asamatch alwaysbeen perceived collection The anotherépoque. belonged to as this collection Saint-Petersburg of or Moscow collectors dates from 1778, when it was seen and Oleg Neverov, Oleg See more in: Lyubov Savinskaya,“Katalog gollandskoy givopisi iz sobraniya muzeya-usadby T. A. Soloveva, Ibid. 203 He wrote that the number of paintings in the collection was relatively small but all but small relatively was collection the in paintings of number the that wrote He 204 A few years later in 1802, a German traveller, Heinrich von Reimers, gave a Great Private Collections of Imperial Russia Osobnyaki Yussupovikh v Peterburge (1987): 204. (Mansions of the Yussupovs inSaint-Petersburg) 205 (London: Thames & Hudson, 2004), 93. Among the collection’s treasures, von 206 Thus from 68 CEU eTD Collection the helpthe noblesfrequently. like of Yussupovsless the But for the Yussupovs the the people towork on assembling their own collection. In the course of time the tsars resorted to neededtrustworthy by tsars,who very loved “amuch the connoisseur virtue” was an art arts,knowledgeable loving about itso much as grandeethat [Nikolai Yussupov]. few so werea there Italy around travelled who among those that said Ponyatovsky connoisseur. Having Yussupovseen the collection Polish king Avgust Stanislav art atrue was of Yussupovs the collector first the that fact proof of the best was the collection of Prince Nikolai Borisovich Yussupov) (Moscow: Khudognik i kniga, 2001), 37. 2001), kniga, i Khudognik (Moscow: Yussupov) Borisovich Nikolai of Prince collection 211 Vincent. Elizabeth François-Andrée Vigée-Lebrun Fragonard, and corresponded with many of them of many with corresponded he collection; enlarge tohisprivate and Robert Greuze Kaufmann, Vernet, Batoni, Hackert, as such time the of painters eminent the from commissioned Nikolai Prince time for Hermitage. the masters byRussian loggias copies Vatican of Rafael’s make from to was permission Pope the the Prince Yussupovwhoreceived Russian It tsars. asthe of collection the from samesources the he amassed his collection own so that royalty 210 Otkritiya. Pismennost. Iskusstvo. Arheologiya. Egegodnik 1989 to Prince N.B. Yussupov the (on history of collecting art in Russia,1770-1780)”), knyazu N. B. Yussupovu (kistorii kollektsionirovaniya v Rossii1770-1780h godov)” (“Letters of I. F.Hackert reveals more about his activity as a collector. See more in: Lyubov Savinskaya, “Pisma Ya. F. Hakkerta 209 208 (Chicago: Art Institute of Chicago; New York: Metropolitan Museum of Art, 1990), 18. 207 for six years. stayed Yussupov Russian wherehe totheambassador was appointed atTurin Kingdom Sardinia of in The next stage of collecting Borisovich 1783whenPrince Nikolai activity started of Yussupov. Borisovich Nikolai by earlier much made were direction in this steps first the However, “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova Oleg Neverov, Oleg and source interesting an represents Yussupov Prince and Hackert painter German the with Correspondence Ibid. From Poussinto Matisse: the Russian taste forFrench painting: aloan exhibition from the U.S.S.R Great Private Collections of Imperial Russia 207 He was very active there as a collector and as an art agent of the 209 and muchvery interestedwas in acquiring works by (London: Thames & Hudson, 2004), 91. (1990): 232-243. (“Uchenaya prikhot”: the 210 Pamyatniki Kultury: Novie Yussupov’s activity 208 At the same 211 Being 69 CEU eTD Collection 215 1981). Blagovo) (Leningrad: Nauka, 1989), 170. Blagovo See more about Arkhangelskoye in: L. Bulavina, V. Rapoport, and N. Unanyants,Yussupov. accommodated inthe Moscow mansion and Arkhangelskoein (the biggest part) by Nikolai Borisovich Napoleon the biggest part of his already well-known collection was transferredYussupov to bought ArkhangelskoyeMoscow estate,situated and notfrom farwas Moscow.Very soon after thewarof 1812 with situated on Fontanka riverembankment. 1810 In after the return from lasthis travel toFrance,Prince 214 Khudogestvennye Sobraniya SSSR Arkhangelskoe”), of museum-estate collection the from art ofDutch Catalogue (“A Arkhangelskoe” 213 212 painter. favourite Napoleon’s Antoine Jean Gros, Vernet,andBaron Horace Léopold Boilly, mastersFrench such Jacques-Louisas David, Pierre-Paul Prudhon, Nicolas Taunay, Louis- hiscontemporaries, of works the with fascinated he became Paris where to He traveled his collection. of expansion dedicate tothe more to time serviceandhad from state retired in 1801 whenhe Nikolai started stage Yussupov The lastPrince activity of collecting of the 1900. around certain family and social tradition andonce forall.And it was not subdued toany change was a within established sametime,Atthe their taste hereditary. became connoisseurship artists livingin Russia. auctionscollection atthe andacquiring andlotteries paintings buying from them foreign collecting: Yussupov – Elizavetain Yankova wrote hermemoirs Yussupov’s about forpassion Nikolai Prince of contemporaries the of One house. the of guests the for and circle his Quoted from: Quoted From 1791,From for aboutfifteenyears, the Yussupov’s collectionwas kept in Saint-Petersburg in the mansion See more in: Lyubov Savinskaya,“Katalog gollandskoy givopisi iz sobraniya muzeya-usadby Oleg Neverov, Oleg collection, unless the Sheremetev’s one. Sheremetev’s the unless collection, Arkhangelskoye in gathered and he things good and expensive different and bronzes marbles, paintings, He loved (Grandmother’s tales: from the memoirs of five generations written and collected by her grandson D. grandson by her collected and written generations offive memoirs the from tales: (Grandmother’s 212 When not on a move,in Russia,Nikolai enlarge Yussupov continued to his Rasskazi babushki: iz vospominaniy pyati pokoleny zapisannye i sobrannye ee vnukom D. Great Private Collections of Imperial Russia 214 so many rarities, that no otherprivate collectionin Russia could equal his 213 When in ofhishouse When Russia,thedoors for wereopened people of (1987): 205. 215 (London: Thames & Hudson, 2004), 93. Arkhangelskoe (Moscow, Musey 8: 70 CEU eTD Collection biography of N. B. Yussupov the younger) (Moscow: Kompaniya Sputnik, 2003), 6. his ancestor. inFrench. gallery private picture the Yussupovs realised the importance of artistic education for their children. Artimportance for Yussupovsthe ofartistic theirchildren. education realised the notneglectstudies seriously…do in your art ofleisure”. hours Saint-Petersburg University,in one ofhis “I letters: am very you that yourcontent take his of to son wrote a student Nikolai,son. Hisfather, Nikolaievich Boris Yussupov, Prince lovein fostered in of parents only art their Nikolai’s interest astronger art. demonstrated musical instruments (his collection violinscomprised byAmati, Stradivari and Gvarneri) musician, a composer who was well-known for his love of music and his collection of Yussupov.hisyounger Borisovich However, sonNikolai an (1827-1891), the amateur From 1830-40s there werenonew acquisitions madeby Boris Prince Nikolaievich collection. the of existence of end the till true remain will 221 (Saint-Petersburg, 2002), 359. kollektsii collectionof Princes Yussupov”), in 220 216 purpose. this for built gallery in aspecial it accommodated and Arkhangelskoe embankment river Moika on situated his palace to Saint-Petersburg back to estate Arkhangelskoye 1849) inherited hisfortune. In 1837 Boris moved the gallery andfrom Moscow After death the of Nikolai hisYusupov onlyson Prince Nikolaievich Boris Yussupov (1794- the collection of museum-estate Arkhangelskoe”), of museum-estate collection the “Katalog gollandskoy givopisi iz sobraniya muzeya-usadby Arkhangelskoe” (“ACatalogue of Dutch art from of the Yussupovs and in their family estate Arkhangelskoe in 1827. See more in: Lyubov Savinskaya, sketches of 520 his paintings and 290 sculptures and other works that could be found inthe Moscow mansion in the first catalogue of the collectionconsisting of three big albums comprising outline pen-and-wash 219 gallery. 218 l’hôtel deson Excellance, àSt. Petersbourg (Saint-Petersburg, 1839). 217 Quoted from: I. V. Nikiforova, V. I. from: Quoted Ekaterina Maslenikova,“Sudba khudogestvennogo sobraniya knyazey Yussupovikh”(“The fate of art See more in: G. I. Sveshnikova, ed. The result of the fifty yearperiod of collecting activity of his father, Prince Nikolai Yussupov, was reflected In his catalogue Boris Nikolaievich indicated not only eachpainting itself but the place where it hang in his dans se trouvent qui etporcelains ivories marbre, tableaux, les contenant Youssoupoff, Prince du Musée (Yussupov palace: mansions of the nobility: history of the family, of the estate and of the collection) 216 In 1839 the new owner of the collection published the first catalogue publishedthe collection the of newowner Inthe 1839 219 Socontinuity of certain traditions was characteristic for this family. And this Materialy biografii knyazya N.B. Yussupova-mladshego Yussupovsky dvorets: dvoryanskie osobnyaki: istoriya roda,usadbi i Yussupovsky dvorets 218 In this Boris Nikolaievich continued the beginnings of continued the Nikolaievich Boris this In Musey 8: Khudogestvennye Sobraniya SSSR (Yussupov palace) (Saint-Petersburg, 2004). 221 So it cannot be denied that (Materials on the (1987): 205. 217 of his of 220 71 CEU eTD Collection (Saint-Petersburg: Beloe i chernoe, 1995), 186. predominantly butoriginal of by works art, middlethe of 19 the collection of Prince Nikolai Borisovich Yussupov) (Moscow: Khudognik i kniga, 2001), 62. 2001), kniga, i Khudognik (Moscow: 224 Yussupov) Borisovich Nikolai of Prince collection 223 (Saint-Petersburg: Beloe i chernoe, 1995), 185. 222 in years. previous as high not of came gallery was at this period tothe art that works andthe quality of the choicemade happened the of by paintingsandZinaidathe wasoften sothat random Nikolai Undeniably, numberof the paintings inthe collection atthe augmented time. Thoughit such as Shchukin, Brullovof the 19 and Ayvasovsky art West-European tothe dedicated gallery the of newsection the mother, his and Yussupov started to be time. of masters the best be the to considered represented in theMaysoniet, collection Izabée,largenumber of of masterssuchworks contemporary European Trouyon,as Corot, Rotman,a theybought of Thus time. period in ashort extent a great to collection the 1893) enlarged Guden, Boner,From deathof the 1849 after his father, his Prince Nikolai mother ZinaidaIvanovna (1810- di Asa and many otherto serve public goals finally. painterswas choice private this that demonstrates century the of turn the at activity Yussupovs the of who wereanalyses subsequent The rulers. the of initiative the with do to less and less had that choice (family) private exclusively transformedinto nobles of the for collecting motives this early pursue of fashion, desire to be closer toGolitsins, as Orlov Count whose collectingwell started activity thatof Yussupovsinthe theas ruler, to belong to the elite, seizedlinked longer tothat of of nobility, Many tsars. the the theShuvalovs,collectors such the as to exist. As collecting wasno art life.time private By that of anintegral theirpart private constituted T. A. Soloveva, “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova T. A. Soloveva, th century was established. This was the time when first works of Russian artists, ofRussian works first when time the was This established. was century Osobnyaki Yussupovikh v Peterburge Osobnyaki Yussupovikh v Peterburge 224 Atbeginningthe of 19 the (Mansions of the Yussupovs inSaint-Petersburg) (Mansions of the Yussupovs inSaint-Petersburg) 222 Due to the activity of Prince Nikolai th century, the collection consisted of consisted collection the century, (“Uchenaya prikhot”: the th century the character of character the century 223 72 . CEU eTD Collection collection of Prince Nikolai Borisovich Yussupov) (Moscow: Khudognik i kniga, 2001), 63. 2001), kniga, i Khudognik (Moscow: 227 Yussupov) Borisovich Nikolai of Prince collection 226 225 of the 19 What was Yussupov wastherole in of in itcollection middle Russia?Howreputed the developed later. be itwill activity of their artistic feature characteristic Being there. their collection promote West inin establish and to contacts the the fordevelop sphereof arts them and to it onlynatural was so aristocracy, theEuropean themselves with fully associated Yussupovs The collections. stand European among animportant took collection the again that fourpaintingsdescribed from Yussupov inthe hisbook, collection it. famebrought European to afewdedicated in pagestoit about his book which artcollectionsthe of Saint-Petersburg of one on best the Wagen,masters, Gustav old experts and sawYussupov collection museum,gallery of an of Berlin the art 60sthe Inthedirector of beginning the specialists. family tradition of showing their collection. It was collect,In this not only opened of butadheredperiod thecontinued Yussupovs to time another for the nobility as well as for art Yussupovs were guided by their own taste. quality of a work. First of allby theprice or always wasnot determined choice The pictures. best the issue of possessing they wanted to have copies of than an thematter pleasure of rathera aesthetic became collection indicated the that it Perhaps, works that they liked; the inartisticbought. no originals. paintings of Later some valuewere great 1850-60s the with along of collection the part constituted changed had andcopies collection the private collections of Count A. Stroganov, Prince A. Bezborodko, Count N. Sheremetev, N. Count Bezborodko, A. Prince Stroganov, A. Count of collections private Ibid. “ Ibid. Uchenaya prikhot”: kollektsiya knyazyaNikolaya Borisovicha Yussupova th century? By the middle of the 18 the of middle the By century? 226 Wilhelm Bodé, an eminent art historian timethe of Wilhelm an eminentart Bodé, th century Saint-Petersburg boasted anumber of boasted Saint-Petersburg century (“Uchenaya prikhot”: the prikhot”: (“Uchenaya 227 which proved once 225 73 CEU eTD Collection 4, (1900): 130. 232 catalogue) (Moscow, 1970). all traditions andfactors the willthat developmentdefine the of collectionthe 1900. around Yussupov itsand consequentdevelopment, both artistic and laid“social”, the foundation of sum initiated by To Nikolai establishmentBorisovich collection up, the of Prince Louvre and itcan with Potsdam compete in this”. the only Hermitage, the galleries public amongthe and collection, asin represented this “…indeed nowhere else in private possessions can one find it [Art of French school] so fully constituted considered French school. backbonethe It of Yussupov the collection: And in: N. T. Unanyants, school) (Leningrad, 1924). 73. 2001), kniga, i Khudognik (Moscow: 231 Yussupov) Borisovich Nikolai of Prince collection 230 (Saint-Petersburg: Beloe i chernoe, 1995), 179. by Yussupov. Nikolai created Yussupov collection century together with English and German masters of the 18 228 the quality of the works. time the inYussupovs’ rankedfirst numberof the paintings comprisedthat itas in well as historian,among manycollections In of a famousErnst, art the opinion the outstanding others. many and A Korsanov Mordvinov, N. Chernishev, I. Count Beloselsky, A. Count 229 Petersburg masters of 17-19 Quoted from:Alexander Benois, “Yussupovskaya galereya”(“Yussupov gallery”), See more in: Sergei Ernst. Sergei in: See more “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova See more about collectors, contemporaries of Nikolai BorisovichYussupov in: T. A. Soloveva, (Amsterdam, 2006). Osobnyaki Yussupovikh v Peterburge th century 150works); century (about Dutch and Flemish 17 the painters of Frantsuzskaya zhivopis v Arkhangelskom: katalog Yussupovskaya galereya. Frantsuzskaya shkola Frantsuzskaya galereya. Yussupovskaya 229 To sum (more To and masters than 200 works) up, Italian French (Mansions of the Yussupovs inSaint-Petersburg) 232 230 The heart of the collection could be could collection the of heart The th century formed the core ofthe core formed the century (French art in Arkhangelskoe :a (Yussupov gallery. French (“Uchenaya prikhot”: the Collectors in Saint- Mir Mir Iskusstva 13-24 Vol. 231 228 74 th CEU eTD Collection collection of Prince Nikolai Borisovich Yussupov) (Moscow: Khudognik i kniga, 2001), 64. 2001), kniga, i Khudognik (Moscow: Yussupov) Borisovich Nikolai of Prince collection 235 234 malignant influence and his assassination assassination of Grigory Rasputin on December16, 1916. See more Felix,in: Yussupov, 233 artisticof trends époque. the Yussupovs thetraditional how shows family collecting with activity corresponded new the the of activity artistic of history The standards. high artistic itset time same at the Group, popularisedArt by art exhibitionsarranging numerous magazines and publishing art of Worldthe trend theleading époque, the by of elite. Moreover, art cultural Country’s the from houses. These widely very private tendencieswerenewbutthe supported beginning Moscow merchants from collection Count Argutinsky-Dolgorukov. and private the Veyner, Benois of such gallery as a gift the to ascity Moscowof and the Museum of Old Saint-Petersburg wasformed Morozov importantlyhismost themselves.and in Thus gave art collectors among1892 Tretyakov the and Shchukin collectionprivate should orlater become sooner public popularity gained in Russian society exhibitedrespect, their it is worthcollections noting AnswersCountry? tothese questions revealthehistory of their activity. artistic In this that the last andthe Yussupovslife of Saint-Petersburg in theart events and latestin tendencies the to family react their lived in the time What constituted priority the activity in art the of Yussupovsthe around1900?Howdid the when the idea ever”. and thatever for look and around Walk a museum. a resembled house the that So numbers. in great itfilled of art “the works that with art treasures. Prince Felix Yussupov younger the Yussupov Felix treasures. Prince with art By the end of the 19 “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova Felix Yussupov, Felix Yussupov the younger is famous forinspiration, organisation and accomplishment of political 4. 2. Family Collection and the Yussupov’s Artistic Activity Around 1900 Activity Artistic andtheYussupov’s Family Collection 4. 2. Memuary th century, the Yussupov century, the palaceonMoika riverwas full embankment (Memoirs) (Moskva:Zakharov, 2004),55. (London: Jonathan Cape, 1927). 234 What was the collection for the lastowners? forthe collection Whatwasthe 233 (1887-1967)wrotein his memoirs (“Uchenaya prikhot”: the Rasputin: his 235 75 CEU eTD Collection 241 1924), xxi. 240 illustrated catalogue of the exhibitionof Russian portrait for 150years, 1700-1850) (Saint-Peterburg, 1902). 239 belonged toone of the best works of the master. Yussupovs the of Rembrandts two the that it on commented Benois that so embellishment, Teneers, Troost, Tiepolo, Gvardi, Lankre, Boucher, Hubert Robert, Louis-Léopold Boilly. name in1908:worksof Rembrandt, Claude deHoch, Lorenzo Lotto,Peter Lorraine, gallerythe for “Starye the exhibition magazine organisedby Gody” bearing the same the 238 collectionin 1902. seethe to Saint-Petersburg in mansion Yussupov’s the visited even Groot, de Royal Hofstede Cornelis of Amsterdam Museum, director the 1898, year of the exhibition Rembrandt of the organisers ofthe One Wilhelmine, au Muséede laVille à Amsterdam 8septembre –31octobre 1898 237 Saint-Petersburg in 1904) (Saint-Petersburg, 1907). ustroennoy v 1904 godu, v Sankt-Peterburge Petersburg in 1904.See more in: Prakhov,Adrian, objects from her family’s private collection forthe Historical Exhibitionof Objects of Art held inSaint- 236 exhibition heldin portraits by 1897; two forRembrandt wereofferedan anniversary Rembrandt for the benefit of the establishments under the patronage of Grand Duchess Maria Pavlovna” inexhibitions both Russia and abroad: Nikolaievna be from thepaintings to widely in family the gallery started represented Zinaida Under public. family tomakehercollection systematic attempts undertake (1861-1939), daughterof Prince Borisovich Nikolai firstamongwas the the Yussupovsto was happeningsociety that in of Russia atthe turn century.the Thus Zinaida Yussupova The Yussupovs didnotstay away from change ongoing the of role of a private collection in 1906, Berlin show of German art in of 1906, Berlin art 1906. show German portraits arrangedin palace” inTaurida “Russian exposition1905; on art” held inParis exhibition of Berlinin Secessionists 1903; on “Historicalthe artistic exhibition of Russian were displayedin exhibition “150the of years of Russian portrait” Ibid. Sergei Ernst. Sergei Podrobny illustrirovanny catalog Vystavki RusskoyPortretnoy Zhivopisi za150 let, 1700-1850 AlexanderBenois, “Yussupovskaya galereya”(“Yussupov gallery”), Rembrandt: Collection des Oeuvres du Maîtres réunies, à l’occasion de l’inauguration de S.M. la Reine 11 gave she example, For well. as art of objects but paintings only not exhibitions the for offered Zinaida 237 inorganised Amsterdam in 1898 and they considered tobeitswere Yussupovskaya galereya. Frantsuzskaya shkola Frantsuzskaya galereya. Yussupovskaya (Album of the historical exhibition of objects of art, arranged in 236 “Exhibition of “Exhibitionand of Ancient works art paintingsof Albom istoricheskoy vistavki predmetov iskusstva, 240 Zinaida Yussupova gave the best pictures of best ZinaidaYussupova gavethe 238 The from paintings Yussupovgallery the (Yussupov gallery. French school) (Leningrad, Mir Iskusstva (Amsterdam, 1898). 239 13-24 Vol. 4(1900): 146. in 1902; on the 7 (A (A detailed 241 76 th CEU eTD Collection Yussupov collection on the pages of “The World of Art” magazine being the first to state being magazine to the pagesof “The WorldArt” thefirst Yussupov of on collection the artistic elite of the time. In 1900 Benois had a chance to describe the core of the 242 Botkin, collection in press.Alexanderthe was Benois introduced to Zinaida Yussupova by Sergei the of popularisation the started actively who Prakhov Adrian and Benois Alexander as such critics art professional of attention the attracted collection The much. very contemporaries shows impressed the in The from exhibited Yussupov collection paintings the different Yussupovs.compared thatof the to significant less was activity exhibition whose Stroganovs, or the such Sheremetievs as the collectors, amongfamily old stand In other Yussupovs noble Russia sense,the this the out and Europe. Saint-Petersburg, of life art in the interest her demonstrates It before. known been never had Yussupovamany providedpaintings for major exhibitions of periodthe on such a scalethat as well. The century itmade as not theircollection onlyin well-known and public in butEurope Russia scale of exhibiting turn the of Exhibiting concernforcollection Yussupovsatthe the primary was of their activity of the Yussupovs was remarkableevent: the of said exhibition as Zinaidahundredin “One heldyears art” French of organisers inSaint-Petersburg of the 1912. The mentionedfor thehugeThe works masters of French wereoffered above the exhibition collectors 17 collectors 243 U.S.S.R Quoted from: Quoted See more in: N. Polunina, wonderful old traditions of the French school. French of the traditions old wonderful who are leaders, had oftenenjoyedRussia artistsgreater in reputationthan they deserved.It focused painterson rather who, in theirthe last century…Itover did notart focus ourof French attention time,on established development the academic represented or that salon painters, ofFrance whoopenedoutside exhibition first the was It new paths and still managed to preserve the (Chicago: Art Institute of Chicago; New York: Metropolitan Museum of Art, 1990), 23. 243 an eminent doctor and a passionate art collector, who was on friendly terms with th -beginning 20 From Poussin to Matisse: the Russian taste for French painting: a loan exhibition from the th Kollektsionery Rossii 17-nachalo 20vv.: entsikolpedichesky slovar century: encyclopaedia) (Moscow: RIPOL classic, 2005), 57. 242 (Russian 77 CEU eTD Collection collection by grouping them bymasters by executedcollection by. them they were grouping of Yussupov the paintings describedthe he of thoroughly Yussupov”, Treasures Princes 10 (1907): 177-85; 11 (1907): 191-204; 12 (1907): 208-23. 40; 3(1907): 46-51; 4 (1907): 62-71; 5(1907): 106-10; 7 (1907): 129-45; 8 (1907): 149-64; 9(1907): 165-74; Princes Yussupov”), 65. 2001), kniga, i Khudognik (Moscow: 250 Yussupov) Borisovich Nikolai of Prince collection 249 archaeologist. 248 juniorin his aroundItaly trip in 1902. Felix heaccompanied very Yussupov the Yussupovfamily as assumeclose hewas to that The started by work Benois wascontinued byAdrianPrakhov. pseudoname of B. Veniaminov. Arkhangelskoe severalinexhaustiblebutitmayat the same pleasure”. timeoffer times which resulted the collection is not “modern” in its composition, in hisimpression itis “…a bit cold, gala, in his essay dedicated to it written under the 247 4 (1900): 129. 246 245 Yussupov collection in the beginning of in beginningYussupov collection the of 20 the “the of works Goldenmany not masters, Dutch and French by works of plenty school, Bologna the of Age” works of abundance the and sametime: the at assembled collections theother all characterised the complete that asdemerits aswell merits haddistinguished collection Yussupov the Benois, lack of primitives. 244 in of 18 the the end shaped collection. of Being the gave character into composition adeepinsight the and that inyears its collection one first hundred of existence the description Yussupov private of the Europe”. of treasures private remarkable most the to “belongs collection the that See more in: Adrian Prakhov, “Khudogestvennoe sobranie knyazey Yussupovikh” (“Art collection of collection (“Art Yussupovikh” knyazey sobranie “Khudogestvennoe Prakhov, Adrian in: more See “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova an and collector art an historian, art an Russia”, in of Art Treasures of “The editor -an Prakhov Adrian B. Veniaminov, “Arkhnagelskoe,” Quoted from:Alexander Benois, “Yussupovskaya galereya”(“Yussupov gallery”), Ibid., 129. AlexanderBenois, “Yussupovskaya galereya”(“Yussupov gallery”), Khudogestvennye Sokrovisha Rossii th – first quarter of of 19 the first quarter – Mir Mir Iskusstva 247 249 2 Vol. 11 (1906): 31. In 1903 in the series of “Art called in In articles series of the 1903 th century by century in of Nikolai theYussupov, words th 8-12 (1906): 167-217; 1 (1907): 3-16; 2 (1907): 17- century, Alexander Benois pointed out that out pointed Benois Alexander century, Mir Iskusstva 245 246 Writing his essays on the on essays his Writing Moreover, Benois visited Benois Moreover, (“Uchenaya prikhot”: the 250 248 Almost all the articles There is a reason to 13-24 Vol. 4(1900): 140. Mir Mir Iskusstva 244 13-24 Vol. It was 78 CEU eTD Collection little enterprise was destined to help common tohelpcommon soldiers. wasdestined enterprise little money. more as Yussupov from people served their money collection The the gained this public. Thepricemust collect beensymbolic in have asit to in was such cases order usually exhibitions)itfor they everybody opened who could pay making price,the itaccessible to collectionin must in havebeenwell lightSaint-Petersburg of known publications the and warthe of the beginning in (by the interest their awareof collection the perhaps being house. But because the of guests by the only be seen to it wanted They of Worldmerchant-collectors). Moscow with War I – the great trouble époque of dwelling atthat was common theirmuseum (as visitorsout of -makingakind that the Country experienced;their collection in public completely fullthe sense of word, the house foropening their and bandaging centres for wounded. bandaging centres nourishing- of benefit the for was money gained The owners. the by Gallery Yussupov during It isanfactWar werearranged publicpaidvisits to Worldthe interesting that Ithere estate. andin in Moscow Arkhangelskoe (Saint-Petersburg, 2002), 360. kollektsii collectionof Princes Yussupov”), in 65. 2001), kniga, i Khudognik (Moscow: 253 Yussupov) Borisovich Nikolai of Prince collection 252 school) (Leningrad, 1924). French School. 251 Yussupov collection, analysis. Prakhov did onsubjects Yussupovthe galleryandcommented of deep art-historical without paintings not publish the resultscollection. Prakhov biographies provided artistsselected of whoseworks could befound in of the whole researchinYussupov was well the represented French school that the dedicatedto were entirely he conducted on the Ekaterina Maslenikova,“Sudba khudogestvennogo sobraniya knyazey Yussupovikh”(“The fate of art “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova Later the results of his research were partially used book in the published in 1924 entitled (Yussupov palace: mansions of the nobility: history of the family, of the estate and of the collection) See: Sergei Ernst. Sergei See: 251 working in the family archives, in the mansions in Saint-Petersburg, mansions in the archives, family in the working Yussupovskaya galereya. Frantsuzskaya shkola Yussupovsky dvorets: dvoryanskie osobnyaki: istoriya roda,usadbi i 253 Iwouldwantmakethat Yussupovsthe not suggestto did 252 (“Uchenaya prikhot”: the (Yussupov gallery.French Yussupov Gallery. 79 CEU eTD Collection 256 255 254 wasit”.splendid long time, so forgetnot fora could theball“that the Kamenskaya describes Countess contemporaries Inhermemoirs by democratisation itsof collection lastowners. madethe steps the towards example a kind of traditional of openness degree of of highlight Yussupov the collection to becapitals honourprovide considered ittoinvitedlikean totheirreception. I would to an both of society high The in Saint-Petersburg. and in Moscow palaces in their held frequently life loved The visitors. were hadalwayssocial and ballsYussupovs receptions and from hidden been never had collection the that forget not should one time, same the At constituted an interior itself. Art and art collection was not isolated from the life of its lifeof from the isolated was collection not andArt art itself. aninterior constituted aroundhide Beingpalace the their of treasures. andobjects spreadout paintings art often Indeed, the collection had always been the andleft ball recommenced. the pride of the owners theempress fully not beauty as enjoying this regretted youngand mosaics; Countess the Italian they did not mean by tosee ancient Kamenskayaexamining collection proceeded andherfather to and the went And beautiful andseemed marble againstbluebackground”. how the transparent mysteriously viewcame into outof bluethe marble drapery these two enamoured deities. yeartwenty old impressionsher girl of sight: “Unbelievablythe beautifully described and bedroom of owners,putatthefootthe of bedthe with blue draped damask. This was howa in gala the placed andPsyche” “Cupid Canova’ssee among sculpture others a chance to scattered all around the palace. Kamenskaya’s father was an artist sohe did notwant to miss beautifulthe andenjoypalace of works the art thatwere keptnot only inbut gallery, the could leaving guests walk around ball)the freely the was because Alexandra empress the riverin embankment during1837. Kamenskaya that wrote break the atthe ball happened(it Ibid. Ibid., 253. M. Kamenskaya, Vospominaniya (Memoirs) (Moscow: Khudogestvennaya literature, 1991), 249. 254 256 This one was inorganised Yussupovthe palace onMoika 255 Then 80 CEU eTD Collection Sveshnikova, ed. Sveshnikova, 260 259 258 261 (Sankt-Peterburg, 2005), 4. 257 or aspatrons theatres activity public of Nothing abouttheir ishometheir known theatres. know the names of the artists whoon workedtheir forart the collection. Yussupovs to concentrated ratherthan create topatronise theatre Yussupovs chose time the atthis of that period Obviously, theatre settingstheatre forwas integralfinddidwould I notthat be any prove evidence atthe serviceoften totheatre. of the chose part of their life.performances. Today we do not Petersburg andin Arkhangelskoe were venuesoften for various andtheatrical musical ballet-dancers. and actors some with terms friendly likeact himself,not Yussupov to younger did the of this hobbytroop at the andage of twenty two.refused However, his father acting amateur headthe of the andwaseven Count theatre fond of alsovery was Nikolai Her son Felix Felixovich to did notgive approve NikolaiinZinaida for Yussupovawas hertalentlove known acting anddancing of and stage. the theircollection. their art to than theatre home their to more time dedicated Yussupovs as the that home theatrecouldbe case the It especially. be stressed familyshould of Yussupov forthe theatre passion for his growing which role other theatre, the of dominated artsatthe of turn century.the Thus a activity. intensification of exhibitingAnother leading activity. trend of époquehadthe do to with the as well as thetime of tendency wasthe audience broader the with collections their Sharing those who belonged to the high society. of the private collection.owners, but was part ofit. When Itguests came tothe houseis they could freely enjoy the richesobvious that it was “opened” only for the very wealthy, for N. V. Zaitseva, Ibid. in: more See Ibid., 34. See more in: Felix Yussupov, Felix in: more See Felix Yussupov, 261 Yussupovsky dvorets Yussupovsky Nastupaet Serebryanny vek: Yussupovsky dvorets Memuary It was the époque when theatre and art were often intertwined and an artist (Memoirs) (Moskva:Zakharov, 2004),31. Memuary (Yussupov palace) (Saint-Petersburg, 2004), 43. (Memoirs) (Moskva: Zakharov, 2004), 35. And in: G. I. G. in: And 35. 2004), Zakharov, (Moskva: (Memoirs) 259 260 but was a big theatre-goer and was on Home theatres of the family in Saint- (Silver Age comes: Yussupov palace) Yussupov Age comes: (Silver 258 Felix 257 81 CEU eTD Collection scientific purposes of motherland”.of scientific purposes our and serve the aesthetic to Empire in theRussian be preserved to collections “…for these rarities: and collections treasures, art their all to receive state the wanted they fortune their their little sons Nikolaiherhusband Felix(1856-1928) made Sumarokov-Elston their for themselves will and for and Felix, where they stated servestay people.Zinaida Yussupova and inRussia forever their wanted and1900 to to In above all that if there was no heir to collection of Prince Nikolai Borisovich Yussupov) (Moscow: Khudognik i kniga, 2001), 66. 2001), kniga, i Khudognik (Moscow: 263 Yussupov) Borisovich Nikolai of Prince collection 262 people. of the education of process artistic their desire to serve their Country with the help of their collection and to contribute to the their into own museumcollection in a thebeginning of 20 the somedonated forPerhaps, this money they purpose. quitenot yetwere ready for converting The Yussupovs approved thecreation of publicmuseumthe in Country the and even Yussupov Roman hall. N.B. collection– founder of their private ancestor, the great its name the hence after requests of help and the design of one of the halls of the museum was made at their expense, from financial family. noblesupport In rich thethis 1912 the Yussupovsresponded to knewPrakhov the and Bodet, Yussupovs personally; himself Tsvetaev for looked the museumhim,worked 1894. Many of on such creation Klein,whothe those with as the of in in Art Moscow Classic Museumof the of creation the initiated Tsvetaev, collector, an art University, Moscow of Aprofessor forms. various its in all arts patronised Yussupovs The love their of theatre. by very much defined of family were the tastes that tounderline is Butit essential actors. Quoted from:Ibid. “Uchenaya prikhot”: kollektsiya knyazya Nikolaya Borisovicha Yussupova 262 263 Thus in their will the Yussupovs clearly expressed clearly Yussupovs will in the Thustheir th century, but they definitely (“Uchenaya prikhot”: the 82 CEU eTD Collection 266 Yussupov palace) (Sankt-Peterburg, 2005), 4. 265 Felix did not buy any paintings from them at the time but he commissioned Andrey he commissioned but time the at them from paintings any buy not did Felix artists the with of contacts Felix’s the whatsoever. income extra any in World need no had he rich exceptionally of Art movement influencedcloser histo artisticthe be world involved to and intheart tobebetter because he it Felix did wanted Presumably, people taste. As far very gesture ofmuch surprised Benois as he could notunderstand why Felix didit. as itart. is known, It is first of –this “Petersburg organise tothem inSaint-Petersburg cabaret” centre the to the verymansions his of one out rented unlikely even he group: Art” of “World the of members the to close that Felix did it for money, as being 264 friend. became hishe AnnaPavlova andthelatter metDiaghilev, Oxford close University, life ininterest In heEngland, at studied astrong artwhere époque. the the demonstrated of Nikolai at aduel, was a high person of artistic sensitivity.He hadinclinations artistic and family Felix inherit fortunebrother after Yussupov,theonlyperson ofhis theto death the reality. into ideas their implement and plans their carry out timeno to had they Perhaps, heritage. cultural and culture museums, art, Obviously, membershad advanced family the Yussupov of the most views the concerning Yussupov’s memoirs where about he wrote his dream: importancethe in and art of power educative in the believed Yussupovs the of that essential seems It their collection in this sense. In this respect, it is revealing to read Felix Ibid., 5. See more in: N. V. Zaitseva, Felix Yussupov, comprising bestthe paintings. exhibitions…The mansions on Moika river andin Moscow would be turned into museums The palace itselfwould intoI turn a museum, reserving severaltheatre. a roomsforfuture and conservatoire a academy, an be would There actors. poets, musicians, artists, for …of Arkhangelskoe turning centre, anart into buildinglots of dwellings…inthe neighbourhood 265 After Felixfinished his studies backandSaint-Petersburg came to he became Memuary (Memoirs) (Moskva:Zakharov, 2004),95. Nastupaet Serebryanny vek: Yussupovsky dvorets 264 (Silver Age comes: Age (Silver 266 83 CEU eTD Collection 268 267 Country. Yussupov’s mansion in werespreadSaint-Petersburg aroundmuseums different of the inthe housed thatwere objects and paintings 45,295 and the divided was collection the collectionprecious books and the collection offamousof autographs people. Unfortunately, a collectionporcelain, silver, forgetstones, carved to not of andtapestries, (1769-1841) (128pieces)stones acollection precious instruments of collection paintings andsculptures, of Yussupovsthe possessed musical a collection of Canova, Vitali,moreCountYussupov sculptures athousand than by not to gallery comprised paintings, Tolstoy,happened.They hadleave to forever. theCountry 1919 according In inventory,the to the Kozlovsky, The artistic activity finished Yussupovswasabruptly the of Russian when revolution the Girardon, Falconetintertwined. is art and life everyday when life: common into art of and Triscornia.him: appealed integration couldthe be position to by that group Art” explainedartistic their Except belonged. Beloborodov for the palaceMoikafollowing on river canon of theartistic Worldthe Artgroup towhich of indesigninterior of his studio, to the Benois’s Leonty Beloborodov the part – apupilof 269 643. Grand Duke Nikolai Mikhailovich“Russian portrait of 18 Mikhailovicha “Russkiy portret 18 i 19 stoletiy” Yussupova wasthefirst in history the of family the giveto paintings for different and Zinaida of art with people the acquainted werepersonally century.the The Yussupovs The Yussupovs artistic activity can be characterised asvery active and prolific atthe turn of was dispersed.Thus completely collection Yussupov abroad. the See more in: E. F. Petinova, ed. See more in: Ibid., 9. Oleg Neverov, Oleg 269 Moreover, a significant number of works of art and objects were sold out Great Private Collections of Imperial Russia 267 Perhaps, the interest of Yussupov in the ideas of “the World of Znamenitie rossiyane 18-19 vekov: po izd.Velikogo knyazya Nikolaya (Eminent Russians of 18-19 th -19 (London: Thames & Hudson, 2004), 102. th century”) (Saint-Petersburg: Lenizdat, 1996), 268 started by Princess Tatiana th century: based on the edition of edition the on based century: 84 CEU eTD Collection extensive. The collection init. were Almost mostly represented all schools composed masters. European old of old hadthe also end of a thespecialThe artistic 1900. By activity of around and intensive wasquite Yussupovs the multifaceted 19 section of family portraits which was traditionally an end in itself. meansor of itsunderlining wealth weightor in society. Andit had never been perceived as art collectingword, for the Yussupov family had nothing todo with mere investment money valuable of all their treasuresenlightenmentand cultural of enrichment Country the andits people bysharing the most– by sharing with their people Yussupovsthe patriotspursued true theaim as servingof the causeof education, their priceless collection.one of theIn largest a and one of the most remarkable art collections of the époque. I argue that family. They were given an opportunity to write on the pages of famous art magazines about Hence, art critics making a certainof known,it national heritagethe on memory andpublic part to degree. of the time got making hercollection on concentrated were Yussupova of Zinaida efforts time the the At free access to the paintings andsee the collection. sought to who inart,tothose interested those to the to archives openness of tradition the ancestors, their among existed already had that tradition the on of the number of privileged of persons–guests house.the In a way, last the Yussupovs elaborated bya than rather circle byaof art shouldpeople beseen wider that ideaof time common the the shared Yussupovs the that proves It abroad. but Russia in only not held exhibitions 4.3. The last acquisitions of the Yussupovs. Valentin Serov “The Yussupov Valentin Serov The last acquisitionsoftheYussupovs. 4.3. th century, the Yussupov collection was remarkably large and it was it large and remarkably was collection Yussupov the century, series” 85 CEU eTD Collection of the end of 18 the endof of the Roslin seem beto quite natural in the sense that these masters belonged tothe French school and Boilly by works of purchases The him. from commissioned were others the among and Betskoi of Ivan Shuvalov Ivan popularas quite with Russianaristocracy portraits 1924), xx. works were very moreworks not infind Icouldwell is unexpected. known Russia, not the family.Whereas the acquisition of the work by Italian Art Nouveau master Segantini,one whose within activity collecting certain of continuity the of and taste same the demonstration masters can be consideredNikolai same the Yussupov.AtBorisovich time, purchase of the works of these French old as a kind of a bridge collection, the of founder of the activity tothe compared acquisitions modest were relatively that linked the generations, as an act of infrom France middleof In moved 18 the andworked 1750. the Paris to from Botkin. E.A. Roslin “Zoya Marucci” 273 272 Princes Yussupov”), 271 1924), xx. Studio atWork”,Studio “Billiard”. of 1839: “Portrait”, six by works had been Boilly much acquired“Faint”, as earlier they inincluded were catalogue the “Oldfollowing The collection. in his master this Cure”, by works of number substantial already the to “Release from Prison”,isadd thisintendedpainted this Prince scene in1792.It obvious to Felixpainting genrethat “A Female Artist Felix Felixovich a paintingwas Louis-Léopold by Boilly “We Watched”.inare her 270 time the in at Russia artist owners. Theyboughta painting by Giovanni Segantini, only was the which of the work enlargedThe few much was not collection – only wereboughtbythelasta paintings Sergei Ernst. Sergei Ibid. of collection (“Art Yussupovikh” knyazey sobranie “Khudogestvennoe Prakhov, Adrian in: more See Sergei Ernst. Sergei Yussupovskaya galereya. Frantsuzskaya shkola Frantsuzskaya galereya. Yussupovskaya Yussupovskaya galereya. Frantsuzskaya shkola Frantsuzskaya galereya. Yussupovskaya Khudogestvennye Sokrovisha Rossii th century that constituted the core of the Yussupov collection. These collection. Yussupov the of core the constituted that century 272 270 TheYussupovs bought one of bestthe portraits byAlexander . Another purchase madebyZinaida husbandYussupova’s 273 Roslin was a Swedish portrait painter who 8-12 (1906): 213. (Yussupov gallery. French school) (Leningrad, (Yussupov gallery. French school) (Leningrad, th century he was century 271 Boilly 86 CEU eTD Collection 274 painter to a Russian one. family, who were much more West orientated in this sense and would prefer a French of the from generations of differs previous the alot approach the It deserves attention. masters Russian from commissioned were portraits family all the masters Western two of exception the with that fact The portraits. family of series a on worked Serov Valentin Felix Yussupov” “PortraitFelixovich Felixovich of (1911) and (1900s)and Yussupov” Yussupova”; Bogdanov-Belsky Nikolai wascommissioned for “Portraitof Nikolai Sumarokov-Elston”; Konstantin “Portrait Stepanov executed of Zinaida Nikolaievna Russian Shtember Costume”of (1900); Viktor “Portrait Felix Felixovich Yussupov, Count Konstantin painted Makovsky “Portrait of Princess Zinaida Nikolaievna Yussupova ain Becker; and N. (1894) ZinaidaNikolaievna Yussupov” of “Portrait a Park”(1894), François “Portraitmasters of Fleming Zinaida Nikolaievna with Yussupova her Childrenin andDubuff. Vintergalter monarchs) such as Rotari, Fuger, Lampi, Voual, Vigée Le Brun, Moniet, Gros, Robertson, of them painters European (some werecourt of bestartists by painted European the paintings to the collection Even though lastthe of Yussupovsthe didnot make largeacquisitions theyadded some of family portraits. The family artcircles. modern the to was closer portraits hadas Benois, Diaghilev Prakhov.Such or choice couldbe determined byFelix Yussupov, who been traditionally beonly Yussupovschoice wasinfluencedsuch assumed the that people bythe they knew, explanation why the Yussupovs chose the work of this master for their collection. It can Ibid. 274 Zinaida Yussupova family commissioned from portraits French 87 CEU eTD Collection be truly to themselves felt nobility Russian century nineteenth the of end by the that fact the in lay Russian. that Serov Valentin of choice the determined that reason another was there opinion, my In Moreover,tsar Nickolas II, Irina Romanova. froma niece to Russian of of inFelix Yussupov marriage These resulted attempts tsars. the the the end to bemore related thancloser strive for to not inthey could family Russia noble As arich of the aspossible. monarchs the be to asclose to they wanted Indeed, a portraitist. of their choice 19 Yussupovs were well aware of factthis andmusthave into takenit consideration making as wellII, bysomeas Grandhave Dukes and Grand Dutchess painted.to The their portraits Nickolas tsar by chosen was Serov Valentin that fact the by explained be could this Partly family whentheYussupovs aRussianportraits execute chose theirpainter to portraits. isitIt essential firstwas underline thatoneto ofthe timeshistory in theof creation of portraits overwhich worked fromSerov 1903 1901 into in andSaint-Petersburg Sumarokov-Elston, and their sons Nickolai and Felix.portraits of family: Yussupov the portraits three of Zinaida Yussupova, of herThehusband Felix story of creation of this series of century. I would like to concentrate on the the works of turn the at of Valentinmasters Russian Serov, mostly from who painted commissions by a series continued was artists of Thus family the tradition from family of commissioning portraits bestcontemporary the Shtember. and Stepanov Bogdanov-Belsky, of as theirSerov main portraitist andof otherthe Russian painters such as Makovsky, be Russian. I believe that this feeling of patriotism and pride could partly explain theunderline their belonging Europeanaristocracy the to and elite, choice asthey simply to were proud ‘Russianness’ fashion.came into The longernoYussupovs andlonger needed no wantedto th century Russian style and style Russian century 88 CEU eTD Collection general-governor, a patron of Moscow School of Arts and Sculpture observed Pasternak at observed Arts andPasternak a patronof School Sculpture Moscow of general-governor, from 18 marchioness resembled a herbeauty, by elegancethe her of clothes and byher aristocratic bearing Yussupova Zinaida by was of Zinaida Yussupova.HerememberedLeonid Pasternak of drawingthat aportrait frequented evening suchevenings. One Serov and Valentin Pasternak, Boris of a writer many guests the of house, the father high whom LeonidPasternak, of were of rank.Painters was A with atwork andoften by sandwiches fruit.painter observed weretreated house tea, of palacethe wasreserved for such In neighbouringthe sessions. drawing hallsguestsof the evenings heldin her noble ladies house, beauty for A of exceptional artists. posed large hall 1980), 190. 275 evenings in at Moscow endthe of 19 the drawing andmeetings of society.high Princess Golitsina famouswas for organising such professional by painters or art lovers. Those organised bythe latter were acombination of isby eitherfind were unknown almost Such evenings to usually organised today. apatron establishor even improveget new contacts and together,to to chance skills to their drawing factevenings. Theher in of participation givemeant such evenings wereto that a painters as part in she took drawing Russianartists many with acquainted so-called the other Yussupova knewBefore Serov the beforeanalysis she of time. of commissioned period in this a patron-artist wife his to written Serov Valentin of letters the and younger the Yussupov Felixovich Felix form interrelations him.memoirsleftinterrelations by duetothe be theirreconstruct possible proves model.to to It She must have Arkhangeskoe I would been likealso to stress that Zinaida IgorGrabar, Serov: zhizn i tvorchestvo 1865-1911 275 opens up the relations of a painter and a commissioner, of a painter and a th century Grand Duke Sergei Alexandrovich, century portrait. th (Serov: life and work 1865-1911) (Moskva:Iskusstvo, , beginning of , beginning of 20 the th century. In the drawing 89 CEU eTD Collection portrait of inportraitfinished 1900inZinaida Yussupova portrait in only of Saint-Petersburg. The was (1889-1903)”), glubi!” (1889-1903)” 276 Yussupov family,especially charming ZinaidaNikolaievnaadmiring . loton portraits athe of the worked biographer, thethat painter Igor Grabar, Serov’s wrote “every thewholeillness that him”. acknowledged for portrait…was himself artist the his model.that “taking” So of inhispursuit hardtimes experienced Serov andone butperceiving same the pointsher/him from ofview. pose, different in sameplace, in oneandthe he portrayed aperson every time placing he aportrait, painted took his time toadjust tohis model before “taking” it: he always fixed ninety sittings when and innerworldslowly the model. Serov histhat showed on worked portrait the Serov of face delicately. portrayed the of psychology the into penetrated Serov in notice critics his works that to art first of was one the Benois characteristic. was asilent whereportrait works every series of a series, Yussupov famous his executed happenedevening. when later by wasnotpainted Zinaidaat that Yussupova Serov Serov It collection. Yussupova. Princess of portrait someincluding he ofhis drawings 1898 artist bought of the exhibition asonthe Wonderers Serov on this evening. Grand DukeSergei Alexandrovich must haveloved the work of the work. “Oh what a night! ...Could give five roubles to enter!”, 1980), 190. 278 277 281 280 innovations Russianin atart the turn of 20 the 279 Respublika, 1999), 359. Quoted from: Rahel Likht. Rahel from: Quoted Alexander Benois, Alexander Ibid. IgorGrabar, Ibid., 160. Militsa Nekludova, Serov: zhizn i tvorchestvo 1865-1911 http://www.port-folio.org/2007/part239.html. Last accessed 17.05.07 Istoriya russkoi zhivopisi v19 veke (“Draft of Boris Pasternak’s biography: part I: “O detstvo! Kovshdushevnoi glubi!” Traditsii i novatorstvo v russkom iskusstve kontsa 19 – n. 20 veka Chernovik biografii Borisa Pasternaka : chast I: “O detstvo! Kovsh dushevnoi 277 Thus this drawing was not added to the Yussupovadded tothe not was Thusthis drawing th century) (Serov: life and work 1865-1911) (Moskva:Iskusstvo, (Moscow: Iskusstvo, 1991), 164. (Russian art history at 19 276 278 with a smile commented smile a with Contemporaries believed Contemporaries 280 th century) . 281 (Traditions and (Traditions Serov started his started Serov , 3d ed, (Moscow: 279 At times, 90 CEU eTD Collection Arkhangelskoye. Serov lovedArkhangelskoye. Serov Arkhangelskoye its “Arkhangeskoye saying that: with on of galathe Zinaida portrait hemadeaseries Yussupova, ofin portraits Yussupov’s the It was usual for Serov to work on several portraits at the same time. So parallel to his work of her.minorand portrait one in her) is Serov way whatcharmed renderthe this of she laughed; one to hethem managed the gala portrait painted in Saint-Petersburg, Yussupov made two pastels of the Princess (on Serov of 1900: major issues) (Leningrad: Khudognik RSFSR, 1980),100. 283 282 deservedthis despise. work very beauty inmuch woman’s he and that regretted eyes the some of his contemporaries of by by painter couldSerov saying thatthe bemasters greatest compared then tothe of whole.Fortunately had neverpraised done.they Benois it theportrait Zinaida Yussupova of Nikolaievna out of the portraitIt and to isframe ita anewwell-known as they did not like the portrait fact as a person. that Yussupovs much was very and by wasindeed avery praised nice, understanding people good-natured themselves who ZinaidaYussupova Princess that hestressing came, him every time received warmly wantedhis wifeto thecut painter the letters to In of one the hiswork. enjoyed nicetold Serov and was gladly, Zinaida posed session. head her that ofthe YussupovsZinaidatwo years so that the work on it lastedwere much longer than the veryusual three months sitting kind and attentive to him and 284 Respublika, 1999), 359. Alexander Benois, Alexander Ibid., 191. V. A. Lenyashin, 282 Portretnaya zhivopis V.A. Serova 1900-h godov: osnovnye problemy Istoriya russkoi zhivopisi v19 veke 283 284 Serov Serov enjoyed painting Zinaida forYussupova and,except (Russian art history at 19 th century) (Portraits by V. A. , 3d ed, (Moscow: 91 CEU eTD Collection 1980), 192. 289 288 287 286 Iskusstvo, 1980),192. so he made his own choice of the model’s clothing ignoring the desire of so hemade his clothingignoringhis of choice desire the own of model’s the wearing jacket.In ablue ithis opinion, horrible would look would and make feel one sick, by forirritated herlike exampleheryounger her advice, hedididea Felix not about son inyears her andand Princess framed the kept study. ago she which two beZinaida) which aphotograph happened to of of a portraitNickolas by II given to Serov Princessmade to he nota present his thinkof (Serov could the painter demonstrated present Arkhangelskoe, visits his to Zinaida Yussupova mentioned one of during episode an when Serov ZinaidaYussupova. with his interrelations his described In hisletters to Serov wife forneed revolution”.no be would there likemy were people “…if parents rich oncesaidthat: all painter the that in hismemoirs Yussupovs. tothe ThusFelix Yussupovremembered conceal hiskindattitude didSerov not worry paymentforabout his as work, Yussupovs,the unlikemerchants,weregenerous: 285 Yussupovs]. [the people these with hishad rested that noted soul hisYussupovs to merchant-patrons or“monsters-merchants” as he called them, apainter compared hiswas very When Serov much with the noblecommissioners. pleased painter inhislife. The bestperiods of asof the there one spent time remembered the Serov very, very beautiful”. was river Moskva bankof the other over view withbeautiful a trees, andtrimmed sculptures IgorGrabar, Felix Yussupov, Quoted from:Ibid., 194. Ibid., 190. Quoted from:Igor Grabar, will see. isPrincely,price I set –this I approve I Iwill notcharge ofit…Though think – we muchhim …Prince Yussupov kindly mentioned thathedidnotask priceabout would – he the pay any 287 Serov: zhizn i tvorchestvo 1865-1911 Memuary 285 Serov: zhizn i tvorchestvo 1865-1911 (Memoirs) (Moskva:Zakharov, 2004),69. 288 (Serov: life and work 1865-1911) (Moskva:Iskusstvo, (Serov: life and work 1865-1911) (Moskva: 286 Serov never had to 289 At times, he was Attimes, 92 CEU eTD Collection 295 Felix Yussupov wrote in his memoirs that: Valentin Serov seemed to be close when the painter worked on the portrait of the Prince. aswell his flamboyance”. as eccentric temperament, man’s young the artistic portrait, asmany art critics noticed, the painter managed tocapture “…with great sensitivity the In younger. the Yussupov Felix of portrait the on work to Serov for easier was It his model and it tookhim a while doto so. 294 2004), 93. depicting him conceited a“proud, andas aheartless” look at and noticing that a true physiognomist Serov rendered his character as nobody could evidence ofFelix’s ownfeelinghis about portrait, which he had after takingonce agood excuse. much refusingand sit Nikolai for to under theportraitkept plausible any not or plausible helped himby persuading her son older pose Nikolai for him.to help Herurgings didnot Zinaidainhow Serov tobecompleted. Yussupova described work were interested the Serov memoirs: of Felix the younger, of which is there a testimony by provided Felix Yussupovinhis Serov was content with the results of his work: he himself and the Princes liked the portrait letters. in Serov’s Felix with interrelations their on found are remarks no Unfortunately, 293 292 291 290 commissioner. Ibid., 69 Felix Yussupov, Quoted from: Oleg Neverov, Oleg from: Quoted Ibid., 194. Ibid. Ibid., 193. the basisthe of friendship.our ...His ideas influenced my way of thinking a lot. was the brightest. We became friends from the first sight. His admiration of Arkhangelskoye was Out of all great artists that I have evermet in my life Russiain and abroad, the memory of him 291 This portrait did not come easily to Serov as in his expression he could not “take” not he could Serov as inhis expression comenot easily didto This portrait 290 Memuary Their tastes were not always common, but both Zinaida Yussupova and (Memoirs) (Moskva:Zakharov, 2004),104. Great Private Collections of Imperial Russia 292 294 young man. Felix Yussupov and (London: Thames & Hudson, 295 293 There is There 93 CEU eTD Collection 1980), in appendix. 298 11. 297 296 stayed happy with this. and him of than horse the of rather portrait the making by Prince the of wish the fulfilled he inhis own horseback,when, words, of on theportraitFelix’sfather’s The painter completed husband Felix Yussupov. portraitstwo of Yussupovs:the theportraitof Princessthe Zinaida Yussupova and of her listcontained The wereportraits. works all fifteen of Grabar, surprise be Tothe best. to the himselfconsidered painter the his that works of fifteen containing biographerlist the private his handed Serov works: best thepainter’s about Valentin Serov to talked Grabar Once, Igor époque. However, for someacquisition reason they chose of one not worktoenlarge it. the it However, andwas unnecessary ofbeingto thought collection complete as embark by Segantini on collecting can itsignify (worksby period on Boilly thatand Roslin) the demonstrate musthave owners thought of their a serious their interest the of characteristic for their collection purchases Modest artists. from Russian portraits in contemporary art Nevertheless, theof Yussupovs extended the Russianthe section of their collection commissioning by masters wasvery the numberlimited. executed collection,Russian where of works existing already the of nature the would contradict because that art Russian contemporary their significantmasters Western.preferringit to Assumingly, Russian demonstrated in changes perception familyThe from their Yussupovs commissioned leadingcontemporary the artists portraits of Russiana painter on his own work. art. Perhaps, the Yussupovs did not start collecting Igor Grabar, V. Byalik, “Portrety knyazey Yussupovikh” (“Portraits of Princes Yussupov”), Ibid., 70 not like it and they asked Diaghilev not to exhibit it. he organised in VeniceSerov was happy with my portrait. Diaghilevin took1907. it from us for the exhibition of TheRussian art that painting brought unnecessary fame to me. My parents did Serov: zhizn i tvorchestvo 1865-1911 297 298 Serov painted a number of portraits of Zinaida Yussupova as well. Perhaps, this is the highest judgement Perhaps, this is of highest of all the – the judgement (Serov: life workand 1865-1911) (Moskva:Iskusstvo, 296 Yuny Khudognik, 4 (2000), 94 CEU eTD Collection it. mostlyconcentrated exhibitingon and popularising their thanonextendingrather collection this period of time. The activity basis.Amongmembers thefamily of at Yussupov the noavid collectors dedicated were and of the Yussupovs that had to do with their collection was 95 CEU eTD Collection Moscow colleagues. Moscow of theirthat to compared conservative background) canbeconsidered origin different and of schools most of the time. Thus the taste old European limited to was pieces collecting theirof that choice collecting,traditional so of collectors from Saint-Petersburg adherenceto strong demonstrated of time the collectors Saint-Petersburg (both Petersburg. of noble of those not Saint- art andEuropean Russian modern and patronised collected who happened in Moscow. These were Moscow collectors out of merchants and intelligentsia as inchange of mode did Saint-Petersburg not traditional collecting époque, the the modernadventof groups (World Group) Art of art and innovative characteristic painters, of beThis socialimbedded artisticinto However,the to activity proved époque. reality the of collectors. ahome into transformed museum for Saint-Petersburg collection of private capital.the Often collectors the among of intime period prevailed this schools) art different all of up made collections than (rather collections art specialised assemble narrowly to newthe tendency Moreover, activity. collecting of high level a reflected which connoisseurship, as be can characterised collectors art of level general the addition, In levels. international and national both on time the of network artistic the of meansin became and backgrounds material more social morecollectors and involved all which started in the second half of the 19 the of half second the in started which by widening backgroundof characterised process of social of continuous collectors the brightvery phenomenon was artistic lifeof Saint-Petersburg 1900. It of around a collecting was art Furthermore, development. longof century process undergone atwo By the beginning of the 20 th century private art collecting in Saint-Petersburg hadalready in Saint-Petersburg collecting art private century Conclusions th century in Saint-Petersburg. At the same time, same the At inSaint-Petersburg. century 96 CEU eTD Collection standards in art withstandards in famous promoting art most the Russian oneof art-nouveau artists, Prince combineFelix and managedto taste good asense high for quality andhigh artistic Obviously, the lastowners of Princess family the collection, Zinaida Yussupova and herson complete and didnot expandit significantly at this period of time. activityexhibitions core the constituted Yussupovs.the Theyperceivedof theiras collection in Takingexhibitions andabroad). differentheld (those various part art inRussia for were offered collection from their paintings The of century. the turn atthe remarkable and tendencies.relative openness of the young generation of the family to modern contemporary art trends the reflects casestudy ofThe century. the turn atthe of individual patronage strategies the The eagernessalsolife modernised shows 1900.It around newdemandsof art schools) tothe could adjust European artof old andhistorically reflected developed (which aristocratic collection of theA caseYussupovs study of the Yussupov to business. popularise collectionSaint-Petersburg was caused toalarge extent by rapid development of the art marketserved and art theirto and of intensification growing number theircouldbe of activity collectors observedthat in demonstrate collectionto the Hermitagehow thuswell they wanted to servea donatetheir popularize collections and to their to willingness demonstrated Many collectors traditionalthe best of theirwas Country and their people. furtherstudyinghistory developmentintheircollections whichpushedart of Russia. of The of process the initiated themselves collectors very critics. often Thus for art were opened of time.the Hence paintings collectionsprivate from were widely exhibited andcollections The world proved of collectors beSaint-Petersburg to open and challenges tothe receptive 97 CEU eTD Collection Country Country board of on Marlborothe leaving all intheir arttreasures Russia. the plans of none revolution Russian the of because of Unfortunately, centre. the art an into Arkhangelskoe Yussupovs wereyoungest member of family,the Felix Yussupov,he had ideasof turning hisfamily estate accomplished.they wanted the state to obtain their art treasures in caseAfter theirfamily line stopped. As for the the revolution where be will their considered can desire Yussupovs this of Theculmination elite. national cultured better even new the of creation into the by contributing so do to collection family their wanted left the museum foundations the withsupported exhibitionsmany age and of is collaborated the art the of why they ofThat heritage. artistic of Russia’s bepart anintegral to collection their regarded sense they the others Evidently, even YussupovswereRussian if patriots the conservatives andinthey were this too. The Yussupovs preferences. artistic mustinfluenced their havelifein of époque the art the served played their theatre the that special The role and collecting. art of arts patronage than them rather Countrycaptured that and theatre thestage the for moreit passion was Yussupovs, caseof the the well and Soin its nature. on animpact andleave patronage alwaysinfluence and preferences interest individual Naturally reserved. beingmoremerchant patrons) (Moscow contemporaries of of some their to that not becompared could activity of scale their patronage the time, the Yussupovs stayed on the conservative side in their taste and artistic preferences, so general trendthe offollowed the Yussupovs the that époqueindicate painters Russian from – activeCommissions Belsky. patronage of Russian, notmodernists Makovsky,like ValentinBogdanov- Stepanov and Serov, someand other foreign artists. At the same 98 CEU eTD Collection ______. ______. “Sobranie F. ______. collection v of F.Uteman (“Art F. Sankt-Peterburge” Uteman Prakhov, Adrian. “KhudogestvennoePrakhov, Adrian. sobranie collection knyazey Yussupovikh” (“Art of ______. “Yussupovskaya galereya” (“Yussupov ______. “Yussupovskayagallery”). (“Yussupov galereya” “Otradnie vesti newsiz vesti “Otradnie from (“Good Ermitaga” Hermitage”).the “M. P. Fabricius. Nekrolog” (“M. P. Fabricius. An obituary notice”). Yussupov, Felix. Yussupov, Nikolai. Maria. Tenisheva, Benois, Alexander. Benois, Memoirs Benois, Alexander. Benois, artContemporary critics ______. Semyonov-Tian-Shansky, Piotr. Semyonov-Tian-Shansky, Rasskazi babushki:izvospominaniypyatipokolenyzapisannyeisobrannye ee vnukom D. in Saint-Petersburg”). century),3d ed.Moscow: Respublika, 1999. Princes Yussupov”). 209.(1910): Leningrad: kom. populyarizatsii izd.khudogestv. 1928. (1915): 116.(1915): (1900): 129-52.(1900): Vol.Saint-Petersburg,1866. 1. of 14 family papers,of of Yussupov signatures Princes with ancestors 16 from rulers Russian the of them veka bumag, sprisovokupleniemrospisiknyazey Yussupovikhs14 predkov pokolennoy familnikh 19vekaidrugikh poloviny s16do gosudarey pisem knimrossiiskikh Molodaya gvardiya, 2006. Cape, 1927. collected byher grandson D.Blagovo). Leningrad:Nauka, 1989. Blagovo (On (On Yussupovfamily:asetthe of biographies, their documents letters to and Rasputin: his andmalignant influence hisassassination. Vozniknovenie Iskusstva” “Mira (Grandmother’s tales: from the memoirs of five generations written and written generations five of memoirs the from tales: (Grandmother’s Memuary Moi vospominaniya O rodeknyazey Yussupovikh:sobranie gizneopisaniy ih,gramot i Vpechatleniya moeyzhizni Vpechatleniya Istoriya russkoizhivopisi v 19veke (Memoirs). Moskva: Zakharov, 2004. Khudogestvennye Sokrovisha Rossii Khudogestvennye Sokrovisha Starye Gody Memuary Bibliography (My memoirs). Vol. 2.Moscow:Nauka, 1980. 4(1908):181-82. (Memoirs) th till the middle of till middle19 of the (Beginnings of (Beginnings of Worldthe Art) of (Impressions my life). of Moskva: . Vol.Petrograd, 1917. 1. (Russian art history history 19 at (Russian art Mir Iskusstva Mir 8-12 (1906): 167-217; 1 8-12(1906): th century and other and century London: Jonathan London: Starye Gody Starye Gody 13-24 Vol. 4 13-24Vol. th century) 7-8 7-9 99 th . . CEU eTD Collection Shmidt, D. A. “Dar V. P. Zurova Imperatorskomu Ermitagu” (“Gift of V. P. Zurov to the Semenov, Piotr. Prakhov, Adrian. Prakhov, Podrobny illustrirovanny catalogVystavki Russkoy Portretnoy Zhivopisiza150 let, 1700- ivorieslesmarbre, tableaux,porcelainsMusée quise Youssoupoff,et du Prince contenant Rembrandt: Collection desOeuvres duMaîtres réunies, àl’occasion del’inauguration Vrangel, Nikolai. “Pavel Viktorovich Delarov.” Veniaminov, B.“Arkhnagelskoe.” Piotr of collection (“Art v Sankt-Peterburge” Semyonova Petrovicha Petra “Sobranie priobretenie“Novoe (“Newacquisition Ermitaga” of ______. Hermitage”). the Petrovich“Piotr Shchavinsky, Semenov-Tian-Shansky.” Vasily. ______. “Prodaga sobraniya P. V. Delarova” (“Sale of P. V. Delarov’s collection”). P.V.Delarov’s (“Sale of sobraniya______. “Prodaga P.V.Delarova” Fabricius, M. P. Catalogues Imperial Hermitage”). Imperial 57-59. 191-204;(1907): 12(1907): 208-23. 165-74; 10(1907):177-85;11 9(1907): 7 (1907):129-45; 8 (1907):149-64; 3-16; (1907): 17-40;2 (1907): 3 (1907): 46-51; 4(1907): 62-71; 5 (1907):106-10; arranged in in Saint-Petersburg 1904) godu, vSankt-Peterburge Saint-Peterburg,years, 1902. 1700-1850). 1850 danstrouvent l’hôtel de son Excellance, àSt. Petersbourg.Saint-Petersburg, 1839. Fabricius).P. Saint-Petersburg: TipografiyaE. Novitskogo, 1906. E. octobre 1898. laReineWilhelmine,S.M. auMusée de laVille à Amsterdam8septembre –31 Vol. 119. 1(1901): Saint-Petersburg”). in Semyonov Petrovich Gody Tipografiya M.M.Stasyulevicha,1890. 1885, “Vestniksupplement to Iskusstv”) Izyashnikh based its on examplesin kept andprivatepublic collections of a Saint-Petersburg: Iskusstv” Izyashnikh k “Vestniku nakhodyashchikhsya v publichnikh ichastnikhsobraniyakhPeterburga: prilogenie Starye Gody 7-9(1910):204-07. (A detailed illustrated catalogue of for of 150 catalogue exhibition illustrated the (A of detailed Russian portrait Kartiny Sobraniya M. P. FabriciusKartiny SobraniyaM. Etudy poistoriiNiderlandskoy zhivopisinaosnovanii eeobraztsov Albom istoricheskoy vistavki predmetov iskusstva, ustroennoy v1904 ustroennoy vistavki predmetoviskusstva, istoricheskoy Albom 11(1913):46-47. Amsterdam, 1898. Starye Gody (Album historical of (Album the of exhibition objects of art, Mir Iskusstva Mir (Studies on the history of the Netherlandish art 3(1916):24. . Saint-Petersburg,1907. Starye Gody 2 64-67.Vol.11 (1906): (Paintings from the collection of M. of collection the from (Paintings KhudogestvennyeSokrovisha Rossii . Vol. Saint-Petersburg: 1-2. (March, 62. 1913): Starye Gody 3(1914): Starye 100 CEU eTD Collection Bowlt, John E. Aleksandr. Bohanov, ______, ed. Belk, Russell W., and Melanie Wallendorf. “Of Mice and Men: Gender Identity in Belk, Russell W. “Collectors and Collecting.” In and Collecting.” W.“Collectors Belk, Russell ______. A Collector’s Taste: DutchPaintingsofthe16 Secondary sources katalog V. A.Shchavinskogo: Sobranie kartin Bannikov, A. P. “Kollektsiya generala Alexeya Ivanovicha Korsakova” (“Collection of a of (“Collection Korsakova” Alexeya Ivanovicha A.“Kollektsiya generala Bannikov, P. of Collecting.”Aspects Art In “Psychological Baekeland, Frederick. Joseph. Alsop, Savinskaya, Lyubov,“Katalog comp. gollandskoy izmuzeya-usadby sobraniya givopisi and enl. ed. “WorldArt” Group of Russia) London: Routledge, 2003. Collecting.” In Collecting.” Susan M. Pearce,317-26.London:Routledge, 2003. Institut zhivopisi,Institut i skulptury 1992. arkhitektury, collecting, patronage of of art) patronage collecting, fate”). In fate”). http://www.codart.nl/exhibitions/details/1049/ Piotr PetrovichSemenov-Tian-Shansky. imeni A. S.Pushkina, 1995. catalogue) edition XXVII) 1994”, readings “Vipperovskie materials in collecting conference (Private Russia: vypusk XXVII chteniya 1994”, “Vipperovskie materialy nauchnoykonferentsii In Korsakov”). Ivanovich Alexey general and Collections, Phenomena Wherever TheseHaveAppeared Arkhangelskoe”). museum-estate collection from the of art of (“A Dutch Catalogue Arkhangelskoe” “Kollektsiya P. V. Delarova i ee sudba” (“Collection of P. V. Delarov and its and V. Delarov P. of (“Collection ieesudba” Delarova V. P. “Kollektsiya . Moscow: Nauka, Moscow: 1989. The Rare Art Traditions: The History of Art Collecting and Its Linked Art CollectingandIts TheHistory of Rare ArtTraditions: The Russian Art of the Avant-garde: TheoryRussian Artof andCriticism, 1902-1934 The Silver Age: Russian Artof the Early Twentieth Centuryandthe . Petrograd, 1917. Petrograd, New York:Thames andHudson, 1988. 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Moscow, 1981. . Moscow, (Yussupov gallery.French (Moscow art collections . Saint-Petersburg: 9(1976):30-31. London: BBC Interpreting Yuny 102 CEU eTD Collection Lewisohn, Sam anArt?” Sam “IsLewisohn, Collecting Lenyashin, V.A. Lazarevsky, I.“Po povodu” (“On the occasion”). Likht, Rahel. Likht, and (“Collectors i ______. “Sobirateli Z. Khitrovo” A.antikvary proshlogo. Lapshin, Vladimir. “Vistavochnaya zametki proza: sobiratelstve,o rinke ikriteriyakh Kozlov, I. V. Kean, Beverly Whitney. Beverly Kean, Kopshitser, M. Kopshitser, Hunter-Stiebel, ed. Penelope, Karlina, N. N., comp. N., N. Karlina, Kamenskaya, M. Richard.Hare, Lopukhin, E. W.Lincoln, Bruce. detstvo! Kovsh detstvo! dushevnoi glubi!” (1889-1903)”). dushevnoi 1980. (Portraits by V.A. issues).of 1900: major Serov Leningrad:Khudognik RSFSR, antiquarians of the past. A. Z. Khitrovo”). century”). success 20 the turn on of collecting,market of and exhibiting atthe criteria uspekhavistavochnogo vkontse19 20vekov”– nachale notes (“Exhibiting prose: 1991. Modern art inPre-revolutionary Russia, talk).Moscow: RGUB, 1995. Stoughton, 1994. Stoughton, Family. 1965. 1991. Geographer. folio.org/2007/part239.html. Lastaccessed 17.05.07 art). Moscow: Veche, 2003. Samie znamenitye metsenaty Rossii Samie znamenityemetsenaty NY; London: Harry N. Abrams, 2000. Chernovik biografii Borisa PasternakaChernovik biografii Savva Mamontov The Art and Artists of Russia. of The ArtandArtists Piotr Petrovich Semyonov-Tian-Shansky, 1827-1914 PetrovichSemyonov-Tian-Shansky, Piotr Pinakoteka glubi!” (1889-1903)” Portretnaya zhivopis V.A. Serova 1900-h godov: osnovnye problemy 1900-hgodov: Serova V.A. zhivopis Portretnaya Vospominaniya Newtonville, Mass.: Oriental Research Partners, 1980. 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Petinova, ______. “The Urge to Collect.” In ______. “TheUrgeto Pearce, Susan M. Susan Pearce, Eleonora. Paston, Nikiforova, I. V. Oleg. Neverov, Nekludova, Militsa. Nekludova, V. Delarova”iz masterov P. I.“O kollektsii P. zapadnoevropeiskikh Myagkov, kartinakh Morozov, Shchukin,kollektsionery: do otMone Picasso: 120shedevrov izErmitaga, sobraniya “Sudba Maslenikova,Yussupovikh” khudogestvennogo knyazey Ekaterina. Sergei. Martinov, Marks, Steven G. Steven Marks, portrait of portraitof 18 century: theedition ofGrand based Mikhailovich “Russian DukeNikolai on Pearce, 157-59.London: Routledge, 2003. Mikhailovicha “Russkiy portret 18 i 19 stoletiy” Mikhailovicha “Russkiy portret18i19 Smithsonian University 1993. Press, Iskusstvo, 2003. 2003. biographythe of N. B.Yussupov younger).the Moscow: Kompaniya Sputnik, 2004. Iskusstvo, 1991. (Traditions and innovations in Russian art atthe turn of the 20 GosudarstvennyPeterburg: Ermitag, 1995. materials) conference 1703-1917: collectors (Saint-Petersburg konferentsii Tezisy 1703-1917: dokladov Kollektsionery vSankt-Peterburge In from masters P. V.Delarov’s collection”). byWest-European pictures (“On the 1993. Petersburg, and Keln:Pushkin Museum, Knizhnoe Moscow). izdatelstvo Diumon, Saint- Hermitage, from the masterpieces Picasso: 120 to Monet from collectors: S.Pushkina,Sankt-Peterburg, Moskva imuzeyaim. A. 2002.359-67. Saint-Petersburg, mansions of the nobility: history roda,usadbiikollektsiidvoryanskie osobnyaki:istoriya of the family, of In Yussupov”). of collection Princes the fate of art (“The estate and of the collection), Saint-Petersburg: Pirs, 1993. the Stroganovs, Guchkovy. Tretyakovy, Morozovy, the Alekseevs, to Ballet Bolshevism. the Tretyakovs, the Morozovs, the Guchkovs). Great PrivateCollectionsImperial Russia of Museum, Objects andCollections:Cultural AStudy. Materialy biografii knyazya N.B. Yussupova-mladshego knyazyaN.B. Materialy biografii Abramtsevo: iskusstvoizhizn How How Shaped theModernWorld:Russia FromArttoAnti-Semitism, Znamenitie rossiyane 18-19vekov:Poizd. VelikogoknyazyaNikolaya Predprinimateli,metsenaty: Stroganovy, blagotvoriteli, Alekseevy, th Traditsii inovatorstvo iskusstve vrusskom kontsa19–n.20veka -19 th century”). Saint-Petersburg: Lenizdat, 1996. Lenizdat, Saint-Petersburg: century”). Princeton: Princeton University, 2003. Interpreting Objects andCollections, (Entrepreneurs, philanthropists, patrons of art: . (Abramtsevo: art and life). Moscow: (Eminent Russians of 18-19 (EminentRussians of . London: Thames & Hudson, Thames London: . Yussupovsky dvorets: (Morozov, Shchukin, (Morozov, (Yussupov palace: th century). Moscow: Washington, D.C.: , 34-37. Sankt- 34-37. (Materials on ed. Susan M. ed. Susan 104 th CEU eTD Collection Savinskaya, Lyubov. “Katalog gollandskoy “Katalog Lyubov. gollandskoy Savinskaya, muzeya-usadby iz givopisi sobraniya Sarabyanov, Dmitry. Sarabyanov, Salnikova, Irina. Salnikova, vekov (1895-1907) kulturakontsa19–nachala20 Russkaya khudogestvennaya ______. Polunina, N. Evgeniya, ed. Petrova, Vsevolod, and Kamensky. Aleksandr Petrov, Petrov, Vsevolod. Rakin, V. A. “Sheremetevy – sobirateli zapadnoevropeiskoy (“The zhivopisi” A. zapadnoevropeiskoy Rakin, “Sheremetevy V. – sobirateli Raeburn, Michael, ed. In Invisible.” the and Visible the Between Collection: “The Krzysztof. Pomian, Arkhangelskoe”). museum-estate collection from the of art of (“A Dutch Catalogue Arkhangelskoe” Russian art at 19 century) the history of state and private collecting of Russian art at 18 at art Russian of collecting and private state of history the 19veka russkogoiskusstva18–pervoy poloviny proizvedeny art life at the turn of 20 the of turn lifethe at art muzey izobrazitelnikh iskusstv imeni A. S.Pushkina, 1995. 2005. 17 collectors Palace Editions,1998. exhibitionthe of Russian and Finnish held artists in1898).Saint-Petersburg: khudozhnikov 1898goda Century Russia. England: Parkstone Press, 1997. “Vipperovskie readings 1994”, edition 1994”,edition XXVII) “Vipperovskie readings vypusk XXVII chteniya 1994”, kollektsionirovanie vRossii: nauchnoy konferentsii “Vipperovskie materialy In art”). ofWest-European collectors –the Sheremetievs London: South Bank 1991. Centre, Routledge, 2003. Interpreting Objects andCollections, 1997. gazeta, Nezavisimaya Moscow: biographies). illustrated Moscow: old of (Collectors Kollektsionery 17-nachalo20vv.:entsikolpedicheskyRossii slovar Kollektsionery staroy Moskvi: illustrirovanny biografichesky slovar biografichesky Kollektsionery Moskvi:illustrirovanny staroy . Saint-Petersburg: Blits, Saint-Petersburg: 2003. Russian ArtNouveau: The World ofArtandDiaghilev’s Painters. Mi bili…Izistoriigosudarstvennogo sobiratelstvai chastnogo th -beginning 20 The Twilight of the TheTwilightTsars: of Russian ArtoftheTurnCentury. Istoriya russkogo iskusstva XIX-nachala XX XIX-nachala veka russkogoIstoriya iskusstva Leningrad: ArtAurora Publishers, 1991. th –beginning 20 of Musey 8:Khudogestvennye SobraniyaSSSR Mir iskusstva. K100-letiuvystavki russkikh ifinliandskikh (The World of Art. On the occasion of the centenary of centenary the of occasion the On Art. of World (The th century century (1895-1907). Vol.Moscow, 1969. 2. th century: encyclopaedia). Moscow: RIPOL classic, RIPOL Moscow: encyclopaedia). century: (Private collecting in Russia: conference materials conference in Russia: collecting (Private th century) The World of Art MovementinEarly20 Worldof The ed. Susan London: M. Pearce,160-74. . Moscow: AST-PRESS, 2001. , 28 . Moscow: Gosudarstvenny th (1987): 204-14. – first half of half –first 19 of (We were…From Chastnoe (History of (Russian (Russian 105 th - th CEU eTD Collection Soloveva, T. A. Sokolova, I. A.“Novoe okollektsii Petra Petrovicha Semyonova-Tian-Shanskogo” (“New ______. D.Shmidt, A. “Piotr Petrovich Semyonov-Tian-Shansky kaki sobiratel issledovatel Sherbatov, Sergei. Sherbatov, (“Piotr sobiratel” kak Semyonov-Tian-Shansky Petrovich “Piotr Vasily. Shchavinsky, ______. Dmitry. Severyukhin, ______. “Znatok zhivet______. “Znatok izucheniem: khudogetsvenny pervoy rynok poloviny 19 vekai kollektsiya Yussupova” Borisovicha Nikolayaknyazya ______. “Uchenaya prikhot: ______. “Pisma knyazu Ya. F. N.B.Yussupovu Hakkerta (kistorii Saint-Petersburg). Saint-Petersburg:Saint-Petersburg). Beloe i 1995. chernoe, Gosudarstvenny Gosudarstvenny 1995. Ermitag, 1703-1917: conference materials) collectors konferentsii Tezisy dokladov 1703-1917: Sankt-Peterburge In Semyonov-Tian-Shansky”). Petrovich Piotr of collection the on Tian-Shansky acollector as Leningrad, of Dutch art). 1928. his life andactivity), Leningrad, 235-342. 1928. Tian-Shansky: egozhizn ideyatelnost anda collector as a connoiseurSemyonov-Tian-Shansky Petrovich of (“Piotr Dutch zhivopisi” art”).gollandskoy In Dostoevsky, A. A. Soglasie, 2000. vo zashchiti i sokhraneniya v Rossii iskusstvapamyatnikov i starini, 1914. Semyonova-Tian-Shanskogo, In collector”). a as Semyonov-Tian-Shansky Petrovich Chernysheva, 1992. age of art groups age of ingroups Russia art and intheUSSR,1820-1932) Petersburg: Izd-vo im.Novikova, N.I. 2003. rynka European art”). European atmarketstudying:first the art half 19 of lives by (“Aconnoisseur zhivopisi” russkie kollektsionery zapadno-evropeiskoy Nashe Nasledie Yussupov”). Borisovich Nikolai Prince of collection the prikhot: (“Uchenaya Egegodnik 1989 Pamyatniki Kultury: Novie Otkritiya. Pismennost. Iskusstvo. Arheologiya. Prince N. B.Yussupov collecting history the (on inRussia,art of 1770-1780)”). F.to of kollektsionirovaniya (“Letters Hackert I. godov)” 1770-1780h vRossii Zolotoy vek khudogestvennikh obedineniyvRossii iSSSR, 1820-1932 (“Exhibiting prose” of of (“Exhibiting prose” Saint-Petersburg: history the on market) of art Semyonov-Tian-Shansky kaksobiratel gollandskoyzhivopisi Semyonov-Tian-Shansky Osobnyaki Yussupovikh v Peterburge Osobnyaki Yussupovikh Khudognik vushedshey Rossii “Vistavochnaya proza” Peterburga: iz proza”Peterburga: “Vistavochnaya khudogestvennogo istorii 63-64 (2002): 8-33. 63-64 (2002): (1990):232-43. Mir Muzeya Mir 2(1995):25-29. comp. Nikolai comp. Saint-Petersburg: O- Vrangel, 10-15. Nikolai (Piotr Petrovich Semyonov-Tian-Shansky: Petrovich (Piotr th century and Russian collectors of West- of andcollectors Russian century (An artist in gone Russia). Moscow: (Mansions of the Yussupovs in Yussupovs the of (Mansions , Piotr Petrovich Semyonov-Piotr Petrovich 29-31. Saint-Petersburg: Pamyati PetraPetrovicha . Sankt-Peterburg: Izd-vo (Saint-Petersburg Kollektsionery v (Semyonov- (Golden . Saint- 106 CEU eTD Collection Tsilov. Sveshnikova, G. I., ed. Zaitseva N. V. memory (“In Semyonova-Tian-Shanskogo” Petrovicha Petra “Pamyati Nikolai. Vrangel, Europe.” “OpeningIn Kridl.Valkenier, to Elizabeth T. N. Unanyants, Borisovicha Yussupova “Uchenaya prikhot”:kollektsiyaknyazyaNikolaya Zhuravleva, Larisa. Zhuravleva, Sturn, Ernest. Reviewvistavki Stroganovy: metsenatyikollektsionery:katalog of Stepanova S. S. “Sobirateli zapadnoevropeiskoy gravury i zhivopisi iz sredi moskovskoy Sternin, Grigory. ed. George, Theofanis Stavrou, etc. inetc. 1849) industries places,handicraft artisans, commercial of artists, doctors, address book na1849god zavedenyi.t.p. torgovikh mest, remeslennikh Cardinal. Shansky) Semyonova-Tian-Shanskogo of Piotr Petrovich Semyonov-Tian-Shansky”). In Blakesley andReid, SusanE. Illinois: 51-58. Illinois University 2007. Press, Dialogue inPainting,Decorative Arts Architecture,of and Arkhangelskoe :acatalogue). Moscow, 1970. Khudognik i 2001. kniga, the collectionprikhot”: BorisovichYussupov) Nikolai Prince of Yussupov palace). Sankt-Peterburg, 2005. Sankt-Peterburg, Yussupov palace). Slaviia, 2003. anexhibition Saint-Petersburg: art andcollectors: catalogue). 1995. GosudarstvennyMoscow: muzey izobrazitelnikh iskusstv imeni A. S.Pushkina, edition XXVII) 1994”, “Vipperovskie readings conference materials vypusk XXVII 1994”, “Vipperovskie chteniya nauchnoykonferentsii Chastnoe kollektsionirovanievRossii: materialy West- collectors European of atengravings of 20 andworks the art khudogestvennoy vtoroy intelligentsii intelligentsia treti 20 veka.”(Moscow khudognik, 1984. veka Indiana University 1983. Press, Gorodskoy ukazatel ili adresnaya kniga vrachey, khudognikov, remeslennikov, iliadresnayaknigavrachey,khudognikov, Gorodskoy ukazatel (Russian art life at the turn of the 20 French Review French , Nastupaet Serebryanny vek: Yussupovsky dvorets Yussupovsky Serebryanny vek: Nastupaet comp. Nikolai Vrangel, Saint-Petersburg,1914. 1-10. Russkaya khudogestvennaya kultura vtoroypoloviny19–nachala20 kultura Russkaya khudogestvennaya . Talashkino Frantsuzskaya zhivopisvArkhangelskom: katalog Saint-Petersburg,1849. Yussupovsky dvorets The CulturesofCollecting, . Smolensk: B.i.,2003. Art and Culture in Nineteenth-century Russia Art andCulturein 6, Vol. 68(May 1995): 1082-83. (In memory of Piotr Petrovich Semyonov-Tian- Petrovich Piotr of memory (In (Yussupov palace). (Yussupov 2004. Saint-Petersburg, Russian Art and the West: aCentury Artandthe Russian th by ed. Jean, Elsner and Roger (The Stroganovs: the patrons of century) (Private collecting in Russia: collecting (Private Pamyati Petra Petrovicha (City directory or the . (Silver Age comes: Age (Silver Moscow: Sovetsky Moscow: , ed. Rosalind P. Rosalind , ed. (French art in th century). In . Minnesota: (“Uchenaya . Moscow: , 130-31 107 .